Helmut Lachenmann

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Helmut Lachenmann, 2017

Helmut Friedrich Lachenmann (born November 27, 1935 in Stuttgart ) is a German composer and composition teacher.

Study and teaching

Helmut Lachenmann comes from a music-loving pastor's family. From 1955 to 1958 he studied composition , music theory and counterpoint with Johann Nepomuk David and piano with Jürgen Uhde at the Stuttgart Music Academy . After completing his composition studies, he met the Italian composer Luigi Nono during the Darmstadt summer courses in 1957 and was his only student between 1958 and 1960; therefore he moved to Venice.

In 1960 Lachenmann returned to Germany to initially work as a freelance composer and pianist in Munich. From 1966 to 1976 he taught music theory at the Musikhochschule in Stuttgart; Lachenmann interrupted his teaching position for a call in 1972/73 as head of a composition course at the Music Academy of the City of Basel . From 1976 to 1981 he held a professorship for theory and ear training at the State University of Music and Drama in Hanover , before taking over a composition class at the State University of Music and Performing Arts in Stuttgart until his retirement in 2002. His students included u. a. Mark Andre , Pierluigi Billone , Nikolaus Brass , Alvaro Carlevaro , Orm Finnendahl , Clemens Gadenstätter , Manuel Hidalgo , Shigeru Kan-no , Max E. Keller , Juliane Klein , Jan Kopp , Mayako Kubo , Harald Muenz , Wolfram G. Schurig , Cornelius Schwehr , Kunsu Shim , Juan María Solare , and Stefan Streich .

Artistic career and style features

Lachenmann received essential suggestions for his serial composition method from Karlheinz Stockhausen during the so-called "Cologne courses" and from Luigi Nono, who drew his attention to the problems of the social function of music. In contrast to Nono, Lachenmann understands his music as follows: “ In my music, instead of the rigid punctiform sound, there should be different types of sound: in and out processes, impulses, static colors, fluctuations , textures , structures . "

Lachenmann's work is, on the one hand, an examination of serial techniques and chance manipulations, and, on the other hand, a reflection of the self-image as a freelance composer. This is shown by the handling of noises as an integral part of sound when Lachenmann in Guero (1970) “misappropriates” the piano as a percussion and plucking instrument. He wants to free the "submissive" listener from their listening habits and develop a new understanding of composition and listening. Lachenmann does this in the manner of John Cage and the French Musique concrète of the early 1950s. Lachenmann is concerned with expanding the concept of music, with its detachment from a musical conception that is fixed on tonality and pitches , whereby every acoustic event can be shaped into music.

Lachenmann consequently developed a musique concrète instrumentale , which uses new playing techniques to create a tonality for traditional orchestral instruments that is often closer to noise than to the symphonic tradition. In the confrontation of the “philharmonic apparatus” with sounds that reveal their acoustic processes, the perception of players and listeners is to be directed to the structure of the concrete sounds. The aim of his composing is not to experience beautiful sound, but to experience the arrangement and transformation of unusual, as unusual, sound events.

Lachenmann's greatest success so far was the world premiere of the stage work Das Mädchen mit den Schwefelhölzern (1997) at the Hamburg State Opera . The work was also performed in Paris, Stuttgart and Tokyo (revision 2003). On the occasion of his 70th birthday concerts with his music took place all over the world.

Lachenmann influenced an entire generation of composers with his aesthetics (concepts of beauty and truth / material status). That is why he likes to describe his tonal alienation and new playing techniques as “already developed for tourism”. In more recent works since Allegro sostenuto (1986–1988), Lachenmann again increasingly includes traditional pitch constellations, to which the experiences previously made in the Musique concrète instrumentale are now applied (which he himself labeled as “Walk into the Lion's Den” ). This led to the inevitable controversy as to whether Lachenmann had now given up his previous avant-garde position.

Private

Lachenmann is married to the pianist Yukiko Sugawara and lives in Leonberg-Höfingen .

