Helmut Lachenmann's Concept of Rejection
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Auteurs : Elke HockingsSource :
- Tempo [ 0040-2982 ] ; 1995-07.
Abstract
The eminent German composer Helmut Lachenmann enjoys an exalted reputation among a small circle of English contemporary music enthusiasts. To the wider English music public, though, he is little known. There are hardly any comprehensive accounts of Lachenmann in English. His consciously elusive compositional style could even be introduced to the English audience as ‘old-guard avantgarde’ without being challenged at all.
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DOI: 10.1017/S0040298200004253
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To the wider English music public, though, he is little known. There are hardly any comprehensive accounts of Lachenmann in English. His consciously elusive compositional style could even be introduced to the English audience as ‘old-guard avantgarde’ without being challenged at all.</p></abstract></profileDesc><revisionDesc><change when="1995-07">Published</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" dtd-version="2.2" xml:lang="en"><front><journal-meta><journal-id journal-id-type="publisher-id">TEM</journal-id><journal-title>Tempo</journal-title><abbrev-journal-title>Tempo</abbrev-journal-title><issn pub-type="ppub">0040-2982</issn><issn pub-type="epub">1478-2286</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0040298200004253</article-id><article-id pub-id-type="pii">S0040298200004253</article-id><article-id pub-id-type="publisher-id">00425</article-id><title-group><article-title>Helmut Lachenmann's Concept of Rejection</article-title><alt-title alt-title-type="left-running">Helmut Lachenmann's Concept of Rejection</alt-title><alt-title alt-title-type="right-running">Helmut Lachenmann's Concept of Rejection</alt-title></title-group><contrib-group><contrib><name name-style="western"><surname>Hockings</surname><given-names>Elke</given-names></name></contrib></contrib-group><pub-date pub-type="ppub"><month>07</month><year>1995</year></pub-date><issue>193</issue><fpage seq="4">4</fpage><lpage>14</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1995</copyright-statement><copyright-year>1995</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>The eminent German composer Helmut Lachenmann enjoys an exalted reputation among a small circle of English contemporary music enthusiasts. To the wider English music public, though, he is little known. There are hardly any comprehensive accounts of Lachenmann in English. His consciously elusive compositional style could even be introduced to the English audience as ‘old-guard avantgarde’ without being challenged at all.</p></abstract><counts><page-count count="11"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0040298200004253a.pdf</meta-value></custom-meta><custom-meta><meta-name>series</meta-name><meta-value>1</meta-value></custom-meta><custom-meta><meta-name>seriesText</meta-name><meta-value>New Series</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><fn id="fn01" symbol="1"><label><sup>1</sup></label><p>One only needs to compare the English and German version of the <citation citation-type="book" id="ref001"><source>Heritage of Music</source> series eds. <name name-style="western"><surname>Raeburn</surname><given-names>Michael</given-names></name>, <name name-style="western"><surname>Kendal</surname><given-names>Alan</given-names></name>, co-eds. <name name-style="western"><surname>Aprahamian</surname><given-names>Felix</given-names></name>, <name name-style="western"><surname>Mellers</surname><given-names>Wilfried</given-names></name> (<publisher-loc>Oxford</publisher-loc>: <publisher-name>Oxford University Press</publisher-name>, <year>1989</year>)</citation>. Lachenmann, who did not feature at all in the original English version, was given due respect in its German counterpart.</p></fn><fn id="fn02" symbol="2"><label><sup>2</sup></label><p>Although Lachenmann is listed in English encyclopedias as early as 1974, only three of Lachenmann's articles have been translated into English so far. One of these, <citation citation-type="journal" id="ref002">‘<article-title>Die Schönheit und die Schöntöner. Zum Problem musikalischer Ästhetik heute</article-title>’, appeared in <source>Tempo</source>
<volume>135</volume> (<month>12</month>
