View source for Helmut Lachenmann

{{Short description|German composer (born 1935)}}
{{Use dmy dates|date=November 2023}}
{{Infobox person
| name       = Helmut Lachenmann
| image      = Lachenmann.jpg
| caption    = Lachenmann in 2017
| birth_date = {{birth date and age|1935|11|27|df=y}}
| birth_place = [[Stuttgart]], Germany
| death_date = 
| death_place = 
| othername = 
| education = [[Musikhochschule Stuttgart]]
| occupation = Composer, academic, essayist
| organizations = [[Musikhochschule Hannover]]
| awards = {{indented plainlist|
* [[Bach Prize of the Free and Hanseatic City of Hamburg]]
* [[Ernst von Siemens Music Prize]]
* [[BBVA Foundation Frontiers of Knowledge Award]]
}}
| URL =
}}

'''Helmut Friedrich Lachenmann''' ({{IPA|de|ˈhɛlmuːt ˈlaxn̩man|lang|De-Helmut Lachenmann.ogg}}; born 27 November 1935) is a German composer of [[contemporary classical music]] and pianist.{{sfn|''The Oxford Dictionary of Music''|2013}} Associated with the "instrumental [[musique concrète]]" style, Lachenmann is alongside [[Wolfgang Rihm]] as among the leading German composers of his time.{{sfn|Williams|2013|p=1}}

== Life and works ==
Lachenmann was born in [[Stuttgart]] and after the end of the Second World War (when he was 11) started singing in his local church choir. Showing an early aptitude for music, he was already composing in his teens. He studied piano with [[Jürgen Uhde]] and composition and theory with [[Johann Nepomuk David]] at the [[Musikhochschule Stuttgart]] from 1955 to 1958<ref>{{Cite web|url=http://www.breitkopf.com/author/show/5|archive-url=https://web.archive.org/web/20121219065249/http://www.breitkopf.com/author/show/5|url-status=dead|archive-date=19 December 2012|title=Lachenmann, Helmut}}</ref> and was the first private student of the Italian composer [[Luigi Nono (composer)|Luigi Nono]] in Venice from 1958 to 1960. He also worked briefly at the electronic music studio at the [[University of Ghent]] in 1965, composing his only published tape piece ''Szenario'' during that period but thereafter focused almost exclusively on purely instrumental music. The brutality of his music led [[Francisco Estévez]] to compare his work to the paintings of [[Francis Bacon (artist)|Francis Bacon]].

Lachenmann has referred to his compositions as ''[[musique concrète]] instrumentale'', implying a musical language that embraces the entire sound-world made accessible through unconventional playing techniques. According to the composer, this is music
{{quote|in which the sound events are chosen and organized so that the manner in which they are generated is at least as important as the resultant acoustic qualities themselves. Consequently those qualities, such as timbre, volume, etc., do not produce sounds for their own sake, but describe or denote the concrete situation: listening, you hear the conditions under which a sound- or noise-action is carried out, you hear what materials and energies are involved and what resistance is encountered.<ref>{{Citation |last = Slought Foundation Online Content | title = musique concrète instrumentale: Helmut Lachenmann, in conversation with Gene Coleman | date = 7 April 2008 | url = http://www.slought.org/content/11401/ | access-date = 30 March 2009}}</ref>}}
His music is therefore primarily derived from the most basic of sounds, which through processes of amplification serve as the basis for extended works. His scores place enormous demands on performers, due to the plethora of techniques that he has invented for wind, brass and string instruments.

His more important works include his [[opera]] ''Das Mädchen mit den Schwefelhölzern'' [''The Little Match Girl''] (1990–96, after [[Hans Christian Andersen]], [[Leonardo da Vinci]] and [[Gudrun Ensslin]]), the orchestral pieces ''Schwankungen am Rand'' (1974–75, for eight brass, two electric guitars, two pianos, four thunder sheets, and 34 strings), ''Accanto'' (1975–76, for clarinet, large orchestra and tape), and ''NUN'' (1997–99, for flute, trombone, male chorus, and large orchestra), the ensemble works ''[[Mouvement (- vor der Erstarrung)]]'' (1982–84, for three ad hoc players and 14 players), and ''"...zwei Gefühle...", Musik mit Leonardo'' (1992 [later incorporated in opera ''Das Mädchen mit den Schwefelhölzern''], after Leonardo da Vinci, for two speakers and 22 players), and three [[String quartet|string quartets]] (''Gran Torso'', 1971, revised 1976, 1988; ''[[Reigen seliger Geister]]'', 1989; ''Grido'', 2001), as well as other orchestral, ensemble and chamber works and six piano pieces.

