With him Styrofoam is squeaky pulled over violin strings, winds blow into the instrument without a mouthpiece, singers schnalzen and popping. And drummer caress
For many, the no music -. But wants to present itself not Konzerthaus, no orchestra, no festival without works by Helmut Lachenmann. He is definitely one of the internationally most influential creators of contemporary music. On November 27, the composer is the thin gray hair and beard 80 years old.
His toneless plucking, his sibilant tones, his pale arc noise, broken by the occasional cry, solve still controversy. For listeners were lost in his music, he admits himself, because they are “too”. Listeners on the other hand could experience something.
The critics not rain today so long about Lachenmann on as before. 1997 about when the premiere of his opera “The Girl with the Schwefelhölzern” in Hamburg is torn by some media almost in the air. “Smoke from the tormentor” reads a headline, “Musikzerschrottung” is elsewhere.
“The critics have never really touched me,” the five-time father and quadruple grandfather says today. “Positive were dear to me, because I just wanted to survive in this music business.” Reviews inwardly not put him on -. “They are beneficial or harmful”
In the same year he receives the Ernst von Siemens Music Prize, a major award for composers. In the act it is “compromise autonomy” attributed. His free language made him “the heir of that great tradition which leads from Beethoven via Brahms to Schoenberg and Nono”. He was “a model for a whole generation of composers and artists,” it says in the centuries Music in Stuttgart.
Lachenmann splits. “There are people who – not only in my music – beating left the hall doors,” said the Stuttgart. “But who instead just watching and watching while listening, will be wonderful experience, even to yourself, do.” The question is how to deal with irritation. “Leaving aside the blinds down and says,” No, that must not happen, “or look you purely in the unfamiliar world, open your horizons, open your mind, your heart?”
Lachenmann does not make us easy, faced with highly complex works. Sounds, not sounds, playing the style-defining role. “I take every available tools and familiar sound means and turn it into my instruments, which I so treat the instruments that they sound new in a new context.”
Say wants nothing with his music Lachenmann: As he was “absolutely busy and take care a damn drum, what I or what that means” through the study of sound and sound structures composer. But what arises here, “is to say more than I suspect.” That was like a characteristic handwriting.
Major impetus Lachenmann replaced by Karlheinz Stockhausen and Luigi Nono, with whom he studied in Venice. In the 70s he taught himself at the Academy of Music in Hanover, in the 80s then in Stuttgart. Visiting professorships lead him anywhere. He organizes itself, with the help of a booklet, now also with smartphone. He hears everyday music on YouTube. The American a cappella group Naturally 7 enthusiastic about him. But he also love Oscar Peterson, Miles Davis, the great jazz musician “and of course the wonderful composers of our European music”.
“g’fallt Who’s …” ruled his father, Schwäbisch distances, about the music , If one asks Helmut Lachenmann, what he was doing, if he does not occupy himself with music, he says. “Then I play the piano” to compose he liked to retreat to Piedmont. “Loneliness is a precious thing – if you get the feeling. There are also a few people who like a” He wants to compose another opera to its kind it belongs but that he already formulated a grave inscription: “He composed cumbersome, Now he is silent -. finally “
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