<year>1980</year>)</citation> as ‘The “beautiful” in music today’. The third article, ‘On Structuralism’, was to appear in the summer of 1994. Selected statements by the composer were offered in English translations in the composer brochure <citation citation-type="book" id="ref003"><source>Helmut Lachenmann</source> (<publisher-loc>Wiesbaden</publisher-loc>: <publisher-name>Breitkopf</publisher-name>, <sup>1</sup><year>1980</year>, <sup>2</sup>1986, <sup>3</sup>1990)</citation>. Various passages by and on Lachenmann have appeared in English as programme notes (e.g. Huddersfield Contemporary Music Festival 1986, Warsaw Autumn 1979, 1981, 1988, 1991) or as record/CD notes. Three English articles by Robin Freeman, David Smeyers and John Warnaby are held at Breitkopf & Härtel in Wiesbaden. Only David Smeyer's account was published, in an American journal, <italic>The Clarinet</italic>. A number of performance and CD review articles have appeared in English language daily newspapers and music periodicals. Two of 23 recordings are presently available, according to the <italic>Gramophone Classical Cataloque</italic> (the <italic>Opus</italic> catalogue still does not list any).</p></fn><fn id="fn03" symbol="3"><label><sup>3</sup></label><p><citation citation-type="book" id="ref004"><name name-style="western"><surname>Benjamin</surname><given-names>George</given-names></name>, programme brochure <source>Meltdown</source> (<publisher-name>South Bank Centre</publisher-name>, <publisher-loc>London</publisher-loc> 18–25 <month>07</month>
<year>1993</year>), n.p</citation>.</p></fn><fn id="fn04" symbol="4"><label><sup>4</sup></label><p>The author can ensure the support of an English opinion. See <citation citation-type="journal" id="ref005"><name name-style="western"><surname>Fox</surname><given-names>Christopher</given-names></name>, ‘<article-title>British Music at Darmstadt 1982–92</article-title>’, <source>Tempo</source>
<volume>186</volume> (<month>09</month>
<year>1993</year>), p.<fpage>25</fpage></citation>.</p></fn><fn id="fn05" symbol="5"><label><sup>5</sup></label><p><citation citation-type="book" id="ref006"><source>Komposition im 20. Jahrhundert. Details – Zusammenhdnge</source> (<publisher-loc>Celle</publisher-loc>: <publisher-name>Moeck Verlag</publisher-name>, <year>1975</year>), p.<fpage>3</fpage></citation>, trans. E.H. All translations are by E.H.; original German omitted only to conserve space.</p></fn><fn id="fn06" symbol="6"><label><sup>6</sup></label><p><citation citation-type="book" id="ref007">‘Über Schwierigkeiten der Bewertung und der Analyse neuester Musik’, <source>Vom musikalischen Denken. Gesammelte Vorträge</source>, eds. <name name-style="western"><surname>Damm</surname><given-names>Rainer</given-names></name>, <name name-style="western"><surname>Taub</surname><given-names>Andreas</given-names></name> (<publisher-loc>Mainz</publisher-loc>: <publisher-name>Schott's Söhne</publisher-name>, <year>1984</year>), p.<fpage>350</fpage></citation>.</p></fn><fn id="fn07" symbol="7"><label><sup>7</sup></label><p><citation citation-type="book" id="ref008">‘Wider der Strategic der Verinnerlichung (Zur kompositorischen Methodik und Ästhetik) (1990)’, <source>Konrad Boehmer. Das höse Ohr. Texte zur Musik 1961–1991</source>, ed. <name name-style="western"><surname>Söil</surname><given-names>Burkhardt</given-names></name> (<publisher-loc>Cologne</publisher-loc>: <publisher-name>DuMont</publisher-name>, <year>1993</year>), p.<fpage>225</fpage></citation>.</p></fn><fn id="fn08" symbol="8"><label><sup>8</sup></label><p>As Jörg Stenzl has rightly pointed out in respect to the bourgeois model of the German new music industry, ‘Tradition und Traditionsbruch’, <italic>Die neue Musik utui die</italic> Tradition. <citation citation-type="book" id="ref009"><name name-style="western"><surname>Kongressbeiträge</surname><given-names>Sieben</given-names></name>
<source>und eine analytische Studie, Veroffetulichunjien des Instituts fur Neue Musik utul Musikziehuiig Darmstadt</source>
<volume>19</volume>, ed. <name name-style="western"><surname>Brinkmann</surname><given-names>Reinhold</given-names></name> (<publisher-loc>Mainz</publisher-loc>: <publisher-name>Schott's Söhne</publisher-name>, <year>1978</year>), particularly pp.<fpage>94</fpage>–<lpage>97</lpage></citation>.</p></fn><fn id="fn09" symbol="9"><label><sup>9</sup></label><p><citation citation-type="book" id="ref010">‘Kölner Manifest 1991’, <source>Blick zurück nach vorn, ein Buch zur paemoderne</source>, eds. <name name-style="western"><surname>Roschek</surname><given-names>Ingrid</given-names></name>, <name name-style="western"><surname>Ottersbach</surname><given-names>Heribert C.</given-names></name>, <name name-style="western"><surname>Tsangaris</surname><given-names>Manos</given-names></name> (<publisher-loc>Cologne</publisher-loc>: <publisher-name>Thürmchen</publisher-name>. <year>1992</year>). pp.