with a vibrato-like motion of the finger which thus produces the quarter-tones in a rapid tempo. Lachenmann, Toccatina. The string indications should be. 10 2 15 Back again to Lachenmann ‘Toccatina’, a piece which continues to entrance, after 15 years of performing it. The first time was in a very. Download Lachenmann – Search. Home · Lachenmann – Lachenmann – September 18, | Author.
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And so, the pulverized shards of hypothetical or vaguely remembered lines, threads, and continua summon, even conjure up, visions of a totality in a way that no direct simulacrum of that toccatins ever could.
In his own hobbled and occasionally cantankerous fashion, Lachenmann is a die-hard humanist, toccatia the innovative and polemical aspects of his art ultimately a provide means of creating a more intimate and potent form of communication, even “harmonization,” between individuals.
In a way, the score is a throw-back to the “instrumental musique concete” of Lachenmann ‘s breakthrough years in the late ’60s, when he began re-inventing toccatjna means of sound-production on the standard instruments of Western music: Sexy Trippy All Moods.
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Rainy Day Relaxation Road Trip. Drinking Hanging Out In Love. However, for Lachenmannnature is never merely lying ready to be lacgenmann of; it “loves to hide,” and can be approached only through peeling away the layers of the familiar.
In its sheer humility, its barely testified presence, this little five-minute study for solo violin casts an oddly inverse light on much of Helmut Lachenmann ‘s music. The Toccatina presents a similar situation: Streams Videos All Posts.
Spot-lighting the acoustic machinery of the instruments themselves becomes a means of setting their expressivity aglow; the splintering rejection of a musical metaphysics, a refusal to make “music about music as a whole,” engenders through all its severe dedication an impossibly new metaphysics of music, both present and inaccessible; these sounds speak as if on no one’s behalf but their own.
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Mikka and Other Assorted Love Songs. Hence the exquisite fragility of the bow-screw’s string-smacking transcends its simple sonic life and becomes an index of the charged air, which during the work’s performance is breathed by both the audience and “that person onstage,” the performer; the stage itself seems to fade away, as do the mediating structural elements which separate “the score” from “direct speech.
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