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	La Folia -- Thinking About Helmut Lachenmann, with Recommended Recordings
		Helmut Lachenmann, the German composer born in Stuttgart in 1935, has been at the center of musical debates for nearly four decades and remains there, undaunted, today.
		Lachenmann’s attitude and output, signifying a reaction against the staid music of his student years, a break from dogmatic, jaded musical principles and a fondness for the music of the past, still resonates today.
		Lachenmann’s music is appealing, but perhaps not immediately so; it is refined, but to such a degree that alienation is possible; and it is charming, but far from jocund.
	www.lafolia.com /archive/albertson/albertson200411lachenmann.html (3347 words)

	Helmut Lachenmann - Uncyclopedia, the content-free encyclopedia
		Helmut Lachenmann is a composer that has abandoned the concept of pitch and writes music based around timbre.
		Lachenmann’s attitude and output, signifying a reaction against the staid music of his student years, a break from dogmatic, jaded musical principles and a fondness for the music of the past, still resonates today.
		Lachenmann began composing soon after and wrote many large-scale pieces, including a large symphony orchestrated for timpani, organ, and high explosives; but all of these early scores are now lost.
	uncyclopedia.org /wiki/Helmut_Lachenmann (3339 words)

	Best Prices on Helmut Lachenmann at iMegaDeals.com (Site not responding. Last check: )
		Lachenmann seems to continue nurturing the modernist aesthetic,perhaps that it had passed/eclipsed the German experience, something Habermas has said, and that we do live in an age of new opacity, or complaisance (Undurchsichtlichkeit).
		Helmut Lachenmann has kept a close distance to childlike agendas at least in concept, looking at things with a clarity,without baggage without that prevalent "blind-spot" as most composers today,eaten up by whatever the market tells art it needs to survive.
		Lachenmann you can consider is the most sought-after composer in Germany, here we barely know his work, not even his fascinating opera "The Little Match Seller" But amongst the...
	www.imegadeals.com /a/artistsearch_Helmut+Lachenmann/mode_music.html (697 words)

	The Ensemble Sospeso - Helmut Lachenmann
		Helmut Lachenmann was born in Stuttgart in 1935 and studied there at the Musikhochschule between 1955 and 1958.
		His interest in the current avant garde was reinforced by his first visit to the Darmstadt Ferienkurse in 1957, where he met Luigi Nono, with whom he studied in Venice between 1958 and 1960.
		In 1966 Lachenmann embarked on his own academic career, lecturing first on music theory at the Stuttgart Musikhochschule and subsequently teaching at the Ludwigsburg Pädagogische Hochschule and the Musikhochschule in Hanover, before returning to live in Stuttgart in 1981.
	www.sospeso.com /contents/composers_artists/lachenmann.html (351 words)

	Transcendent – The music of Helmut Lachenmann: Noriko Kawai (piano) / RCM Symphony Orchestra / ... (Site not responding. Last check: )
		For anyone approaching Lachenmann for the first time large scale forces could well be advantageous given that the musical results, although intricate, are not so minute as to be easily missed providing one listens attentively, with open ears and a willingness to form associations along the way.
		Lachenmann’s musical versions see instrumentalists redefine how their instruments are played and consequently new sounds are brought into being.
		With the piano as the agent of idea generation set to the fore on stage, the orchestra is utilised as a massive prism for the refraction, reconstitution and gathering of off-shoot sound-associations from the soloist.
	www.musicweb-international.com /SandH/2006/Jul-Dec06/lachenmann1711.htm (1146 words)

	Classical Music :: The Classical Source :: Feature Review: Transcendent – The Music of Helmut Lachenmann :: ...
		Yet for all that Lachenmann is avowedly anti-establishment, to the extent that he has decried the empire-building tendencies among several of his older contemporaries, his music comes with none of the political 'baggage' that has undermined the efforts of numerous other major composers (German and otherwise) of his generation.
		The scale of Lachenmann's compositions from the 1970s and early 1980s makes their wider inclusion possible only in the most inclusive retrospective, such as the present festival was not designed to be.
		Lachenmann now appears to have reached a crossroads (not an impasse, one trusts) in his composing, and Concertini (2005) is his most recent work.
	www.classicalsource.com /db_control/db_features.php?id=3943&PHPSESSID=0adb1006b91d8c969eacd61b49a72bf7 (1240 words)

