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Helmut Lachenmann (b.1935)

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Lachenmann: Complete String Quartets

Lachenmann: Complete String Quartets


Lachenmann:

Gran Torso, for string quartet

String Quartet No. 2 'Reigen seliger Geister'

composer supervised recording

String Quartet No. 3 'Grido'


JACK Quartet

Helmut Lachenmann has created a unique sound world which he refers to as “instrumental musique concrete.” It is a world where the musical atom is not the note but the sound, which may be drawn from the instrument in all kinds of unusual ways.

Strange as the soundscape may be, Lachenmann believes that the fundamental principles of music are about finding shape and continuity, about revealing the unexpected and touching the familiar, and that the string quartet, in particular, is about conversation. Even through all the use of extended techniques, his is still a music of gestures, phrases, even melodies.

The JACK Quartet, specialists in new music, are the perfect performers for such repertoire. This recording is endorsed by the composer. Liner notes by Paul Griffiths.

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Mode - mode267

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Lachenmann - Dal niente

Lachenmann - Dal niente


Lachenmann:

Dal Niente (Interieur III)

temA

Toccatina

Pression

Allegro sostenuto, for clarinet/bass clarinet, cello & piano


ensemble phorminx

“[Lachenmann] elicits from his performers the sort of rebarbative, accidental noises they are conventionally trained to avoid, and builds on these an abstruse new aesthetic. There is genuine vitality in this seemingly bleak and philosophical (Adorno-inspired) approach, as the half-hour allegro sostenuto, for clarinet/bass clarinet, cello and piano, demonstrates.” Sunday Times, 1st March 2009 ***

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Wergo - WER66822

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Lachenmann: Das Mädchen mit den Schwefelhölzern

Lachenmann: Das Mädchen mit den Schwefelhölzern


SWR Symphony Orchestra/SWR Vocal Ensemble, Sylvain Cambreling

“Das Mädchen mit den Schwefelhölzern, the composer's first piece of music theatre, is based on Hans Christian Andersen's The Little MatchGirl, which he interprets as an attack on a cold and indifferent society. The piece has appeared previously on the Kairos label. There isn't much to choose between the two recordings in terms of performance, but the new ECM version has a pleasing precision that suits Lachenmann's vision well. The chief difference between the two versions lies in a substantial revision under- taken by the composer. The oft-recorded '...
zwei Gefühle...' scene is here abridged, subtly altering the work's balance while not quite diminishing the sequence's importance to the whole. Though the work has been shortened only barely, it's possible that a greater concision results, aided perhaps by the slightly tauter sound. Lachenmann's music demands the listener's active engagement, a determined effort at understanding, but here are rewards to be reaped from perseverance.”
Gramophone Classical Music Guide, 2010

“Retelling Hans Christian Andersen's tale of the little match girl who freezes to death on Christmas Eve as a parable of modern society's inhumanity, while drawing parallels with the fate of the Baader-Meinhof terrorist Gudrun Ensslin, Das Mädchen mit den Schwefelhölzern immediately established itself as one of the major pieces of European music theatre in the late 20th century... the power and originality of Lachenmann's score - the use of alienated orchestral sounds and vocalisations, all scrupulously organised, to create a compellingly dramatic soundscape around and about this universal tragedy - remain intact.” BBC Music Magazine, September 2004 ****

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ECM New Series - 4761283

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Lachenmann: Das Mädchen mit den Schwefelhölzern

Lachenmann: Das Mädchen mit den Schwefelhölzern

Music with pictures


Elizabeth Keusch (soprano), Sarah Leonard (soprano), Salome Kammer (speaker), Mayumi Miyata (shô), Yukiko Sugawara (piano), Tomoko Hemmi (piano)

Staatsoper Stuttgart, Lothar Zagrosek

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Kairos - KAI0012282

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Lachenmann - Gran Torso & Salut für Caudwell

Lachenmann - Gran Torso & Salut für Caudwell


Lachenmann:

Gran Torso, for string quartet

Berner String Quartet

Salut für Caudwell

Wilhelm Bruck (guitar) & Walter Ross (guitar)


The compositions by Helmut Lachenmann presented on this recording cover a period of six years. Gran Torso belongs to those works whose starting point, as Lachenmann writes, is not sound but rather “the mechanical and energetic conditions which determine the production of sound and thence derive structural and formal hierarchies”. On the other hand Salut für Caudwell combines the distinctive sound of the guitar with new playing techniques.

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Col Legno - WWE1CD31804

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Lachenmann: Salut für Caudwell, Les Consolations & Concertini

Lachenmann: Salut für Caudwell, Les Consolations & Concertini


Lachenmann:

Salut für Caudwell

Wilhelm Bruck (guitar) &Theodor Ross (guitar)

Les Consolations

Schola Heidelberg, WDR Sinfonieorchester Koln

Johannes Kalitze

Concertini

Klangforum Wien, Johannes Kalitze


This CD includes the first recording of Les Consolations which was composed in 1967 and 1968. Lachenmann writes “The working process with this composition arose out of the encounter between the impossibility and the necessity of musical structure and verbal communication in relation to each other.”