Awards

Catalog raisonné

  • Five Variations on a Theme by Franz Schubert [Waltz in C sharp minor, D643] for piano (1956) 7 min.
  • Rondo for two pianos (1957)
  • Souvenir . Music for 41 instruments (1959) 15 min.
  • Due Giri . Two studies for orchestra (1960) unperformed, unpublished
  • Triple sextet for six woodwinds, brass and string instruments each (1960–61) unperformed, unpublished
  • Five stanzas for nine instruments (1961)
  • Echo Andante for piano (1961–62) 12 min.
  • Angelion for 16 instruments (1962–63) unperformed, unpublished
  • Cradle music for piano (1963) 4 min.
  • Introversion I for 18 instruments (1963) aleatoric and written version
  • Introversion II for 8 instruments (1964)
  • Scenario for tape (1965) 12.5 min, unpublished.
  • String trio I for violin, viola and violoncello (1965) 12 min.
  • Trio fluido for clarinet, viola and percussion (1966) 19 min.
  • Intérieur I for a percussion soloist (1965–66) 16 min.
  • Consolation I for 12 voices and 4 percussionists (1967) 9 min.
  • Consolation II for 16 vocal parts (mixed choir) (1968) 6 min.
  • temA for flute, voice (mezzo-soprano) and violoncello (1968) 16 min.
  • Notturno for small orchestra with violoncello solo (music for Julia) (1966–68) 19 min.
  • Air. Music for large orchestra with percussion solo (1968–69 / 94) 20 min.
  • Pression for a cellist (1969–70 / 2010) 9 min.
  • Dal niente (Intérieur III) for a solo clarinetist (1970) 17 min.
  • Guero . Study for piano (1970/88) 5 min.
  • Contracadence for large orchestra (1970–71) 18 min.
  • Montage of Dal niente , Guero and Pression for clarinet, piano and violoncello (1971) unpublished
  • Gran torso. Music for string quartet (1971–72 / 78/88) 23 min.
  • Klangschatten - my string playing for 48 strings and 3 concert grand pianos (1972) 28 min.
  • Facade for large orchestra (1973) 22 min.
  • Two studies for violin alone (1974) withdrawn
  • Fluctuations on the edge. Music for brass and strings (1974–75) 30 min.
  • Accanto. Music for a solo clarinetist with orchestra (1975–76) 26 min.
  • Salute to Caudwell. Music for two guitarists (1977) 26 min.
  • Les Consolations for choir and orchestra (1967/78) 38 min.
  • Dance suite with Germany song. Music for orchestra with string quartet (1979–80) 36 min.
  • Child's play . Seven small pieces for piano (1980) 15 min.
  • Harmonica . Music for orchestra with solo tuba (1981–83) 31 min.
  • Mouvement (- before solidification) for ensemble (1982–84) 22 min.
  • Finale . Music for piano and orchestra (1984–85) 52 min.
  • Third part to J. S. Bach's two-part Invention in D minor BWV 775 for variable scoring (1985) 2 min.
  • Toccatina . Study for violin alone (1986) 5 min.
  • Dust . For orchestra (1985–87) 20 min.
  • Allegro sostenuto . Music for clarinet / bass clarinet, violoncello and piano (1986–88) 33 min.
  • 2nd string quartet “Reigen blessed spirits” (1989) 28 min.
  • Tableau for orchestra (1988–89) 10 min.
  • " ... two feelings ... ", music with Leonardo for speaker and ensemble (1991–92) 23 min.
  • The girl with the sulfur sticks . Music with images (music theater; 1988–96) 120 min.
  • Serynade for piano (1997–98) 30 min.
  • Now for flute, trombone and orchestra with male voices (1997–99 / 2002) 40 min.
  • Sakura variations on a Japanese folk song for saxophone, percussion and piano (2000) 6 min.
  • 3rd string quartet "Grido" (2001/02) 25 min.
  • Writing for orchestra (2003-04) 28 min.
  • Double (Grido II) for string orchestra (2004; arrangement of his 3rd string quartet) 23 min.
  • Concertini for ensemble (2005) 42 min.
  • Got Lost ... Music for voice and piano (2007-08), text: Friedrich Nietzsche and Fernando Pessoa, 26 min.
  • Berlin cherry blossoms. An arrangement with three variations on a Japanese folk song for alto saxophone, piano and percussion (2008) - a continuation of the Sakura variations on the Japanese folk song Sakura , a subsidiary work.
  • Marche Fatale Version for piano solo (2016)
  • Marche Fatale Version for large orchestra (2017)
  • My Melodies for eight horns and large orchestra (2012–18)