<fpage>80</fpage>–<lpage>83</lpage></citation>.</p></fn><fn id="fn10" symbol="10"><label><sup>10</sup></label><p>See ‘flying from the social pressure to explain everything … into an ethos of work’, <citation citation-type="book" id="ref011"><name name-style="western"><surname>Lachenmann</surname></name> in an interview with <name name-style="western"><surname>Metzger</surname><given-names>Heinz-Klaus</given-names></name>, ‘Fragen und Aiitworten (1988)’. <source>Musik-Konzepte 61/62. Helmut Lachenmann</source>, eds. <name name-style="western"><surname>Metzger</surname><given-names>Heinz-Klaus</given-names></name>, <name name-style="western"><surname>Riehn</surname><given-names>Rainer</given-names></name> (<publisher-loc>Munich</publisher-loc>: edition text + kritik, <year>1988</year>). pp. <fpage>118</fpage>–<lpage>119</lpage></citation>.</p><p>Similarly, <citation citation-type="journal" id="ref012"><name name-style="western"><surname>Feldman</surname><given-names>Morton</given-names></name>: ‘<article-title>I know nobody except myselt who works so intensely … But they (younger composers, E.H.) do not understand the amount of work that is necessary to write a piece …</article-title>’, in ‘… wie eine Ausdünnung der Musik durch Terpentin. Morton Feldman und Iannis Xenakis ira Gespräch’, <source>Musik Texte</source>
<volume>52</volume> (<month>01</month>
<year>1994</year>). pp.<fpage>44</fpage>–<lpage>45</lpage></citation>.</p></fn><fn id="fn11" symbol="11"><label><sup>11</sup></label><p>programme brochure <italic>Donaueschinger Musiktaqe 1980</italic>, pp.22–23.</p></fn><fn id="fn12" symbol="12"><label><sup>12</sup></label><p>‘Fragen und Antworten’, p.119–120.</p></fn><fn id="fn13" symbol="13"><label><sup>13</sup></label><p>The label <italic>Verweigerungsmusiker</italic> (musician of rejection) has often accompanied musicians around 1969 (and after) who composed and verbalized in the vein of Lachenmann. The author is thinking here of Nicolaus A. Huber, Friedhelm Dohl (around 1970), Hans Ulrich Lehmann, Dieter Schnebel (around 1970) and Hans-Joachim Hespos (with different political motivations), and more recently Mathias Spahlinger and Gerhard Stäbler. But the concept of rejection is the core of any modernist thought going back to the first half of this century. More specifically, Thomas Meyer coined the term ‘Lachenmann-school’ – to indicate the familiarity of musical textures (unusual instrumental treatments, ‘qualified’ silence) – originally published in a supplement of the <italic>Tagesanzeiger</italic> (15. Dec. 1989), partly reprinted Musik Texte 32 (Dec. 1989), p.53. Naturally, Lachenmann has tried to demonstrate that he is not joining the ‘exploiting tourism’ of estranged instrumental sounds. ‘Fragen und Antworten’, p.133.</p></fn><fn id="fn14" symbol="14"><label><sup>14</sup></label><p>The term ‘aura’ is supposed to describe a phenomenon which is less concretely associable with certain structural paradigms than the term ‘meaning’. Contrary to the common assumption, the term ‘aura’ was first mentioned by Adorno in a letter to <citation citation-type="book" id="ref013"><name name-style="western"><surname>Benjamin</surname><given-names>Walter</given-names></name> (Feb. 1940): ‘The term aura … not fully thought through …’ in Th. <name name-style="western"><surname>Adorno</surname><given-names>W.</given-names></name>
<source>Über Walter Benjamin</source>
<publisher-loc>Frankfurt</publisher-loc> am Main: <publisher-name>Suhrkamp</publisher-name>, <year>1970</year>), p.<fpage>160</fpage></citation>. It is true, though, that the term ‘aura’ became a crucial backbone of <citation citation-type="book" id="ref014"><name name-style="western"><surname>Benjamin's</surname></name> argument in <source>Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit</source> (<publisher-loc>Frankfurt</publisher-loc> am Main: <publisher-name>Suhrkamp</publisher-name>, <year>1963</year>), particularly p.<fpage>18</fpage></citation>. Lachenmann absorbed this term through György Lukács's writings.</p></fn><fn id="fn15" symbol="15"><label><sup>15</sup></label><p><citation citation-type="book" id="ref015"><name name-style="western"><surname>Murail</surname><given-names>Tristan</given-names></name>, pre-concert talk to the concert on 25/07/1993 (<source>Meltdown festival</source> 1993, <publisher-loc>London</publisher-loc> – <publisher-name>South Bank Centre</publisher-name>. 18–25 <month>07</month>