“Listening to the 37-minute span, with its bizarre yet radiant imagery, one wonders how Lachenmann can live so comfortably in the wholly unforeseen.” Sunday Times, 18th July 2010 ***

“Lachenmann creates an utterly fresh sound world of quiet rattles, strummings and tickings; it's done with precision and discrimination, and a wonderful sense of musical poetry.” The Guardian, 5th August 2010 ****

“The orchestra or large ensemble (or, one might say, Lachenmann's consummate mastery of it) is the very subject of the most recent piece here, Concertini...It's difficult to over-praise the commitment of the performers or the quality of the recording of the ensemble pieces.” Gramophone Magazine, April 2011

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Kairos - KAI0012652

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Lachenmann: String Quartets

Lachenmann: String Quartets


Lachenmann:

Gran Torso, for string quartet

String Quartet No. 3 'Grido'

String Quartet No. 2 'Reigen seliger Geister'


Stadler Quartet

Helmut Lachenmann was honoured for his life’s work with the Golden Lion at the 2008 Biennale. Listening to Lachenmann’s string quartets, we sense how their aural landscape turns from a ‘field of rubble’ into a ‘field of tension’ – how scrapings, draggings, scratchings and rustlings can fulfill the promise of ‘a new beauty’ by avoiding the habitual.

“Lachenmann remains the most intransigent of avant-gardists, writing music that excludes virtually all conventional sound production...These “surround sound” performances are outstanding.” Sunday Times, 27th June 2010 ***

Super Audio CD

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Hybrid Multi-channel

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Neos Contemporary - NEOS10806

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Lachenmann - Various New Works for String Quartet

Lachenmann - Various New Works for String Quartet


Lachenmann:

String Quartet No. 3 'Grido'

String Quartet No. 2 'Reigen seliger Geister'

Gran Torso, for string quartet


“This is the sort of music the Ardittis play best, and the profound sense of a composer upping the ante as he continues into his second and third quartets is intellectually and spiritually rewarding.” Gramophone Magazine, December 2008

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Kairos - KAI0012662

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As Dreams - Choral Music

As Dreams - Choral Music


Janson, A:

Nocturne

Lachenmann:

Consolation II (Wessobrunner Gebet)

Nørgård:

Drommesang

Singe die Gärten

Saariaho:

Überzeugung

Nuits, adieux

Xenakis:

Nuits


Norwegian Soloists' Choir, Oslo Sinfonietta, Grete Pedersen

Night, dreams, and farewells with an outstanding choir. Although different in many respects – compositional approach, geographical origin, language – the works that make up this adventurous programme from the Norwegian Soloists’ Choir and its artistic director Grete Pedersen are all, to quote Shakespeare, ‘such stuff as dreams are made on’. In various ways they refer to night and dreams, to the distant past or to an uncertain future. With composers from Denmark, Norway, Finland, Germany and Greece, and texts ranging from fragments of ancient Assyrian and Sumerian (in Xenakis’s Nuits) and the 8th-century Wessobrunner Prayer (Lachenmann) to poems by Balzac (Saariaho), Nietzsche (Janson) and Rilke (Nørgård), the concept of ‘here and now’ becomes blurred and, indeed, dreamlike. The choir and Grete Pedersen released their first disc for BIS in 2007 – an all-Grieg programme awarded a Diapason d’or and with interpretations described in Le Monde de la Musique as ‘so beautiful as to make you lose your breath’. The five titles that have followed since then range from the folk-inspired ‘White Night’ (‘some of the most striking and moving singing put down on disc for years’, Gramophone) and most recently a programme combining works by the Norwegian composer Knut Nystedt (1915 – 2014) with motets by Bach (BIS2184). Meeting the different challenges posed by such varied repertoire with flawless and always idiomatic performances, the Norwegian Soloists’ Choir is a wonderful instrument in the hands of Grete Pedersen. On the present disc musicians from Oslo Sinfonietta join the team in the accompanied works, which include Nørgård’s Singe die Gärten for eight-part choir and 8 instruments and Janson’s Nocturne for double choir, 2 cellos, harp and 2 percussionists.

“A stunning achievement by all concerned. Difficult, challenging music, performed with brilliance and dedication.” MusicWeb International, 16th November 2016

“There is delicacy, sensitivity, richness and detail in each performance here (no prizes for guessing the disc’s theme) and excellent sound that gets to the many corners of each score. Add to that extraordinary imagination in the singing, individually and collectively.” Gramophone Magazine, December 2016

“There is much beauty here, often clothed in the most adventurous harmonies and vocal ideas. The Norwegian Soloists’ Choir under their Music Director, Grete Pedersen achieve the most wonderful results, taking choral singing to a new level.” The Classical Reviewer, January 2017

“Mixed themed programmes can be hit and miss, but this lovely set by the fearless Grete Pedersen explores nocturnal and oneiric modes with logic and confidence” Choir & Organ, February 2017 ****

GGramophone Magazine

Editor's Choice - December 2016

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BIS - BIS2139

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Darmstadt Aural Documents, Box 4