Publications

chronologically

  • Music as Existential Experience - Writings [1959] 1966–1995 (Ed. Josef Häusler), Breitkopf & Härtel / Insel, Wiesbaden 1996, 2nd edition 2004, ISBN 3-7651-0247-4 .
  • Hearing is defenseless - without hearing. About possibilities and difficulties , in: MusikTexte 10, July 1985, 7-16.
  • Structure and music , nova giulianiad 6/85, p. 92 ff.
  • About composing , in: MusikTexte 16, October 1986, 9-14.
  • On structuralism , in: MusikTexte 36, October 1990, 18–23.
  • Art and Democracy , in: MusikTexte 122, August 2009, 26–28.
  • Tradition of irritation. Reflecting on composing, the concept of art and listening , in: MusikTexte 132, February 2012, 11–13.
  • Composing am Krater , in: MusikTexte 151, November 2016, 3–5.

conversations

  • "Not hearing, but noisy". Helmut Lachenmann in conversation with Frank Hilberg , in: MusikTexte 67/68, January 1997, 90–92.
  • "Get serious: it can be cheerful!" Listening as observing: Helmut Lachenmann in a radio conversation with Michael Struck-Schloen , in: MusikTexte 140, February 2014, 20–26.
  • "I am the wound myself". Helmut Lachenmann in conversation with Tobias Rempe , in: MusikTexte 151, November 2016, 60–62.
  • "I hate humor". Helmut Lachenmann in conversation with Johann Jahn , in: BR-Klassik on June 6, 2018
  • " Like pure air and pure water". Helmut Lachenmann in conversation with Wolfgang Schreiber , in Süddeutsche Zeitung , May 28, 2020

literature

  • Ludolf Baucke: "Man, recognize yourself ...". Notes on Helmut Lachenmann's “Harmonica” , in: MusikTexte 3, February 1984, 6–9.
  • Karsten Häcker: Experiment on the structural sound. “Air” for percussion and orchestra , in: MusikTexte 67/68, January 1997, 95-104.
  • Jörn Peter Hiekel , Siegfried Mauser (Ed.): Reflected music. Studies on the work of Helmut Lachenmann . Pfau-Verlag, Saarbrücken 2005, ISBN 3-89727-298-9 .
  • Frank Hilberg: The first opera of the 21st century? Helmut Lachenmanns "The girl with the sulfur woods" , in: New magazine for music . 1997, No. 4, pp. 14-23.
  • Klaus-Michael Hinz: Lachenmann reading - child's play , in: MusikTexte 67/68, January 1997, 2.
  • Klaus-Michael Hinz: Spaces of Lust. On Lachenmann's composition technique , in: MusikTexte 67/68, January 1997, 75–76.
  • Josefine Helen Horn: Post-serial mechanisms of form generation. On the creation of Helmut Lachenmann's “Notturno”, in: MusikTexte 79, June 1999, 14-25.
  • Nicolaus A. Huber: Prophetic Unconditionality. On Helmut Lachenmann , in: MusikTexte 20, July – August 1987, 14–15.
  • Eberhard Hüppe: About the allegory of the cave. On Lachenmann's aesthetics , in: MusikTexte 67/68, January 1997, 62–67.
  • Stefan Jena: "Logic of Refusal". On the musical aesthetics of Helmut Lachenmann , in: MusikTexte 64, April 1996, 16–19.
  • Thomas Kabisch: Dialectical Composition - Dialectical Listening. On Helmut Lachenmann's piano compositions (1956–1980) , in: MusikTexte 38, February 1991, 25–31.
  • Martin Kaltenecker: Some things are lost in the night. Fragments from Lachenmann's "Reigen blessed Geister" , in: MusikTexte 67/68, January 1997, 67–74.
  • Martin Kaltenecker: What is rich music? Laudation for Helmut Lachenmann , in: MusikTexte 134, August 2012, 37–40.
  • Daniel Kötter: The misleading of the opera. Speechlessness and skill in Helmut Lachenmann's “The Girl with the Sulfur Woods” , in: MusikTexte 105, May 2005, 37–48.
  • Heinz-Klaus Metzger , Rainer Riehn (eds.): Helmut Lachenmann. = Music Concepts, Vol. 61/62. edition text & kritik, Munich 1988, ISBN 3-88377-294-1 .
  • Matteo Nanni, Matthias Schmidt (Eds.): Helmut Lachenmann: Music with Images? , Fink, Paderborn 2012, ISBN 978-3-7705-5340-2 .
  • Rainer Nonnenmann: Prelude to the “instrumental musique concrète”. Helmut Lachenmann's “temA” from 1968 , in: MusikTexte 67/68, January 1997, 106–114.
  • Rainer Nonnenmann: Offer through refusal: The aesthetics of instrumental sound composition in Helmut Lachenmann's early orchestral works . = Kölner Schriften zur Neue Musik, Vol. 8, Schott, Mainz 2000, ISBN 3-7957-1897-X .
  • Rainer Nonnenmann: The walk through the cliffs. Helmut Lachenmann's encounters with Luigi Nono based on their correspondence and other sources 1957–1990 , Wiesbaden: Breitkopf and Härtel, 2013, ISBN 978-3-7651-0326-1 .
  • Rainer Nonnenmann: Beyond the familiar. A commentary on letters to the composer from schoolchildren [with letters from schoolchildren], in: MusikTexte 151, November 2016, 63–72.
  • Reinhard Oehlschlägel : Resistances. Helmut Lachenmann's “Schwenken am Rande” for “Blech und Saiten” , in: MusikTexte 67/68, January 1997, 93–94.
  • Wolfgang Rihm : Moved. For Helmut Lachenmann , in: MusikTexte 8, February 1985, 17.
  • Wolfgang Rihm : Infinitely grateful. Laudation for Helmut Lachenmann, in: MusikTexte 71, August 1997, 27–31.
  • Yuval Shaked: Helmut Lachenmann's 'Salut für Caudwell' - An Analysis , nova giulianiad 6/1985, p. 97 ff.
  • Yuval Shaked: "Like a beetle, wriggling on its back". On "Mouvement (- before the solidification -)" (1982–84) by Helmut Lachenmann , in: MusikTexte 8, February 1985, 9–16.
  • Frank Sielecki: The political in the compositions of Helmut Lachenmann and Nicolaus A. Huber . Pfau-Verlag, Saarbrücken 2000, ISBN 3-89727-033-1 .
  • Milena Stawowy: "Escape attempt into the lion's den". Helmut Lachenmann's “Tanzsuite mit Deutschlandlied” , in: MusikTexte 67/68, January 1997, 77–90.
  • Ulrich Tadday (Ed.): Helmut Lachenmann. = Music Concepts New Series, Vol. 146. edition text & kritik, Munich 2009, ISBN 3-86916-016-0 .
  • Matthias & Maciej Walczak: Extended playing techniques in Helmut Lachenmann's music . CD-ROM, Breitkopf Verlag, ISBN 978-3-7651-0297-4 .
  • Tobias Werner: Possibilities and difficulties of hearing Helmut Lachenmann's composition "The girl with the sulfur woods"
  • Michael Zink: Structures. Analytical attempt on “Ausklang” by Helmut Lachenmann , in: MusikTexte 96, February 2003, 27–41.

