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Dal niente

Interieur III

By Helmut Lachenmann

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Interieur III. Composed by Helmut Lachenmann. Edition Gerig.

World premiere: Nuremberg (Ars nova), June 4, 1970

20th Century (after 1950). Breitkopf and Haertel #BG-866. Published by Breitkopf and Haertel (BR.BG-866).

Item Number: BR.BG-866

ISBN 979-0-004-14016-1. 9 x 12 in inches.

World premiere Nuremberg (Ars nova), June 4, 1970

Like my other compositions from this period, ,,Dal nienteis also indebted from a technical perspective to the idea of a musique concrete instrumentale, in which all of the sounds point away from themselves to a certain extent toward the preconditions of their production, bringing the latter into the structural events as a kind of corporal experience. The instrument becomes a device: a characteristically manipulated filter for the player's breath as controlled by the composition and its interpretation. The independent modification in finger positions, types of attack, and the forms of articulation in air pressure thus become discernible as a multi-level polyphony. Artificial structures of time and elementary perception of sound processes - which are more objects of observation than of the sort of listening which is directed at expressivity - condition each other and relocate the expressivity that was ousted from the single gesture to the emphatically concentrated experience of an awareness of their anatomy.

(Helmut Lachenmann, translated by Steven Lindberg)

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Brunner, Eduard: krawall im saal. Eduard Brunner uber seine Erfahrungen mit der Musik von Helmut Lachenmann und die Zusammenarbeit mit dem Komponisten, in: Neue Zeitschrift fur Musik 167 (2006), Heft 1, S. 32f
Galindo Agundez, Antonio: Konflikte in der Interpretation zeitgenossischer Musik. Brunner-Lachenmann: eine Fallstudie, in: rohrblatt 27 (2012), Heft 1, S. 25-30
Jahn, Hans-Peter: ,,simultan - eine Erinnerung, in: Neue Zeitschrift fur Musik 167 (2006), Heft 1, S. 12-15
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.

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