He has regularly lectured at the [[Darmstadt New Music Summer School]] since 1978. From 1976 to 1981, he taught music theory, ear training and composition at the [[Musikhochschule Hannover]], and from 1981 to 1999, he taught composition at the [[Musikhochschule Stuttgart]]. {{See LMST|Helmut|Lachenmann}}

He is also noted for his articles, essays and lectures, many of which appear in ''Musik als existentielle Erfahrung'' (''Music as Existential Experience'') ([[Breitkopf & Härtel]], Wiesbaden, 1996).

Lachenmann has received many distinguished awards such as the [[Bach Prize of the Free and Hanseatic City of Hamburg]] in 1972, the [[Ernst von Siemens Music Prize]] in 1997, and the 2010 [[BBVA Foundation Frontiers of Knowledge Award]] in the Contemporary Music Category.

He is married to Japanese pianist [[Yukiko Sugawara]].<ref name="arsmondo 2017 p608">{{cite web | title=Klang als Naturereignis | website=arsmondo | date=29 August 2017 | url=https://www.arsmondo-online.de/2017/08/29/der-komponist-helmut-lachenmann/ | language=de | access-date=12 November 2023}}</ref>

== List of works ==

The chronological list is sourced from [[Breitkopf & Härtel]], Lachenmann's publisher.<ref>{{cite web|title=Helmut Lachenmann|url=http://www.breitkopf.com/author/show/5|publisher=Breitkopf & Härtel|access-date=31 December 2014|url-status=dead|archive-url=https://web.archive.org/web/20121219065249/http://www.breitkopf.com/author/show/5|archive-date=19 December 2012}}</ref>
{{div col|colwidth=30em}}
* ''Fünf Variationen über ein Thema von Franz Schubert'' (German Dance in C-sharp minor, D643) for piano (1956)
* ''Rondo'' for two pianos (1957)
* ''Souvenir'' for 41 instruments (1959)
* ''Due Giri'', two studies for orchestra (1960)
* ''Tripelsextett'' for 18 instruments (1960–61, lost)
* ''Fünf Strophen'' for 9 instruments (1961, withdrawn)
* ''Echo Andante'' for piano (1961–62)
* ''Angelion'' for 16 instruments (1962–63, withdrawn)
* ''Wiegenmusik'' for piano (1963)
* ''Introversion I'' for 18 instruments (1963, withdrawn)
* ''Introversion II'' for 8 instruments (1964. withdrawn)
* ''Scenario'' for tape (1965)
* ''Streichtrio I'' for violin, viola and cello (1965)
* ''Intérieur I'' for one percussionist (1966)
* ''Notturno'' for small orchestra and solo cello (1966/67)
* ''Trio fluido'' for clarinet, viola and percussion (1966/68)
* ''Consolations I'' for 12 voices and percussion (1967)
* ''temA'' for flute, voice and cello (1968)
* ''Consolations II'' for 16 voices (1968)
* ''Air'', music for large orchestra with percussion solo (1968–69)
* ''Pression'' for cello (1969–70, revised 2010)
* ''Dal niente (Interieur III)'' for clarinet (1970)
* ''Guero'', piano study (1970)
* ''Kontrakadenz'' for large orchestra (1970–71)
* ''Montage'' for clarinet, cello and piano (1971)
* ''Klangschatten – mein Saitenspiel'' for three Konzertflügel (pianoforte) and string ensemble (1972)
* ''Gran Torso'', music for string quartet (1972)
* ''Fassade'' for large orchestra (1973)
* ''Schwankungen am Rand'', for sheet metal and strings (1974–75)
* ''Zwei Studien'' for violin (1974)
* ''Accanto'', music for solo clarinet and orchestra (1975–76)
* ''Les Consolations'' for choir and orchestra (1976–78)
* ''Salut für Caudwell'', music for two guitarists (1977)
* ''Tanzsuite mit Deutschlandlied'', music for orchestra and string quartet (1979–80)
* ''Ein Kinderspiel'', seven little pieces for piano (1980)
* ''Harmonica'', music for large orchestra and solo tuba (1981–83)
* ''[[Mouvement (- vor der Erstarrung)]]'' for ensemble (1982/84)
* ''[[Ausklang]]'' for piano and orchestra (1984–85)
* Dritte Stimme zu J. S. Bachs zweistimmiger Invention d-moll BWV 775 for three instruments (1985)
* ''Staub'' for orchestra (1985–87)
* ''Toccatina'', violin study (1986)
* ''Allegro sostenuto'', music for clarinet, cello and piano (1986–88)
* ''Tableau'' for orchestra (1988)
* ''[[Reigen seliger Geister]]'', string quartet (1989)
* ''"...zwei Gefühle..."'', Musik mit Leonardo for speaker and ensemble (1992)
* ''Das Mädchen mit den Schwefelhölzern'' Musik mit Bildern (Musiktheater), music with images – theatre music for very large orchestra and soloists (1988–96)
* ''Serynade'' for piano (1998)
* ''NUN'' for flute, trombone, male choir and orchestra (1999)
* ''[[Sakura-Variationen]]'' for saxophone, percussion and piano (2000)
* ''3. Streichquartett "Grido"'', string quartet (2001)
* ''Schreiben'' for orchestra (2003)
* ''Double (Grido II)'' for string orchestra (2004)
* ''Concertini'' for large ensemble (2005)
* ''...got lost...'', music for soprano and piano (2008)
* ''Sakura mit Berliner Luft'' for saxophone, piano and percussion (2008)
* ''Marche fatale'' for piano (2016–17)
* ''Berliner Kirschblüten'' for piano (2016–17)
* ''Marche Fatale'' for orchestra (2017)
* ''My Melodies'' for eight horns and orchestra (2012–18)
{{div col end}}