<year>1993</year>)</citation>.</p></fn><fn id="fn16" symbol="16"><label><sup>16</sup></label><p>In the open discussions with <citation citation-type="other" id="ref016"><name name-style="western"><surname>Rihm</surname><given-names>Wolfgang</given-names></name> at the Darmstadt summer course <year>1982</year>, tape recording, <italic>Internationales Musikinstitut Darmstadt</italic>, No.810</citation>.</p></fn><fn id="fn17" symbol="17"><label><sup>17</sup></label><p>Lachenmann in an interview with Christine Mast, Hessischer Rundfunk II (18 Feb. 1992), 14-page mss., held at Breitkopf, p. 12.</p></fn><fn id="fn18" symbol="18"><label><sup>18</sup></label><p><citation citation-type="book" id="ref017"><name name-style="western"><surname>Lachenmann</surname></name> in an interview in Paris during the <source>Festival D'Automne à Paris</source> (1 <month>10</month>
<year>1993</year>, <publisher-name>Salle Olivier Messiaen, Radio France</publisher-name>)</citation>, reported by Anne Rey in <italic>Le Monde</italic> and by <citation citation-type="book" id="ref018"><name name-style="western"><surname>Gottwald</surname><given-names>Clytus</given-names></name>, ‘Helmut Lachenmann’, <source>Komponisten da Gegenwart</source>, eds. <name name-style="western"><surname>Heister</surname><given-names>Hanns-Werner</given-names></name>, <name name-style="western"><surname>Sparrer</surname><given-names>Walter Wolfgang</given-names></name> (<publisher-loc>Munich</publisher-loc>: edition text + kritik, 4th subsequent delivery, <year>1994</year>), n.p</citation>.</p></fn><fn id="fn19" symbol="19"><label><sup>19</sup></label><p>Sketch book (rot; fest: gross) 262 S., Paul Sacher Stiftung, n.p.</p></fn><fn id="fn20" symbol="20"><label><sup>20</sup></label><p>Lachenmann in an interview with <citation citation-type="other" id="ref019"><name name-style="western"><surname>Szendy</surname><given-names>Peter</given-names></name>, ‘Des paradis éphémerès. Entretien avec Helmut Lachenmann’, programme brochure <italic>Festival D'Automne à Paris 1993. Helmut Lachenmann</italic>, p.<fpage>5</fpage></citation>; trans from Lachenmann's German translation, n.p.</p></fn><fn id="fn21" symbol="21"><label><sup>21</sup></label><p>See <citation citation-type="book" id="ref020"><name name-style="western"><surname>Becker's</surname><given-names>Peter</given-names></name> general discussion of the concept of rejection ‘Neue Musik zwischen Angebot und Verweigerung’, <source>Komponieren heute. Ästhetische, soziologische und pädagogische Fraaen. Sieben Beiträge, Veröffeiulichunaen des Instituts für Neue Musik und Musikerziehung Darmstadt</source>
<volume>23</volume>, ed. <name name-style="western"><surname>Jost</surname><given-names>Ekkehard</given-names></name> (<publisher-loc>Mainz</publisher-loc>: <publisher-name>Schott</publisher-name>, <year>1983</year>), pp.<fpage>24</fpage>–<lpage>37</lpage></citation>.</p></fn><fn id="fn22" symbol="22"><label><sup>22</sup></label><p><citation citation-type="thesis" id="ref021"><name name-style="western"><surname>Sielecki</surname><given-names>Frank</given-names></name> categorized Lachenmann as catholic in his PhD, “Das Politische in den Kompositionen von Helmut Lachenmann und Nicolaus A. Huber”, <publisher-name>Rheinische Friedrich Wilhelm Universität Bonn</publisher-name>, <publisher-loc>Germany</publisher-loc>, <year>1991</year>, unpublished</citation>.</p><p><citation citation-type="book" id="ref022"><name name-style="western"><surname>Gubaidulina</surname><given-names>Sofia</given-names></name> referred to the music of Helmut Lachenmann to illustrate her idea of music's spiritual quality, ‘The Hand of Fate’, <source>Composer to Composer. Conversations About Contemporary Music</source>, ed. <name name-style="western"><surname>Ford</surname><given-names>Andrew</given-names></name> (<publisher-loc>St. Leonards</publisher-loc>: <publisher-name>Allen & Unwin Pty Ltd</publisher-name>, <year>1993</year>), pp.<fpage>124</fpage>–<lpage>125</lpage></citation>.</p><p>It might be noteworthy to point out that Lachenmann grew up in a clergyman's household. Lachenmann's own view is expressed in the following statement, ‘I am actually not a marxist, rather religiously minded – and at the same time full of doubts towards all’ (1993), in the interview with <citation citation-type="other" id="ref023"><name name-style="western"><surname>Szendy</surname><given-names>Peter</given-names></name>, ‘Des paradis éphémères’, programme brochure <italic>Les Festival D'Automne à Paris 1993</italic>, p.<fpage>4</fpage></citation>.</p></fn><fn id="fn23" symbol="23"><label><sup>23</sup></label><p><citation citation-type="journal" id="ref024"><name name-style="western"><surname>Lachenmann</surname></name>, ‘<article-title>Luigi Nono oder der Rückblick auf die serielle Musik (1969)</article-title>’, <source>Melos</source>