Darmstadt Aural Documents, Box 4

Pianists


André:

Un-fini III for piano

Ermis Theodorakis (piano)

Aperghis:

Conversation X for prepared piano and speaking

Reto Staub (piano/speaker)

Apostel:

Kubiniana, Op. 13 (1946)

Peter Stadlen (piano)

Baltakas:

Pasaka/ein Märchen for speaking pianist

Benjamin Kobler (piano /speaker)

Barden:

die Haut Anderer

Rei Nakamura (piano)

Barlow, C:

Orchideae Ordinariae, or The Twelfth Root of Truth: No. 5 L’orchidée d’argent

Orchideae Ordinariae, or The Twelfth Root of Truth: No. 7 Pandora

…until… Version 5

Kristi Becker (piano)

Bartók:

Piano Sonata, BB 88, Sz. 80

Andor Foldes (piano)

Boucourechliev:

Etudes d’après Piranèse

Claude Helffer (piano)

Boulez:

Piano Sonata No. 1

Erika Haase (piano)

Piano Sonata No. 3

Pierre Boulez (piano)

Bussotti:

La Morte di Fedra

Yvar Mikhashoff (piano)

Castiglioni:

Inizio di movimento

Niccolò Castiglioni (piano)

Clementi, A:

Composizione, No. 1

Aloys Kontarsky (piano)

Criton:

Thymes for quarter-tone piano and tape

Martine Joste (piano)

Engelmann:

Cadenza, Op. 23

Else Stock-Hug (piano)

Evangelisti , F:

proiezioni sonore

David Tudor (piano)

Febel:

Klavierstück

Edward Lambert (piano)

Ferneyhough:

Lemma-Icon-Epigram

Cecil Lytle (piano)

Ferrari, Luc:

Visage I

Else Stock-Hug (piano)

Flammer:

Klavierstück No. 3 - Passacaglia brevis

Ortwin Stürmer (piano)

Heyn:

Tap for prepared piano and live electronics

Oscar Pizzo (piano), Alessandro Pianu & Suyun Kim (live electronics)

Kagel:

An Tasten (1977)

Aloys Kontarsky (piano)

Kayn:

Quanten

Aloys Kontarsky (piano)

Killmayer:

Klavierstück Nr. 7 - Phantasie-Paraphrase

Siegfried Mauser (piano)

Krebber:

faire signe for automatic piano and loudspeaker

Kubisch:

Identikit (Divertimento) for five pianists (at one piano) and tapes

David Arden, Marek Mietelski, Davide Mosconi, Carlos Pellegrino, Werner Füsser (piano)

Kurtág:

Klavierstücke (8), Op. 3

Andor Losonczy (piano)

Lachenmann:

Echo andante (1962)

Helmut Lachenmann (piano)

Lang, K:

Der schlafende Landmann, der Baum des Lebens und die Schalen der Finsternis

Bernhard Wambach (piano)

Mack, D:

Chedi - Klavierstück No. 5

Kaya Han (piano)

Marie:

Trois pièces brêves pour piano à tiers de ton

Martine Joste (piano)

Mochizuki:

Moebius-Ring

Nicolas Hodges (piano)

Poppe:

Thema mit 840 Variationen

Anna D’Errico (piano)

Rayeva:

Drawing with an Angel

Pi-Hsien Chen (piano)

Rihm:

Klavierstück No. 5 'Tombeau'

Herbert Henck (piano)

Rothman, D:

Play the Piano Drunk Like a Percussion Instrument until the Fingers Begin to Bleed a Bit

Bernhard Wambach (piano)

Saunders, J:

#070702

Nicolas Hodges (piano)

Schoenberg:

Kleine Klavierstücke (6), Op. 19

Eduard Steuermann (piano)

Klavierstücke (5), Op. 23

Peter Stadlen (piano)

Sciarrino:

Prima Sonata (1976)

Peter Schmalfuss (piano)

Due Notturni crudeli

Nicolas Hodges (piano)

Sessions:

From my diary

Howard Lebow (piano)

Steen-Andersen:

Rerendered

Ellen Ugelvik (piano), two assistants (members of asamisimasa)

Stiebler:

Labile Aktion

Peter Roggenkamp (piano)

Stockhausen:

Klavierstück XI

David Tudor (piano)

Klavierstück XIII - Luzifers Traum

Bernhard Wambach (piano)

Tanaka, Y:

eco lontanissima II

Massimiliano Damerini (piano)

Webern:

Variations, Op. 27

Peter Stadlen (piano)

Wolpe:

Passacaglia, Op. 23

David Tudor (piano)

Xenakis:

Evryali

Aloys Kontarsky (piano)

Zimmermann, B A:

Enchiridion for Piano: Part 2

Yvonne Loriod (piano)

Zuraj:

Matrix for player piano and electronics


Celebrating the history of the Darmstadt Festival, this 7 CD box set is dedicated to the performances of all the pianists who have performed over the years.

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Neos Darmstadt Aural Documents - NEOS11630

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