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2682143
2682143
2682143

Ausklang

Music for Piano with Orchestra

By Helmut Lachenmann

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Piano, orchestra (solo: pno - picc.2(2picc).A-fl(picc)3.3.B-clar.3.dble bsn - 4.3.3.1. - perc(4) - hp - pno - str: 12.12.10.8.8.)
Music for Piano with Orchestra. Composed by Helmut Lachenmann. Partitur-Bibliothek (Score Library).


World premiere: Cologne (Musik der Zeit), April 18, 1986

20th Century (after 1950). Study score. Breitkopf and Haertel #PB-5168. Published by Breitkopf and Haertel (BR.PB-5168).

Item Number: BR.PB-5168

ISBN 979-0-004-20909-7. 9 x 14 in inches.

World premiere Cologne (Musik der Zeit), April 18, 1986
world premiere Cologne (Musik der Zeit), April 18, 1986


The wish to defeat gravity, to outsmart it, or at least to simulate situations of conquered gravity, can find its pendant in the many attempts to delay the fading away of sound which has been put into vibration by an impulse - or instance the sound of a piano. The history of piano music, and not just since Romanticism, is almost completely the history of such techniques. Though these play an important role in my compositions, I am more interested in how the possibilities are changing. Pianistic models derived from fingering techniques, organised as mechanical processes initially only meant to move the strings, the fading away of which should be prevented by several violent interventions; severe rhythmicised processes of construction and deconstruction; filtering, sudden integration of totally different categories of perception, etc: such smuggled models created their own dynamics.
Also essential is the possibility of transfering the initial pianistic type (attack impulse, figuration, form, metamorphosis, but also reversibility and firmness) to the orchestra, to separate characteristic orchestral groups as if to create a superpiano. The solo instrument thus becomes only part of the whole. As signposts in this material landscape, there are raw basic forms such as the unchanged echo, the pure sound, but also more complex forms such as false echo, the filtered cantilene and finally also martellato fields covering their own echo or being swallowed by it.
Simultaneously, there is a harmonic image: harmonics orientated towards simple and aggregate forms, unison sound (the orchestral version of the string choirs of the piano), but also a second, the simple tonally unresolved interval. All these are coordinated in view of the fading processes which have to be hindered on a small and a large scale, expressively emptied and loaded anew. The music thus goes through situations which - continuing, contrasting or changing in quality - originate from one another. It appears to move away from the initial idea, becoming more and more independent, only to reach that same idea again, recognizing themselves as a giant cantibile, and subject themselves to it.

Helmut Lachenmann
(program notes for the Huddersfield Festival 2000)


CDs:
Massimiliano Damerini, Kolner Rundfunk-Sinfonieorchester, cond. Peter Eotvos
CD col legno WWE 31862
Ueli Wiget (pno), Ensemble Modern Orchestra, cond. Markus Stenz
EMCD-003


Bibliography:

Febel Reinhard: ,,... Das Bist Du. Zur Musik von Helmut Lachenmann in: Reinhard Febel Alles standig in Bewegung. Texte zur Musik 1976-2003 hrsg. von Rainer Nonnenmann (= Quellentexte zur Musik des 20./21. Jahrhunderts 11.1) Saarbrucken: Pfau 2004 S. 168-180
Ausklang und Abgesang. Helmut Lachenmann im Gesprach mit Max Nyffeler in: Lucerne Festival Sommer 2005 ,,Neuland Konzertprogramm 6 S. 34-42
Huber Sonja: Das Klavierkonzert heute? Bewahrung der Tradition oder Experimentiertfeld fur Neues? in: Die Tonkunst 6 (2012) Heft 3 S. 368-373
dies.: Klavierkonzerte an der Schwelle zum 21. Jahrhundert. Ausgewahlte Werke von M. Feldman H. Lachenmann G. Ligeti W. Lutoslawski G. Kuhr und M. Jarrell Diss. Wien 2010
Zink Michael: Analytischer Versuch uber Helmut Lachenmanns Ausklang in: MusikTexte Heft 96 (Februar 2003) S. 27-41

Schola Cantorum Stuttgart Ltg. Clytus Gottwald
Doppel-CD '50 Jahre Kompositionspreis der Landeshauptstadt Stuttgart' 50KPS07


Bibliografie:

Luck Hartmut: Philosophie und Literatur im Werk von Helmut Lachenmann in: Der Atem des Wanderers. Der Komponist Helmut Lachenmann hrsg. von Hans-Klaus Jungheinrich Mainz: Schott 2006 S. 41-55




Schola Cantorum Stuttgart cond. Clytus Gottwald
Doppel-CD '50 Jahre Kompositionspreis der Landeshauptstadt Stuttgart' 50KPS07


Bibliography:

Luck Hartmut: Philosophie und Literatur im Werk von Helmut Lachenmann in: Der Atem des Wanderers. Der Komponist Helmut Lachenmann hrsg. von Hans-Klaus Jungheinrich Mainz: Schott 2006 S. 41-55




Dass auch zeitgenossische Komponisten den Kontrapunkt beherrschen bewies Helmut Lachenmann indem er eine dritte Stimme zu Bachs bekannter zweistimmiger Invention d-moll BWV 775 komponierte. Kompositionstechnisch arbeitete Lachenmann hier ganz im Stil von Bach. Daher uberschreitet der Schwierigkeitsgrad seiner Stimme nicht den des Bachschen Originals. Die variable Besetzung (z. B. drei Blaser oder drei Streicher etc.) erlaubt vielseitige Moglichkeiten der Ausfuhrung und wendet sich an einen breiten Kreis von Instrumentalisten. Unsere Ausgabe erscheint a1s.Spielpartitur.



CD: Trio di Clarone.

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