<volume>36</volume>/<issue>6</issue><month>06</month><year>1971</year><fpage>225</fpage></citation>.</p></fn><fn id="fn24" symbol="24"><label><sup>24</sup></label><p>For example, the Becker lecture at Darmstadt (see note 21).</p><p><citation citation-type="book" id="ref025"><name name-style="western"><surname>Gottwald</surname><given-names>Clytus</given-names></name>, ‘Ton und Laut. Abschied von Hegel’, <source>Neuland. Ansätze zur Musik der Gegenwart</source>
<volume>II</volume>, ed. <name name-style="western"><surname>Henck</surname><given-names>Herbert</given-names></name> (<publisher-loc>Bergisch Gladbach</publisher-loc>: <publisher-name>Neuland Musikverlag Herbert Henck</publisher-name>, <year>1982</year>), pp.<fpage>97</fpage>–<lpage>109</lpage></citation>.</p><p><citation citation-type="book" id="ref026"><name name-style="western"><surname>Stäbler</surname><given-names>Gerhard</given-names></name>, ‘Silences. (Ver-)Schweigen’, <source>Schnebel</source>
<volume>60</volume> (<publisher-loc>Hofheim</publisher-loc>: <publisher-name>Wolke</publisher-name>
<year>1990</year>), pp.<fpage>231</fpage>–<lpage>255</lpage></citation>, trans, into Engl. <citation citation-type="journal" id="ref027">(<name name-style="western"><surname>Stäbler</surname><given-names>Gerhard</given-names></name>), ‘<article-title>About Silence or What happens when nothing happens?</article-title>’ <source>Eonta</source>
<volume>1</volume>/<issue>2</issue><year>1991</year><fpage>68</fpage><lpage>81</lpage></citation>. The same article modified as <citation citation-type="journal" id="ref028">‘<article-title>Stille. Schrei. Stille. Den Säckeschmeissern</article-title>’, <source>Positionen</source>
<volume>10</volume> (<year>1992</year>), pp.<fpage>24</fpage>–<lpage>26</lpage></citation>.</p><p>The issue of the last-mentioned periodical <italic>Positionen</italic> was devoted to the issue of silence (with contributions by Walter Zimmermann, Eric de Vischner, Wolfgang Gratzer, Gerold W. Gruber). So are recent contributions by Mathias Spahlinger, Heinz Holliger or Nikolaus A. Huber.</p></fn><fn id="fn25" symbol="25"><label><sup>25</sup></label><p><citation citation-type="journal" id="ref029">‘<article-title>Die gefährdete Kommunikation Gedanken und Praktiken eines Komponsiten (1973)</article-title>’, <source>Musica</source>
<volume>28</volume>/<issue>3</issue><month>05</month><month>06</month><year>1974</year><fpage>230</fpage></citation>.</p></fn><fn id="fn26" symbol="26"><label><sup>26</sup></label><p>‘Fragen und Antworten’. p.120.</p></fn><fn id="fn27" symbol="27"><label><sup>27</sup></label><p><citation citation-type="book" id="ref030"><name name-style="western"><surname>Weiss</surname><given-names>Peter</given-names></name>, <source>Ästhetik des Widerstandes</source>
<volume>I</volume>–III (<publisher-loc>Berlin</publisher-loc>: <publisher-name>Henschelverlag</publisher-name>. <year>1983</year>)</citation>.</p></fn><fn id="fn28" symbol="28"><label><sup>28</sup></label><p>This appears to be one possible metaphor applied in musical percption. An article on musical motion by the author has been recently submitted for publication in <italic>Contemporary Music Review</italic>.</p></fn><fn id="fn29" symbol="29"><label><sup>29</sup></label><p>‘Luigi Nemo oder der Rückblick auf die serielle Musik’, p.225.</p></fn><fn id="fn30" symbol="30"><label><sup>30</sup></label><p><citation citation-type="book" id="ref031">‘Vier Grundbestimmungen des Musikhörens (1979–80), <source>Neuland. Ansätze zur Musik der Gegenwart</source>
<volume>I</volume>, ed. <name name-style="western"><surname>Henck</surname><given-names>Herbert</given-names></name> (<publisher-loc>Cologne</publisher-loc>: <publisher-name>Musikverlag Herbert Henck</publisher-name>, <year>1980</year>), p.<fpage>68</fpage></citation>.</p></fn><fn id="fn31" symbol="31"><label><sup>31</sup></label><p>This phenomenon of human perception, called ‘perceptual streaming’ and ‘stream segregation’, has been a recent focus of music psychology research (e.g. Fred Lehrdahl, S. McAdams and A. Bregman). This mainly American research was accessible and known in Germany through the work by Helga de la Motte-Haber. Her book on music psychology was published in 1985. Her paper in the Darmstadt spring symposium in 1992 explicitly quoted Lehrdahl. <citation citation-type="book" id="ref032"><name name-style="western"><surname>De la Motte-Haber</surname></name>, ‘Über die wahrnehmung musikalischer Formen’, <source>Form in der Neuen Musik. Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt</source>
