In combination with “Gran Torso” and minor pieces of chamber music, “Klangschatten – mein Saitenspiel” for 48 strings and 3 grand pianos belongs to a series of works whose sounds are oriented towards in the dialectics of „denial“ and „offer“: By excluding familiar sound practice, all that was suppressed hitherto is revealed. In a sense, the soundscape discloses the verso of conventional philharmonic patterns; the strings, instead of resounding, are uniquely prevented from sounding. Naturally, it may not be a matter of structurally proceeding with the unveiled sound residues as if nothing had occurred. Surely the conjured aura is to be undone, but not forgotten or ignored. This explains the succinct formulation of the musical text – a type of transparent façade – compelling the ear to listen behind the sounds, to perceive the aura as stifled, but also to grasp the process of denial as the tender of expressive intensity that reflects the bourgeois longing for beauty and wishes to fulfill, that is, to overcome it. This composition is dedicated to Michael Gielen.
(Helmut Lachenmann)


CD/DVD:
Peter Roggenkamp, Zsigmond Szathmáry, Gerhard Gregor (Klavier), NDR-Sinfonieorchester, Ltg. Michael Gielen
CD KAIROS 0012232 KAI
Christoph Grund, Tomoko Hemmi, Yukiko Sugawara (Klavier), SWR Sinfonieorchester Baden-Baden und Freiburg, Ltg. Pascal Rophé
DVD „Lachenmann-Perspektiven 5“ (Breitkopf & Härtel, BHM 7815)


Bibliografie:

Hidalgo, Manuel: Mozart in Lachenmann, in: auf (-) und zuhören. 14 essayistische Reflexionen über die Musik und die Person Helmut Lachenmanns, hrsg. von Hans-Peter Jahn, Hofheim: Wolke 2005, S. 35-46.
Mosch, Ulrich: Versuche über die Verständlichkeit. Helmut Lachenmanns Komponieren für Orchester um 1970, in: Der Atem des Wanderers. Der Komponist Helmut Lachenmann, hrsg. von Hans-Klaus Jungheinrich, Mainz: Schott 2006, S. 27-39.
Toop, Richard: Concept and Context: A Historiographic Consideration of Lachenmann’s Orchestral Works, in: Helmut Lachenmann ­– Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, S. 125-144.