Liszissimo

Here you can order the perfomance material for Kontrakadenz and SCHREIBEN.

ISBN 9790004650431. 5.5 x 5 inches.

We have travelled very far to record this last DVD of the Lachenmann Perspectives: In March 2015, the rehearsals of Kontrakadenz [Contra Cadence] took place in the Casa da Musica in Porto, Portugal, under the direction of Lothar Zagrosek. Sectional rehearsals had already familiarized musicians of the Orquestra Sinfonica do Porto with the most important playing techniques. Together with Helmut Lachenmann, these were then further consolidated, specific noise sounds with, for instance, table tennis balls, spinning metal discs, and water-filled zinc tubs were thoroughly elaborated. For SCHREIBEN [Writing], we then followed Lachenmann to San Sebastian in February 2016. There, with the Orquesta Sinfonica de Musikene under the direction of Arturo Tamayo, we had in front of the camera a student orchestra, motivated, though still not experienced with the music of Lachenmann. What the composer also explains in the interview, becomes very clear in the rehearsals: how the starting point of the piece, the idea of writing, is picked up and implemented for each instrument individually. The rehearsals of both pieces were predominantly in English - so the films are mostly without subtitles. (Wiebke Popel)

In 2015/16 I travelled across Europe with cameraman Michael Zimmer to document a total of nine orchestral rehearsals of and with [meaning rehearsals of music by HL, conducted by HL? OR?] Helmut Lachenmann in the course of Lachenmann Perspectives, a project of the Musik der Jahrhunderte. This DVD series is the filmic result of these journeys.

Here you can order the perfomance material for Double (Grido II) and K langschatten.

ISBN 9790004650417. 9 x 12 inches.

The present DVD brings together the recordings of two of Helmut Lachenmann's orchestral works that originated far apart in time, but are similar in their small-scale scoring (strings and 3 grand pianos or just strings): Klangschatten - mein Saitenspiel (1972) and Double (Grido II) (2004). We filmed Double in May 2016 with the Deutsche Radio Philharmonie Saarbrucken Kaiserslautern under the musical direction of Peter Hirsch, who has long been collaborating with the composer. Two films have been created from the sectional rehearsals of several hours in length (Sectional rehearsal violins/ Sectional rehearsal violas, cellos, double basses) in which, among other things, Lachenmann explains in detail and demonstrates the relevant playing techniques. Our camera could accompany the rehearsals of Klangschatten - mein Saitenspiel (SWR Sinfonieorchester Baden-Baden and Freiburg, conductor: Pascal Rophe) for only a few hours. The result is two shorter rehearsal films, giving nonetheless a good insight into the piece that Lachenmann describes as one of his favorites among his own works. (Wiebke Popel)

In 2015/16 I travelled across Europe with cameraman Michael Zimmer to document a total of nine orchestral rehearsals of and with [meaning rehearsals of music by HL, conducted by HL? OR?] Helmut Lachenmann in the course of Lachenmann Perspectives, a project of the Musik der Jahrhunderte. This DVD series is the filmic result of these journeys.

Here you can order the pe rfomance material.

ISBN 9790004650424. 9 x 12 inches.

The Tanzsuite mit Deutschlandlied (Dance Suite with German National Anthem) was premiered in 1980 at the Donaueschingen Festival under the direction of Sylvain Cambreling. 35 years later, we have now filmed the piece, once again conducted by Cambreling, with the Staatsorchester Stuttgart and the Arditti Quartet. Sectional rehearsals with Helmut Lachenmann did not take place, but the approximately eight hours of orchestra rehearsals also provided much graphic material for the two rehearsal films. In the interview film, the composer goes into detail about, for example, the structure of the piece in which he has dealt with a variety of dances and German Folk Songs. Lachenmann's pre-concert speech, preparing the audience for the performance of the Tanzsuite, gives a special accent to the DVD. (Wiebke Popel)

In 2015/16 I travelled across Europe with cameraman Michael Zimmer to document a total of nine orchestral rehearsals of and with [meaning rehearsals of music by HL, conducted by HL? OR?] Helmut Lachenmann in the course of Lachenmann Perspectives, a project of the Musik der Jahrhunderte. This DVD series is the filmic result of these journeys.

Here you can order the perfomance material.

ISBN 9790004650400. 4 x 6.5 inches.

The recordings for Les Consolations were made in November 2015 with the Radio-Sinfonieorchester Stuttgart and the SWR Vocal Ensemble Stuttgart conducted by Peter Rundel, who was already familiar with Lachenmann's playing techniques from previous collaborations. Out of the material of about 10 hours' rehearsal time, we have cut three films (subtitled in English) of partial rehearsals (strings / winds / percussion, harp, piano), in which Helmut Lachenmann, together with the conductor, explains the piece's playing techniques and peculiarities. Unfortunately, we were not able to attend the partial rehearsals with the SWR Vocal Ensemble, so this was not filmed. (Wiebke Popel)

In 2015/16 I travelled across Europe with cameraman Michael Zimmer to document a total of nine orchestral rehearsals of and with [meaning rehearsals of music by HL, conducted by HL? OR?] Helmut Lachenmann in the course of Lachenmann Perspectives, a project of the Musik der Jahrhunderte. This DVD series is the filmic result of these journeys.

Helmut Lachenmann is no doubt the composer who, since the late 1960s, has opened the door the most widely to a new sound world in the technique of composition for classical instruments. Not only that: he has also consistently explored new territories i. Music post-1945; New music (post-2000). New Media. Breitkopf and Haertel #BHM 297. Published by Breitkopf and Haertel (BR.BHM-297).

ISBN 9783765102974. 9 x 12 inches.