<volume>33</volume>, ed. <name name-style="western"><surname>Jost</surname><given-names>Ekkehard</given-names></name> (<publisher-loc>Mainz</publisher-loc>: <publisher-name>Schott</publisher-name>, <year>1992</year>), pp.<fpage>26</fpage>–<lpage>35</lpage>, particularly p.32, 33</citation>.</p></fn><fn id="fn32" symbol="32"><label><sup>32</sup></label><p>Lachenmann used other metaphorical terms for what the author calls static blocks: he compared the composer with an ‘organ player manipulating whole pipe=sound families’ (blocks?). At a different place he called a composition a ‘polyphony of orders’ (of blocks?), ‘Vier Grundbestimmungen’, p.73.</p></fn><fn id="fn33" symbol="33"><label><sup>33</sup></label><p><citation citation-type="book" id="ref033">‘Bedingungen des Materials. Stichworte zur Praxis der Theoriebildung (1978)’, <source>Ferienkurse '78, Darmstádter Beitráge zur Neuett Musik</source>
<volume>17</volume>, ed. <name name-style="western"><surname>Thomas</surname><given-names>Ernst</given-names></name> (<publisher-loc>Mainz</publisher-loc>: <publisher-name>Schott's Söhne</publisher-name>, <year>1978</year>), p.<fpage>93</fpage></citation>.</p></fn><fn id="fn34" symbol="34"><label><sup>34</sup></label><p>Lachenmann in the interview with Christine Mast, p.10.</p></fn><fn id="fn35" symbol="35"><label><sup>35</sup></label><p>Held as an introductory paper at a ‘musica-viva’ concert in Munich, recorded 8 April 1984.</p></fn><fn id="fn36" symbol="36"><label><sup>36</sup></label><p>‘Fragen und Antworten’, p.131.</p></fn><fn id="fn37" symbol="37"><label><sup>37</sup></label><p><citation citation-type="book" id="ref034"><name name-style="western"><surname>Henze</surname><given-names>Hans Werne</given-names></name>, <source>Die englische Karze. Ein Arbeitstagebuch 1978–1982</source> (<publisher-loc>Frankfurt a. M.</publisher-loc>: <publisher-name>S. Fischer</publisher-name>, <year>1983</year>), p.<fpage>346</fpage></citation>.</p></fn><fn id="fn38" symbol="38"><label><sup>38</sup></label><p>Lachenmann quotes here a phrase by <citation citation-type="journal" id="ref035"><name name-style="western"><surname>Nono</surname><given-names>Luigi</given-names></name>, ‘<article-title>Musik hat ihre Unschuld verloren</article-title>’, <source>Musik und Gesellschaft</source>
<volume>8–9</volume> (<month>08</month>/<month>09</month>
<year>1990</year>), p.<fpage>414</fpage></citation>.</p></fn><fn id="fn39" symbol="39"><label><sup>39</sup></label><p>‘Bedingungen des Materials’, p.97.</p></fn><fn id="fn40" symbol="40"><label><sup>40</sup></label><p>‘Vier Grundbestimmungen des Musikhörens’, p.67.</p></fn><fn id="fn41" symbol="41"><label><sup>41</sup></label><p><citation citation-type="other" id="ref036">‘Accanto. Einführung zu einer Aufführung in Zürich am 23. November 1982’, <italic>Musik-Konzepte 61/62. Helmut Lachenmann</italic>, p.<fpage>63</fpage></citation>.</p></fn><fn id="fn42" symbol="42"><label><sup>42</sup></label><p>‘Fragen und Antworten’, p.120.</p></fn><fn id="fn43" symbol="43"><label><sup>43</sup></label><p>‘Musik hat ihre Unschuld verloren’, p.416.</p></fn><fn id="fn44" symbol="44"><label><sup>44</sup></label><p>For example, within the <italic>Münchner Biennale 1990</italic> a symposium was held under the title <italic>Moderne versus Postmoderne</italic>, which thrived once again upon the polarization between Helmut Lachenmann and Wolfgang Rihm, <italic>alias</italic> modernism versus postmodernism.</p></fn><fn id="fn45" symbol="45"><label><sup>45</sup></label><p><citation citation-type="journal" id="ref037">‘<article-title>Über das Komponieren (1986)</article-title>’, <source>MusikTexte</source>
<volume>16</volume> (<month>10</month>, <year>1986</year>), p.<fpage>12</fpage></citation>.</p></fn><fn id="fn46" symbol="46"><label><sup>46</sup></label><p>‘Fragen und Antworten’, pp.123–4.</p></fn><fn id="fn47" symbol="47"><label><sup>47</sup></label><p><citation citation-type="other" id="ref038">‘Siciliano – Abbildungcn und Kommentarfragmente (1983)’, <italic>Musik-Konzepte 61/62. Helmut Lachenmann</italic>, pp.<fpage>76</fpage>–<lpage>77</lpage></citation>. The translation of <italic>Bewegungskategorien</italic> into action not movement categories is not perfectly correct, but expresses better what the author believed Lachenmann was meaning to say. There is reason to assume that he is more concerned with various ways of sound-production rather than with musical motion as mentioned earlier in this article.</p></fn><fn id="fn48" symbol="48"><label><sup>48</sup></label><p>‘Fragen und Anrworten’. p.125.