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27 Sep 2004, 20.00 Presentation of CD-ROM with Instrumental Techniques of Helmut Lachenmann 28 Sep 2004, 20.00 Piano resonance techniques in the work of Helmut Lachenmann Serynade by Helmut Lachenmann Piano: Benjamin Kobler Wed 22 Sep 2004 – Sun 26 Sep 2204 at 20.00 Revival at Staatsoper Stuttgart Das Mädchen mit den Schwefelhölzern (The little match girl) by Helmut Lachenmann A Guide to Listening At 19.00, preceding each performance, there will be an introduction to the work in the Kammertheater. As a coda to the revival of Helmut Lachenmann’s opera Das Mädchen mit den Schwefelhölzern (The Little Match Girl), the Forum Neues Musiktheater presents two workshop evenings with Helmut Lachenmann and Matthias Hermann. Presentation of CD-ROM with Instrumental Techniques of Helmut Lachenmann For more than two years, Matthias Hermann and Maciej Walczak have been working with Helmut Lachenmann on a CD-ROM presenting the extended instrumental techniques employed in his music. The CD-ROM supplements the pairings of musical notation and explanatory text with short films in which the relevant techniques are presented. Highly detailed close-ups give the user a precise and detailed picture of the hand position involved and the point at which contact with the instrument should be made. The CD-ROM includes techniques for strings, winds, percussion, and piano. At the presentation, a prototype of the CD-ROM will be shown as a kind of workshop report. The CD-ROM will be published next year by Breitkopf & Härtel. Piano Resonance Techniques in the Work of Helmut Lachenmann with Helmut Lachenmann and Matthias Hermann Serynade by Helmut Lachenmann Piano: Benjamin Kobler Helmut Lachenmann is one of those composers who are always in search of new sonic perspectives in the realm of piano music as well. In addition to a multilayered compendium of nuanced resonant effects, his large, thirty-minute piano composition Serynade also introduces a novel quality of piano sound. At performances of the work in larger halls, the question arises time and again how to make its highly nuanced resonant effects sufficiently audible. A broad range of experiments with different miking procedures have yielded a series of results that vary widely in quality. At this event, various approaches to miking and amplification will also be practically demonstrated and compared. |
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