LACHENMANN EIN KINDERSPIEL PDF

But soon -- and now, let's say, you're listening pretty confrontationally -- you realize that there's actually a lot going on. For one thing, the weird structural prison-cell into which this figure and this whole movement has been shackled has become a kind of blank slate, a point of "relative silence" from which a whole new sound is emerging: percussion. The piano's been with us a while now, but perhaps only here, now, listening to this crazy piece, are you aware that this wood-and-iron-and-ivory mammoth is really a leviathanic drum, all of its sounds ultimately the work of hammers slamming, slapping, striking and smashing. And this revelation takes over your perception: now the pitches are almost impossible to hear, and that first onion-skin of perception has ceded to another -- wood and steel string, hard, dry, brutal even. To relax your perception-apparatus at this point is by all means excusable: you've already picked up on Lachenmann 's central hedgehog-trick to swerve sounds away from Me-Expressing-Myself and towards becoming "information about the conditions of their creation. The astonishment we might experience comes in part from the phantom-quality of this third-stage-music: it seems made by no one, not the composer, not the pianist.

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But soon -- and now, let's say, you're listening pretty confrontationally -- you realize that there's actually a lot going on. For one thing, the weird structural prison-cell into which this figure and this whole movement has been shackled has become a kind of blank slate, a point of "relative silence" from which a whole new sound is emerging: percussion.

The piano's been with us a while now, but perhaps only here, now, listening to this crazy piece, are you aware that this wood-and-iron-and-ivory mammoth is really a leviathanic drum, all of its sounds ultimately the work of hammers slamming, slapping, striking and smashing.

And this revelation takes over your perception: now the pitches are almost impossible to hear, and that first onion-skin of perception has ceded to another -- wood and steel string, hard, dry, brutal even.

To relax your perception-apparatus at this point is by all means excusable: you've already picked up on Lachenmann 's central hedgehog-trick to swerve sounds away from Me-Expressing-Myself and towards becoming "information about the conditions of their creation.

The astonishment we might experience comes in part from the phantom-quality of this third-stage-music: it seems made by no one, not the composer, not the pianist. It simply comes in from the outside, the ghost in the machine giving us a second's wink of recognition. Despite all the press on Lachenmann 's technological innovations and compositional procedures, this "third-stage music" invites in a kind of mysticism which might lie deeper than any materialistic concentration in this music.

Or rather: technique becomes the means by which to both genuflect to the wondrous, the infinite, and the immeasurable -- the ghost in the machine -- and also to keep one's dignity. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love.

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Period Modern. Comp Date Avg Duration Share on facebook twitter tumblr. Helmut Lachenmann: Zwei Geuhfeul. Helmut Lachenmann. Mode Records. Helmut Lachenmann: Piano Music. Marino Formenti. Ensemble Recherche Edition, No. Ensemble Recherche. Disques Montaigne. Helmut Lachenmann: Chamber Music.

Helmut Lachenmann: Klaviermusik. Roland Keller. Col Legno Disques Montaigne CPO Helmut Lachenmann: Klaviermusik Roland Keller.

IL PAPALAGI PDF

At the piano, taking ‘Child’s Play’ beyond the familiar

Ein Kinderspiel for piano solo 5. Violin and viola players whisper over their instruments. A guitarist waits with the closest attention for the moment to make a gesture we might easily have missed. The tuba player rises to go over to the open piano, there to send sounds echoing into its interior.

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Kinderspiel (Ein): piano

Ok team, hold on to your hats: how's this for a start to the day, a concept to get your head and your ears around? That's just one of the ideas that you need to hold on to when you're listening to the music of year-old German composer Helmut Lachenmann. He's a senior figure of musical modernism, and a guru-like presence for generations of younger composers who want to follow in his essential, extreme, focused, critical, and explosive footsteps. Way to curdle a metaphor. The point is, pace that previous paragraph, you don't actually require any of the baggage of Lachenmann's ideas or ideologies to appreciate the thrill of his music.

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