</p></fn><fn id="fn49" symbol="49"><label><sup>49</sup></label><p>Acoustic events out of a multiplicity of physical data were already Karlheinz Stockhausen's starting point for further construction (‘<italic>Empfindungsqualiäten</italic>’) in his <italic>Gesang der jünglinge</italic> (1955/56) and in his <italic>Kontakte</italic> (1959/60) as <citation citation-type="book" id="ref039"><name name-style="western"><surname>Blumenröder</surname><given-names>Christoph</given-names></name> pointed out in ‘Serielle Musik um 1960: Stockhausens Kontakte’, <source>Analysen, Beiträge zu einer Problemgeschichte des Komponierens. Festschrift für Hans Heinrich Eggebrecht zum 65. Geburtstag</source> (<publisher-loc>Stuttgart</publisher-loc>: <publisher-name>Franz Steiner Verlag</publisher-name>, <year>1984</year>). p.<fpage>504</fpage></citation>.</p></fn><fn id="fn50" symbol="50"><label><sup>50</sup></label><p>‘Siciliano’, pp.76–70. See Lachenmann's description of the process.</p></fn><fn id="fn51" symbol="51"><label><sup>51</sup></label><p>Lachenmann's concept of ‘musique concrète instrumentale’ is as complex a topic as his concept of ‘rejection’, and is therefore not pursued here any further.</p></fn><fn id="fn52" symbol="52"><label><sup>52</sup></label><p>The term ‘aura’ is described by Lachenmann in ‘Die vier Grundbestimmungen’, p.72; also in ‘Bedingungen des Materials’, p.96; Lachenmann also uses the term ‘existential aspect’ synonymously with ‘aura’ in ‘Bedingungen des Materials’, p.93.</p><p>Confusmgly, Lachenmann's term ‘aesthetic apparatus’ (first mentioned in ‘Die Schönheit und die Schöntöner. Zum Problem musikalischer Ästhetik heute (1976), <citation citation-type="journal" id="ref040"><source>Neue Musikzeitung</source>
<volume>26</volume>/<issue>1</issue><month>02</month><month>03</month><year>1977</year><fpage>1</fpage><lpage>7</lpage></citation> is sometimes used synonymously with all ‘aspects of the musical material’ (see ‘Uber das Komponieren’, p.9) and sometimes synonymously with the ‘aura’ only (see <citation citation-type="journal" id="ref041">‘<article-title>Musik als Abbild vom Menschen</article-title>’, <source>NZfM</source>
<volume>146</volume> (<month>11</month>
<year>1985</year>), p.<fpage>17</fpage>)</citation>.</p></fn><fn id="fn53" symbol="53"><label><sup>53</sup></label><p>‘Bedingungen des Materials’, p.97.</p></fn><fn id="fn54" symbol="54"><label><sup>54</sup></label><p>For example, Umberto Eco's <italic>Einführung in die Semiotik</italic> was translated into German in 1972; his <italic>Opera Aperta as Das Offene Kunstwerk</italic> in 1973; <citation citation-type="other" id="ref042"><name name-style="western"><surname>Piaget's</surname><given-names>Jean</given-names></name> Der Strukturalismus was translated in <year>1973</year></citation>.</p><p><citation citation-type="book" id="ref043"><name name-style="western"><surname>Gadamer</surname><given-names>Hans-Georg</given-names></name>, <source>Die Aktualität des Schönen. Kunst als Spiel, Symbol und Fest</source> (<publisher-loc>Stuttgart</publisher-loc>, <year>1977</year>)</citation>.</p><p><citation citation-type="book" id="ref044"><name name-style="western"><surname>Adorno's</surname></name>
<source>Musik, Sprache und ihr Verhältnis im gegenwärtigen Komponieren</source> was published in <year>1978</year>, <italic>Gesammelte Schriften</italic>
<volume>16</volume> (<publisher-loc>Franfurt</publisher-loc> am Main; <publisher-name>Suhrkamp</publisher-name>), where he states on p.<fpage>650</fpage></citation>: ‘Music has to have a speech character’, it is not enough just being an ‘acoustical kaleidoscope’.</p><p><citation citation-type="book" id="ref045"><name name-style="western"><surname>Chomsky</surname><given-names>Naom</given-names></name>. <source>Aspekte der Synlax-Theorie</source> (<publisher-loc>Frankfurt</publisher-loc> am Main: <publisher-name>Suhrkamp</publisher-name>, <year>1983</year>)</citation>.</p></fn><fn id="fn55" symbol="55"><label><sup>55</sup></label><p><citation citation-type="book" id="ref046">‘Sprachlose Gestik als Formproblem neuer Musik’, <source>Form in der Neuen Musik, Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt</source>
<volume>33</volume>, ed. <name name-style="western"><surname>Jost</surname><given-names>Ekkehard</given-names></name> (<publisher-loc>Mainz</publisher-loc>: <publisher-name>Schott</publisher-name>, <year>1992</year>), pp.<fpage>16</fpage>–<lpage>25</lpage></citation>.</p></fn><fn id="fn56" symbol="56"><label><sup>56</sup></label><p>Some of those examples are taken from <citation citation-type="journal" id="ref047"><name name-style="western"><surname>Märkelmann</surname><given-names>Michael</given-names></name>, ‘<article-title>Helmut Lachenmann oder “Das neu zu rechtfertigende Schöne”</article-title>,’ <source>NZfM</source>