Movie

  • Musica Viva - Forum of Contemporary Music: Helmut Lachenmann , Director: Peider A. Defilla, Germany 2003
  • ... two feelings ... - The composer Helmut Lachenmann , director: Uli Aumüller, Germany 1996
  • ... Where I've never been - the composer Helmut Lachenmann , director: Bettina Ehrhardt, Germany, 2006

Individual evidence

  1. ↑ Lachenmann: Communication at risk . 1973.
  2. ^ Ekkehard Klemm: Honorary doctorate for Helmut Lachenmann. In: klemmdirigiert.twoday.net. December 3, 2010, accessed September 3, 2015 .
  3. ↑ Helmut Lachenmann receives honorary doctorate from the Cologne University of Music and Dance | KulturPort.De - Magazine Art Culture Hamburg Metropolitan Region. In: www.kultur-port.de. May 16, 2012, accessed September 3, 2015 .
  4. ↑ Helmut Lachenmann becomes "Commandeur des Arts et Lettres". In: magazin.klassik.com. September 20, 2012, accessed September 3, 2015 .
  5. ↑ Bayerischer Rundfunk: BR Symphony Orchestra: musica viva - Helmut Lachenmann | BR classic . June 6, 2018 ( br-klassik.de [accessed June 8, 2018]).
  6. ↑ Bayerischer Rundfunk: Interview with Helmut Lachenmann: "I hate humor!" | BR classic . June 8, 2018 ( br-klassik.de [accessed June 8, 2018]).
  7. ↑ Süddeutsche Zeitung: "Like pure air and pure water". Retrieved May 30, 2020 .

Web links
personal data
SURNAME Lachenmann, Helmut
ALTERNATIVE NAMES Lachenmann, Helmut Friedrich (full name)
BRIEF DESCRIPTION German composer and composition teacher
DATE OF BIRTH November 27, 1935
PLACE OF BIRTH Stuttgart