	Centre Acanthes 1999 - Helmut Lachenmann
		Helmut Lachenmann's path is at the very heart of the main research of our time: destruction/reconstruction, form/expression.
		For more than thirty years, Helmut Lachenmann has created an œuvre which is both multiple and personal, demanding and strong, based on a thought process which has led him several times into the field of exegesis.
		Helmut LachenmannÕs works are published by Breitkopf & Hþrtel, as well as Wilhelm BruckÕs work, Studien zum Spielen Neuer Musik, especially intended for the students taking part in the Òguitar and musical theaterÓ workshop.
	www.acanthes.com /centre_99gb/contsomgb.html (821 words)

	[No title] (Site not responding. Last check: )
		Helmut Lachenmann was born in Stuttgart on 27 November 1935.
		Lachenmann’s first public appearance as a composer was at the Biennale in Venice in 1962, and at the renowned Internationale Ferienkurse für Neue Musik in Darmstadt.
		Helmut Lachenmann is also active as a teacher, writer and workshop leader.
	www.rcm.ac.uk /lachenmann/lachenmann.html (219 words)

	Friends of the Salzburg Festival
		Lachenmann interprets it as criticism of civilisation and as an indictment against a cold and indifferent society.
		Lachenmann went one step further in drawing together the fate of the little girl, who as a social outsider is “up against the wall”, with the biography of the Red Army Faction activist Gudrun Ennslin (1940-1977).
		Lachenmann’s multi-layered music theatre thus becomes what opera in its best moments of its long history always was: a reflection of exterior and inner states of being, analysis and criticism of existing conditions and their aesthetic counterpart.
	www.festspielfreunde.at /english/frames/200207/ef_200207_34.htm (480 words)

	Helmut Lachenmann — FactMonster.com
		Beginning in the late 1960s, Lachenmann explored a new and innovative musical language.
		Lachenmann questions past musical assumptions in his many postserialist compositions and in his varied musical writings.
		A well-known teacher, Lachenmann has been a mentor to many important younger composers.
	www.factmonster.com /ce6/people/A0909742.html (105 words)

	nmz 2005/11 - Leitartikel: Helmut Lachenmann wird siebzig Jahre alt und begegnet in Paris Mozart · Von Gerhard ...
		Helmut Lachenmann wird siebzig Jahre alt und begegnet in Paris Mozart · Von Gerhard Rohde
		Helmut Lachenmann 2002 bei den Salzburger Festspielen, wo sein „Mädchen mit den Schwefelhölzern“ aufgeführt wurde.
		In dieser Ausgabe finden unsere Leser auf den Seiten 46/47 Berichte über Lachenmann-Aufführungen in Frankfurts Alter Oper und beim Festival in Schwaz.
	www.nmz.de /nmz/2005/11/leiter-rohde.shtml (584 words)

	Helmut Lachenmann
		Es ist vielleicht nicht nur Zufall, daß die Preisvergabe an Helmut Lachenmann in das Jahr seiner aufsehenerregendsten Uraufführung fällt: Im Januar wurde die in der Fachwelt seit langem ersehnte Andersen-Oper 'Das Mädchen mit den Schwefelhölzern' unter großem Medien- und Publikumsandrang in der Hamburger Staatsoper aus der Taufe gehoben.
		November 1935 in Stuttgart, hatte Helmut Lachenmann an der dortigen Musikhochschule bei Johann Nepomuk David, einem Gelehrten der neusachlichen Mehrstimmigkeit, Komposition studiert, bevor er sich Luigi Nono anschloß, bei dem er sich in Venedig bis 1960 das entscheidende Rüstzeug für ein Tonsetzerleben an den Fronten des Unerwarteten erwarb.
		Lachenmanns Komponieren, das viel in den Grenzbereichen zwischen Verhaltenem und Verstummen, zwischen Klang und Geräusch forscht und tastet, das durch und durch sensorisch geprägt ist und unablässig neue instrumentale Façetten erschließt, hat Scharen nachfolgender Tonsetzer geprägt: "Am Anfang einer kompositorischen Arbeit kann ich nie absehen, was am Ende dabei herauskommen wird.
	www.musikmph.de /rare_music/composers/f_l/lachenmann_helmut/1.html (1006 words)