<volume>123</volume>/<issue>6</issue><month>11</month><year>1985</year><fpage>21</fpage><lpage>25</lpage></citation>; and <citation citation-type="other" id="ref048"><name name-style="western"><surname>Lachenmann</surname></name>, ‘Fragen und Antworten’, pp.<fpage>128</fpage></citation>.</p></fn><fn id="fn57" symbol="57"><label><sup>57</sup></label><p>‘Accanto’. pp.70.</p></fn><fn id="fn58" symbol="58"><label><sup>58</sup></label><p>‘Siciliano’, p.76.</p></fn><fn id="fn59" symbol="59"><label><sup>59</sup></label><p>‘Fragen und Antworten’, p.124.</p></fn><fn id="fn60" symbol="60"><label><sup>60</sup></label><p>‘Fragen und Antworten’, p.133.</p></fn><fn id="fn61" symbol="61"><label><sup>61</sup></label><p>The more substantial ones, e.g. by Hans-Peter Jahn, Peter Böttinger, Robert Piencikowski and Lachenmann himself appeared mostly in <italic>Musik-Konzepte 61/62. Helmut Lachenmcnm</italic>.</p></fn><fn id="fn62" symbol="62"><label><sup>62</sup></label><p><citation citation-type="journal" id="ref049"><name name-style="western"><surname>Shaked</surname><given-names>Yuval</given-names></name>, ‘<article-title>“Wie ein Käfer auf dem Rücken zappelnd”. zu <italic>Mouvemeut (- vor der Erstarrung-)</italic> (1982–84) von Helmut Lachenmann</article-title>’, <source>MusikTexte</source>
<volume>8</volume> (<month>02</month>
<year>1985</year>), pp.<fpage>9</fpage>–<lpage>16</lpage></citation>.</p></fn><fn id="fn63" symbol="63"><label><sup>63</sup></label><p>See Lachenmann's ‘polyphony of order’.</p></fn><fn id="fn64" symbol="64"><label><sup>64</sup></label><p><citation citation-type="book" id="ref050">‘Parallel Universes’, <source>Ästhetik und Komposition. Darmstädter Beiträqe zur Neuen Musik</source>
<volume>20</volume>, ed. <name name-style="western"><surname>Bono</surname><given-names>Gianmano</given-names></name>, <name name-style="western"><surname>Mosch</surname><given-names>Ulrich</given-names></name> (<publisher-loc>Mainz</publisher-loc>: <publisher-name>Schott</publisher-name>, <year>1994</year>), p.<fpage>22</fpage></citation>.</p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Helmut Lachenmann's Concept of Rejection</title></titleInfo><titleInfo type="alternative"><title>Helmut Lachenmann's Concept of Rejection</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Helmut Lachenmann's Concept of Rejection</title></titleInfo><name type="personal"><namePart type="given">Elke</namePart><namePart type="family">Hockings</namePart><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1995-07</dateIssued><copyrightDate encoding="w3cdtf">1995</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract" lang="en">The eminent German composer Helmut Lachenmann enjoys an exalted reputation among a small circle of English contemporary music enthusiasts. To the wider English music public, though, he is little known. There are hardly any comprehensive accounts of Lachenmann in English. His consciously elusive compositional style could even be introduced to the English audience as ‘old-guard avantgarde’ without being challenged at all.</abstract><relatedItem type="host"><titleInfo><title>Tempo</title></titleInfo><titleInfo type="abbreviated"><title>Tempo</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0040-2982</identifier><identifier type="eISSN">1478-2286</identifier><identifier type="PublisherID">TEM</identifier><part><date>1995</date><detail type="volume"><caption>vol.</caption><number>135</number></detail><detail type="issue"><caption>no.</caption><number>193</number></detail><extent unit="pages"><start>4</start><end>14</end><total>11</total></extent></part></relatedItem><identifier type="istex">F6F31C810E3C1C088E29D6EFF0A283F6E765C2B1</identifier><identifier type="ark">ark:/67375/6GQ-LMVKLPBM-V</identifier><identifier type="DOI">10.1017/S0040298200004253</identifier><identifier type="PII">S0040298200004253</identifier><identifier type="ArticleID">00425</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © Cambridge University Press 1995</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © Cambridge University Press 1995</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/F6F31C810E3C1C088E29D6EFF0A283F6E765C2B1/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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|étape= Corpus
|type= RBID
|clé= ISTEX:F6F31C810E3C1C088E29D6EFF0A283F6E765C2B1
|texte= Helmut Lachenmann's Concept of Rejection
}}
| This area was generated with Dilib version V0.6.33. |  |