Helmut Lachenmann concert
Apr. 10th, 2008 08:13 pmLast night
epilimnion and I went to a concert of music by Helmut Lachenmann, a German composer who uses instruments in unorthodox ways often inspired by the aesthetics of electronic music.
I liked the first piece on the program best, String Quartet No. 3 "Grido". Lachenmann used an impressive range of extended techniques to produce a wide variety of amazing sounds, from the most delicate harmonic tones to rough and guttural growls. The players bowed behind the bridge, on the fingerboard, and even on the body of their instruments. It was often just as interesting to watch as it was to listen to. Despite the large number of different sounds and techniques employed, the piece maintained perfect coherence and a natural flow, never seeming random and chaotic or like a laundry list of extended techniques.
The second piece, Allegro Sostenuto, was not quite as good. Perhaps part of it was that this work is for clarinet, piano, and cello, and I wasn't as convinced by the application of Lachenmann's compositional techniques to the first two instruments. I would have liked to see the piano part make more use of playing directly on the strings or the body of the instrument. I'd like to hear more of Lachenmann's work for wind instruments and piano, though.
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I liked the first piece on the program best, String Quartet No. 3 "Grido". Lachenmann used an impressive range of extended techniques to produce a wide variety of amazing sounds, from the most delicate harmonic tones to rough and guttural growls. The players bowed behind the bridge, on the fingerboard, and even on the body of their instruments. It was often just as interesting to watch as it was to listen to. Despite the large number of different sounds and techniques employed, the piece maintained perfect coherence and a natural flow, never seeming random and chaotic or like a laundry list of extended techniques.
The second piece, Allegro Sostenuto, was not quite as good. Perhaps part of it was that this work is for clarinet, piano, and cello, and I wasn't as convinced by the application of Lachenmann's compositional techniques to the first two instruments. I would have liked to see the piano part make more use of playing directly on the strings or the body of the instrument. I'd like to hear more of Lachenmann's work for wind instruments and piano, though.