	Helmut Lachenmann
		Lachenmann studied composition and music theory with Johann Nepomuk David and piano with Jürgen Uhde at the Musikhochschule Stuttgart from 1955-58 and was the first private student of Luigi Nono in Venice from 1958-60.
		Lachenmann taught at the Musikhochschule Stuttgart from 1966-70, the Pädagogische Hochschule in Ludwigsburg from 1970-76, the Universität Basel in 1972-73, and the Musikhochschule Hannover from 1976-81.
		Helmut Lachenmann, speaker; Andreas Lindenbaum, cello; Björn Wilker, percussion; Hans Zender/Klangforum Wien (Accord: 204852)
	composers21.com /compdocs/lachenmh.htm (1047 words)

	new notes online \| spnm - promoting new music
		Helmut Lachenmann’s ideas are talked about more than any other contemporary composer’s.
		If you were to study carefully the structure of your little daughter’s physiognomy, you would discover a landscape which was familiar before, and now begins to be totally new to you, touching you deeply because of that change of a hidden aspect.
		Transcendent: The Music of Helmut Lachenman, organised by the Royal College of Music and the London Sinfonietta, takes place 13-20 November in London.
	www.spnm.org.uk /?page=members/newNotes/access/Cover/november2006.html (1089 words)

	Helmut Lachenmann - Encyclopedia.com
		Beginning in the late 1960s, Lachenmann explored a new and innovative musical language.
		In works such as temA (1968), for flute, voice, and cello, and Air (1969), for orchestra and percussion soloist, he used instruments and voices unconventionally, producing new sounds and sound combinations in which all instruments were given equal weight.
		Lachenmann questions past musical assumptions in his many postserialist compositions and in his varied musical writings.
	www.encyclopedia.com /doc/1E1-LachnmnH.html (443 words)

	Centre Acanthes 1999 - Helmut Lachenmann
		As a composer, Helmut Lachenmann is interested in the orchestra (with different groups of instruments) as well as in chamber music.
		Helmut Lachenmann said: "I feel that the real starting points in art, when the barriers break down and revolution breaks out, arise on the basis of inner need (...) I am a musician and not a prophet, but I always try to see clearly".
		He has devoted a large part of his activity to contemporary music, and has given the first performance of works by Brian Ferneyhough, Helmut Lachenmann, Heinz Holliger, Klaus Huber, Isang Yun and Pascal Dusapin among others.Walter Grimmer taught at the Bern Conservatory from 1966 to 1987, and now teaches at the Musikhochschule in Zurich.
	www.acanthes.com /centre_99gb/contprofgb.html (739 words)

	classical music - andante - ensemble modern plays two electrifying programs of helmut lachenmann
		This year's festival of new music in Huddersfield began with a whimper but ended with a bang in two electrifying concerts of music by that most uncompromising of composers, Helmut Lachenmann.
		Sunday was Lachenmann's 70th birthday and it also marked the ensemble's 70th performance of Mouvement [vor der Erstarrung].
		The previous evening, also authoritatively conducted by Brad Lubman, was no less dazzling, especially in Lachenmann's Salut fÃ¼r Caudwell, a showcase of virtuosity in which two solo guitarists provide their own endless variety of accompaniment, including speech.
	www.andante.com /article/article.cfm?id=26264 (425 words)

	New Music reBlog: Mp3 Blog #54: Helmut Lachenmann
		I am a little reluctant to say much about Helmut Lachenmann besides laugh that I’m posting this after posting an mp3 blog entry featuring Philip Glass.
		Although Lachenmann’s music is rarely heard in the United States, or the Western Hemisphere for that matter, he is considered one of biggest names in contemporary composition in most of Europe especially in his native Germany.
		These two works demonstrate something that I would feel confident in calling “Lachenmann-esque” – a focus on what one would call in other contexts “extra-instrumental techniques” and the pure physicality required to produce sound from all instruments to create a new (possibly more natural) hybrid ensemble which is largely treated as one instrument or entity.
	netnewmusic.net /reblog/archives/2007/02/mp3_blog_54_hel_1.html (282 words)

	sommaire Acanthes 1999
		L’itinéraire de Helmut Lachenmann s’inscrit clairement au coeur des recherches essentielles de notre époque : destruction/reconstruction, forme/expression.
		Helmut Lachenmann a, depuis plus de trente ans, édifié une œuvre à la fois multiple et personnelle, exigeante et forte, fondée sur une réflexion qui l’a conduit, à de nombreuses reprises, dans le domaine de l’exégèse.
		Les œuvres de Helmut Lachenmann sont éditées par Breitkopf and Härtel, ainsi que l’ouvrage de Wilhelm Bruck "Studien zum Spielen Neuer Musik", particulièrement destiné aux stagiaires de l’atelier “guitare et théâtre musical”.
	www.acanthes.com /centre_99/contsom.html (830 words)

	themes\|05 - Portrait Helmut Lachenmann
		If contemporary music is seen as an existential experience, if one believes it capable of renewing our perception and leading into unknown fields of experience, then Helmut Lachenmann is one of its most important protagonists.
		Since the 60s the German composer has explored our acoustic perception radically and without compromise and has opened up the world of sounds with his "musique concrète instrumentale" without however making use of electronic techniques.
		Today Lachenmann's sound inventions are an integral component of contemporary musical language.
	www.wienmodern.at /WM/05/e/main/0102.htm (152 words)

