Schwankungen Am Rand
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Music CD Cover
Composer: Helmut LachenmannEdition: Music CD
Format: Import
CD Release Date: 2002-11-05
Music Label: Ecm Import
Soundtracks:
- Schwankungen Am Rand, for Orchestra
- Mouvement ( -- vor der Erstarrung), for Ensemble
- "...zwei Gef?hle...," Musik mit Leonardo, for Two Speakers
Free Music Notes for Schwankungen Am Rand
Free Music Review: Music which unfolds note by note through strikingly original extended techniques
Hit: 4 Stars
The German composer Helmut Lachenmann has created one of the most distinct styles in 20th century music, creating an "musique concrete instrumentale" only out of weird instrumental techniques. In 1974, finding himself with four thunder sheets, he wrote the orchestral work "Schwankungen am Rand". As it opens, brass scream, a stringed instrument creates a creaking sound like a un-oiled door, and a piano plays the same high note again and again. Eventually, the thunder sheets come in in force. There's little sense of the traditional features of orchestral music: pulse, melody, or harmony. But it's suprising just how musical the result is. Sure, Lachenmann's music is unlikely to win over the conservative concert-goers, but for listeners with eclectic tastes, one can make connections to the music of Chinese opera and the Japanese gagaku tradition. There is significant gestalt, and parts of the work may even get stuck in your head for days following.
Like many composers of the Darmstadt era, Lachenmann begin with a very extreme style and then mellowed somewhat. In "Mouvement (--- vor der Erstarrung)" (1982/84) the successive instrumental sounds seem less isolated and more in dialogue with each other. "...zwei Gefuehle..." (1992) makes a further retreat from total abstraction in bringing in texts from Leonard Da Vinci, purposefully delivered by two speakers as orchestral pandemonium occurs around them.
Lachenmann deserves a great deal of praise for his originality in an era when many other composers where falling into one school or another. Though now there are younger composers such as Olga Neuwirth who have adapated elements of his style, for a long time he was working alone at these fluctuations at the edge of the Western tradition. I've given this disc four stars because I generally prefer other types of modernism to Lachenmann's musique concrete instrumentale, but what I've heard here intrigues me enough to want to go looking for more of the composer's work.
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