==References==
===Citations===
{{Reflist}}

===Sources===
* {{cite encyclopedia |editor-last1=Kennedy |editor-first1=Joyce Bourne |editor-last2=Kennedy |editor-first2=Michael |editor-link2=Michael Kennedy (music critic) |editor-last3=Rutherford-Johnson |editor-first3=Tim |year=2013 |orig-year=2012 |title=Lachenmann, Helmut |encyclopedia=The Concise Oxford Dictionary of Music |publisher=[[Oxford University Press]] |location=Oxford |isbn=978-0-19-957810-8 |url=https://www.oxfordreference.com/display/10.1093/acref/9780199578108.001.0001/acref-9780199578108-e-10244 |url-access=subscription |ref={{sfnRef|''The Oxford Dictionary of Music''|2013}} |access-date=16 June 2025 }}
* {{cite book |last=Williams |first=Alastair |year=2013 |title=Music in Germany since 1968 |series=Music Since 1900 |publisher=[[Cambridge University Press]] |location=Cambridge |isbn=978-0-521-87759-6 }}

==Further reading==
{{div col|colwidth=45em}}
*An interview with Lachenmann appeared in issue 228 (February 2003) of ''[[The Wire (magazine)|The Wire]]''
* {{cite book |last=Feller |first=Ross |editor-last1=Lochhead |editor-first1=Judy |editor-last2=Auner |editor-first2=Joseph |date=2002 |chapter=Resistant Strains of Postmodernism: The Music of Helmut Lachenmann and [[Brian Ferneyhough]]|title=Postmodern Music/Postmodern Thought. Studies in Contemporary Music and Culture |location=New York and London |publisher=Routledge |pages=249–262 |volume=4|ref=none}}
* {{cite journal |last=Hockings |first=Elke |date=1995 |title=Helmut Lachenmann's Concept of Rejection|journal=[[Tempo (journal)|Tempo]]|volume=193 |issue=193 |pages=4–14|doi=10.1017/S0040298200004253|s2cid=145610505 |ref=none}}
* {{cite book |last=Lachenmann |first=Helmut |editor-last=Häusler |editor-first=Josef |date=1996 |chapter=Struktur und Musikantik |title=Musik als existentielle Erfahrung. Schriften 1966–1995  |location=Wiesbaden |publisher=Breitkkopf & Härtel |language=de |pages=155–161|ref=none}}
* {{cite journal |last=Lachenmann |first=Helmut |date=1970 |title=Klangtypen der neuen Musik |journal=Zeitschrift für Musiktheorie |volume=I |issue=1 |pages=20–30 |language=de|ref=none}}
* {{cite book |last=Lachenmann |first=Helmut |editor1-last=Metzger|editor1-first=Heinz-Klaus|editor1-link=Heinz-Klaus Metzger|editor2-last=Riehn|editor2-first=Rainer|editor2-link=Rainer Riehn|date=1998 |chapter=Was heißt Fortschritt? |title="Musik-Konzepte". Die Reihe über Komponisten |location=München |volume=100 |publisher=[[Text+Kritik]]|language=de |isbn=978-3-88377-579-1|ref=none}}
* {{cite book |last=Lachenmann |first=Helmut |date=1978 |chapter=Bedingungen des Materials. Stichworte zur Praxis der Theoriebildung |title=Ferienkurse '78, Darmstädter Beitr. zur Neuen Musik |location=Mainz |publisher=Schott |pages=93–110 |volume=XVII |language=de|ref=none}}