	62. Sommerliche Musiktage Hitzacker
		Peter Gülke stellt Ihnen den kühnen Entwurf von Schuberts Quartettsatz“ vor — und spricht mit Kompositionsstudenten der Hochschulen für Musik in Hannover und Lübeck über ihre Sicht auf den Wiener Komponisten sowie ihre Arbeit an dem Streichquartett über Schubert.
		Das Ensemble Modern und das Ensemble Resonanz spielen und kommentieren Ausschnitte aus dem Abendprogramm, Helmut Lachenmann und Wolfgang Rihm sind als Gesprächspartner und als wechselseitige Kommentatoren zu erleben.
		mit Helmut Lachenmann und Wolfgang Rihm finden Sie hier.
	www.musiktage-hitzacker.de /hoererakademie.php (551 words)

	Helmut Lachenmann
		Lachenmann studied composition and music theory with Johann Nepomuk David and piano with Jürgen Uhde at the Musikhochschule Stuttgart from 1955-58 and was the first private student of Luigi Nono in Venice from 1958-60.
		Lachenmann taught at the Musikhochschule Stuttgart from 1966-70, the Pädagogische Hochschule in Ludwigsburg from 1970-76, the Universität Basel in 1972-73, and the Musikhochschule Hannover from 1976-81.
		Helmut Lachenmann, speaker; Andreas Lindenbaum, cello; Björn Wilker, percussion; Hans Zender/Klangforum Wien (Accord: 204852)
	www.composers21.com /compdocs/lachenmh.htm (1047 words)

	The inside-out concerto \| \| Guardian Unlimited Arts
		Sunday is the 70th birthday of Helmut Lachenmann, one of the most fearsome creative intellects in new music.
		Before beginning rehearsals, Lachenmann invited Pas-Van Riet and the trombonist Mike Svoboda to his home to demonstrate a few tricks on their instruments.
		But Lachenmann is rewarding purely as music; you don't have to fret about its politics (which Lachenmann does not flaunt) any more than with Wagner.
	arts.guardian.co.uk /filmandmusic/story/0,16373,1649608,00.html (1042 words)

	Richard Steinitz on the work of Helmut Lachenmann \| \| Guardian Unlimited Arts
		Helmut Lachenmann was born in Stuttgart and studied at its Musikhochschule, where he later became professor of composition.
		As a young man, Lachenmann went to Venice to study with Luigi Nono.
		On his return from Venice, Lachenmann resolved to continue Nono's conceptually purist ethic and create music that would be rigorously non-figurative.
	arts.guardian.co.uk /features/story/0,,1650114,00.html (1097 words)

	MUSIC: The Year in Classical Music: The Critics' Choices; Ligeti's Mysteries; Lachenmann's Year - New York Times
		HELMUT LACHENMANN: 'NUN,' 'NOTTURNO' -- West German Radio Symphony, conducted by Jonathan Nott; Klangforum Wien, conducted by Hans Zender (Kairos).
		HELMUT LACHENMANN: 'ALLEGRO SOSTENUTO,' 'SERYNADE' -- Yukiko Sugawara, pianist; Shizuyo Oka, clarinetist; Lucas Fels, cellist (Kairos).
		In another breathtaking Lachenmann release this year, his wife performs in two big pieces centered on the piano.
	query.nytimes.com /gst/fullpage.html?res=9E0DE3DC153EF930A15751C1A9679C8B63 (591 words)

	Long Sunday: Not Music
		I think Lachenmann's attention to texture and timbre has given a lot more to modern music than, e.g., the structuralism of people like Carter.
		Lachenmann, for instance, was deeply interested in the renewal of material, but with all his love (as he told me once) for his own work, he neglected, or forgot, the aspect of form and structure.
		It's actually Lachenmann that's 'comforting', in a sort of slobbering way, because it is not really interested in moving ahead, or even remembering that Schoenberg said there were still a lot of pieces to be written in C Major.
	www.long-sunday.net /long_sunday/2005/10/not_music.html (1747 words)

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