Helmut Lachenmann is no doubt the composer who, since the late 1960s, has opened the door the most widely to a new sound world in the technique of composition for classical instruments. Not only that: he has also consistently explored new territories in his scores with respect to the notation of the new sounds and performing techniques. At the Stuttgart Musikhochschule, Matthias Hermann, himself a composer and conductor, has recorded in short video films all the expanded performance techniques that are essential to Lachenmann's scores. The CD-ROM programmed by Maceij Walczak is completely bilingual (German-English) and offers film (with sound), notation and a detailed explanation. All symbols and notational forms are systematically arranged according to the instrument. In addition, the CD-ROM contains two conversations in which Lachenmann expressed his views on the project in great detail in 2009 and 2010. The transcript of these texts is also available in English on the CD-ROM. Basso continuo komponiert von Friedrich II. dem Grossen (1712-1786) Konig von Preussen von 1740 bis 1786. Der konigliche Komponist stellt in den vier jetzt erstmals vorgelegten Sonaten seine Qualitaten voll und ganz unter Beweis. Insgesamt zeichnen sich die Werke durch Erfindungskraft, Konnen und Stilvielfalt aus. In Schloss Sanssouci entstanden offenkundig Adagios voller Emotionen und brillante Allegro-Satze, die belegen, uber welch virtuose Fahigkeiten der Quantz-Schuler verfugte. Die Herausgeberin auch als Interpretin eine erwiesene Expertin der Musik von Quantz und Friedrich dem Grossen hat die Sonaten auf CD eingespielt. basso continuo composed by Frederick II known as the Great (1712-1786) King of Prussia from 1740 to 1786. In the four sonatas presented here for the first time, the royal composer can lay uncontested claim to an above-average talent. The works stand out for their imaginative power, their skill and their stylistic variety. The grand rooms of Sanssouci Palace must have been filled with heartfelt Adagios and brilliant Allegros that confirmed the virtuoso flute technique of the Quantz pupil. The sonatas were recently recorded on CD (Hungaroton) by the editor who, as a performer, is a recognized expert on the music of J. J. Quantz and Frederick the Great.

Here you can order the pe rfomance material.

ISBN 9790004650370. 4 x 6.5 inches.

With Accanto we were fortunate in being able to film sectional rehearsals with Helmut Lachenmann for 10 hours - resulting in six extensive films, mostly in English, dealing with the individual instrumental groups. We were not able to film an individual rehearsal for the solo instrument, since the clarinetist Nina Janssen-Deinzer had already played the piece earlier, she was therefore already fully prepared. (Wiebke Popel) Nina Janssen-Deinzer (Clarinet) Philharmonie Zuidnederland Conductor: Bas Wiegers Length about 156 minutes The recordings were produced in Eindhoven and s'Hertogenbosch (The Netherlands) in November 2015 Konzert | Concert: s'Hertogenbosch | Grote Kerk Festival November Music, 05/11/2015

In 2015/16 I travelled across Europe with cameraman Michael Zimmer to document a total of nine orchestral rehearsals of and with [meaning rehearsals of music by HL, conducted by HL? OR?] Helmut Lachenmann in the course of Lachenmann Perspectives, a project of the Musik der Jahrhunderte. This DVD series is the filmic result of these journeys.

Here you can order the per fomance material.

Award ed the German Music Edition Prize 2019

ISBN 9790004650387. 4 x 6.5 inches.

For Air we had an experienced team in front of the camera - the Ensemble Modern Orchestra, conductor Brad Lubman, and Helmut Lachenmann - who had collaborated for many years. We were able to film almost completely extensive sectional rehearsals with the composer - four approximately 20-minute films of rehearsing winds, strings, percussion, keyboard and plucked instruments, and solo drums. These occurred partly in German, partly in English - in the films the passages in German are subtitled in English.

A highlight for the film team was an excursion with Helmut Lachenmann into the wintery forest near Frankfurt - on a search for dry branches to make the perfect cracking sounds.

The concert with the premiere of Air in the version with the Ensemble Modern Orchestra took place for the composer's 80^th birthday on 27 November 2015 in the concert hall of the Wiesbaden casino.

(Wiebke Popel)

Rumi Ogawa (Percussion)
Ensemble Modern Orchestra
Conductor: Brad Lubman
Length about 124 minutes
The recordings were produced in Frankfurt and Wiesbaden in November 2015.
Concert: Wiesbaden | Kurhaus
cresc.-Biennal e fur Moderne Musik | 27/11/2015

Here you can order the perfomance material.

Award ed the German Music Edition Prize 2019

ISBN 9790004650394. 4 x 6.5 inches.

Schwankunge n am Rand has been filmed by us twice - once conducted by Emilio Pomarico with the Rundfunk-Sinfonieorcheste r [Radio Symphony Orchestra] Berlin (Radialsystem Berlin, January 2015), once with Brad Lubman and the Ensemble Modern Orchestra (Frankfurt/Wiesbaden, November 2015). Originating from the detailed partial rehearsal recordings with the Ensemble Modern are three films, each approximately 15 minutes long (winds / strings / thunder sheets, and pianos). These are supplemented by rehearsal scenes with the Rundfunk-Sinfonieorcheste r Berlin, in which Helmut Lachenmann explains not only playing techniques, but also such piece-specific issues as the throw-ins and the use of the pack or baking parchment paper. The rehearsals sometimes took place in German, sometimes in English - the German-speaking passages in the films are subtitled in English. The concert recording shows the performance in Berlin, which was particularly convincing due to the spatial arrangement in the radial system. (Wiebke Popel)

Here you can order the perfomance material. Awarded the German Music Edition Prize 2019.