* {{cite book |last=Lachenmann |first=Helmut |date=1994 |editor1-last=Borio |editor1-first=Gianmario |editor2-last=Mosch |editor2-first=Ulrich |title=Ästhetik und Komposition: Zur Aktualität der Darmstädter Ferienkursarbeit |chapter=Dialektischer Strukturalismus |location=Mainz |publisher=B. Schott's Söhne |language=de |pages=23–32|ref=none}}
* {{cite book |last=Nonnenmann |first=Rainer |date=2000 |chapter=Angebot durch Verweigerung: Die Ästhetik instrumentalkonkreten Klangkomponierens in Helmut Lachenmanns frühen Orchesterwerken |title=Kölner Schriften zur Neuen Musik |volume=8 |location=Mainz & New York |publisher=Schott |isbn=978-3-7957-1897-8 |language=de|ref=none}}
* {{cite journal |last=Shaked |first=Yuval |date=1985 |title=Helmut Lachenmann's ''Salut für Caudwell'' – An Analysis |journal=Nova giulianiad / Freiburger Saitenblätter |volume=2 |issue=6 |pages=97–109|ref=none}}
* {{cite book|last=Steenhuisen|first=Paul|author-link=Paul Steenhuisen|date=2009 |chapter=Interview with Helmut Lachenmann |title=Sonic Mosaics: Conversations with Composers |location=Edmonton |publisher=University of Alberta Press |isbn=978-0-88864-474-9 |url-access=registration |url=https://archive.org/details/sonicmosaicsconv00stee|ref=none}}
*[[James Weeks (composer)|Weeks, James]]. "Liberating Perception and Entering Lion Cages: An Interview with Helmut Lachenmann". ''New Notes'' ([http://www.spnm.org.uk/?page=members/newNotes/access/Cover/november2006.html November 2006]).
{{div col end}}

==External links==
*[https://web.archive.org/web/20070228053427/http://www.spnm.org.uk/?page=members%2FnewNotes%2Faccess%2FCover%2Fnovember2006.html Interview in new notes magazine]. November 2006
*[https://www.breitkopf.com/composer/561/helmut-lachenmann Publisher Breitkopf & Härtel page]
*[http://composers21.com/compdocs/lachenmh.htm Living Composers Project (biography, work list, discography)]
*[https://web.archive.org/web/20050218123859/http://www.muw.edu/honors/beautiful.htm Helmut Lachenmann's The 'Beautiful' in Music Today]
*[http://slought.org/content/11401 Recording of Lachenmann in conversation about his music, 2008]
*[https://web.archive.org/web/20110503070519/http://www013.upp.so-net.ne.jp/moni/lachenmann/top.html Helmut Lachenmann website] {{in lang|de}}

{{Ernst von Siemens Music Prize}}
{{Bach Prize of the Free and Hanseatic City of Hamburg}}
{{Portal bar|Biography|Classical music}}

{{Authority control}}

{{DEFAULTSORT:Lachenmann, Helmut}}
[[Category:1935 births]]
[[Category:Living people]]
[[Category:Musicians from Stuttgart]]
[[Category:Harvard University staff]]
[[Category:20th-century German classical composers]]
[[Category:21st-century German classical composers]]
[[Category:Officers Crosses of the Order of Merit of the Federal Republic of Germany]]
[[Category:