SKU: BR.PB-5714
ISBN 9790004216514. 10.5 x 14 inches.
More than my earlier works, this one is interspersed with metrically bound rhythms and musicianly characters that constantly recrystallize and drift towards or away from familiar situations.The familiar: These are dance-like figures and music-making formulas, but also songs and, in two cases fragments of Bach's music - playfully collected memories of impressions in which - consciously and unconsciously - I am embodied with that collective comfort in whose protection bourgeois thinking and feeling, magically protected, grow up and emerge apart.(It is well known that such security has its fetishes from the childlike to the adult stage: Home, religious bond, holidays, tradition, longing for childhood - the superficiality may have little idea of the depth that opens up underneath. There is also no question that we are still marked by such security even when the contradictions and alienation of existence force us to step out of their protection, to recognize and act upon reality, and to oppose the domination of such inner bonds where their original truth has become the fatal untruth of comfortable illusion, stubbornly and fearfully conjured idyll and reactionary narrow-mindedness.My music feeds on figures in which such memories are encapsulated. It deals with them not much differently than in other pieces with the elements of the traditional musical concept of material, having already always reflected compositionally as a product of sociality and anticipation of musical expression, i.e. it moved into a structurally expanded context and expressively redefined from there.Such an approach aims at overcoming lack of freedom: grasping as part of conceiving, i.e. not philosophical reflection, but rather an artistically gripping reflex by intervening in the physical immediacy of such predetermined elements. These penetrate and infect the structural events, inducing a musicianship that cannot be relied upon; the music jumps onto rhythms like onto moving vehicles, allows for being carried by them until they deform or disintegrate. This creates an incline of rhythmically shaped situations: sequence and interweaving of dances and structures.The role of the solo string quartet is versatile, obbligato and concertante, leading and accompanying in a changing sense. Set as a chamber music apparatus in an orchestral landscape, it repeatedly forces its own sound dimensions onto the orchestra, it must accept being drowned out at times, it nests in the holes of tutti fields, it acts as a louse in the fur, forcing one to listen in and out.The Tanzsuite with Deutschlandlied is structured as follows:I. Section. 1. Introduction - 2. Waltz - 3. March - 4. Bridge -II. Section. 5. Siciliano - 6. Capriccio - 7. Valse lente -III. Section. 8. Bridge - 9. Gigue - 10. Tarantelle - 11. Bridge -IV. Section. 12 Aria I - 13 Polka - 14 Aria IIV. Section. 15. Introduction - 16 Gallop - 17 Coda (Aria III)All 17 parts merge into one another.(Helmut Lachenmann, 1980)CDs/LP/DVD:Arditti-Quartett, Deutsches Symphonie-Orchester Berlin, cond. Olaf HenzoldCD Montaigne Auvidis MO 782019Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain Cambreling (Excerpt)CD BMG/RCA 74321 73510 2 (Musik in Deutschland 1950-2000)Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain CambrelingLP DMR 1028-30Arditti Quartet, SWR Sinfonieorchester Baden-Baden und Freiburg, cond. Hans Zender Excerpt on CD ,,Auswahl von zehn Urauffuhrungen aus 70 Jahren, SWR Sinfonieorchester Baden-Baden und Freiburg Arditti Quartet, Staatsorchester Stuttgart, cond. Sylvain Cambreling DVD ,,Lachenmann-Perspektiven 6 (Breitkopf & Hartel, BHM 7816) Bibliography:Cavalotti, Pietro: Differenzen. Poststrukturalistische Aspekte in der Musik der 1980er Jahre am Beispiel von Helmut Lachenmann, Brian Ferneyhough und Gerard Grisey (= Sonus. Schriften zur Musik, hrsg. von Andreas Ballsteadt, Band 8), Schliengen: Argus 2006, pp. 79-128.Das sind doch alles Deutschlandlieder! Helmut Lachenmann im Gesprach mit Michael Rebhahn, in: Der Taktgeber. Das Magazin der Jungen Deutschen Philharmonie, Heft 40 (Sommer 2019), S. 6f.Stawowy, Milena: Fluchtversuche in die Hohle des Lowen. Helmut Lachenmanns Tanzsuite mit Deutschlandlied, in: MusikTexte 67/68 (1997), pp. 77-90.Toop, Richard: Concept and Context: A Historiographic Consideration of Lachenmanns Orchestral Works, in: Helmut Lachenmann Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, pp. 125-144.World premiere: Donaueschingen (Donaueschinger Musiktage), October 18, 1980.
SKU: BR.BHM-7816
Here you can order the perfomance material.
ISBN 9790004650424. 9 x 12 inches.
The Tanzsuite mit Deutschlandlied (Dance Suite with German National Anthem) was premiered in 1980 at the Donaueschingen Festival under the direction of Sylvain Cambreling. 35 years later, we have now filmed the piece, once again conducted by Cambreling, with the Staatsorchester Stuttgart and the Arditti Quartet. Sectional rehearsals with Helmut Lachenmann did not take place, but the approximately eight hours of orchestra rehearsals also provided much graphic material for the two rehearsal films. In the interview film, the composer goes into detail about, for example, the structure of the piece in which he has dealt with a variety of dances and German Folk Songs. Lachenmann's pre-concert speech, preparing the audience for the performance of the Tanzsuite, gives a special accent to the DVD. (Wiebke Popel)In 2015/16 I travelled across Europe with cameraman Michael Zimmer to document a total of nine orchestral rehearsals of and with [meaning rehearsals of music by HL, conducted by HL? OR?] Helmut Lachenmann in the course of Lachenmann Perspectives, a project of the Musik der Jahrhunderte. This DVD series is the filmic result of these journeys.
SKU: M7.DOHR-66466
ISBN 9783925366468. German.
Machtvolle Steigerungen, explosionsartige Entladungen, Gipfel des Höhepunkts - die musikalische Analyse ist reich an bildhaften Beschreibungen für Stellen erhöhter musikalischer Spannung. Eine Auseinandersetzung mit dem Phänomen Höhepunkt ist jedoch kaum zu finden. Wie sind die einzelnen musikalischen Elemente an der Höhepunktbildung beteiligt? Wie kann man die unterschiedlichen Intensitäten von Höhepunkten bestimmen? Welche Bedeutung haben sie für die Dramaturgie des ganzen Musikwerkes? Diese und weitere Fragen versucht der vorliegende Band zu beleuchten. Es werden Höhepunktbildung und Dramaturgie als formbildende Elemente der Musik dargestellt und zehn zeitgenössische Werke auf den Einsatz dieser Elemente hin untersucht, darunter der zweite Satz aus Anton Weberns Symphonie op. 21, die Kontakte von Karlheinz Stockhausen, piano von Morton Feldman und Tanzsuite mit Deutschlandlied von Helmut Lachenmann, jeweils mit grafischer Darstellung des dramaturgischen Verlaufs. Der ungewöhnliche Blickwinkel auf die untersuchten Kompositionen offenbart zahlreiche neue Erkenntnisse, nicht nur im Hinblick auf die Kompositionen, sondern auch auf die Arbeitsweise ihrer Urheber.
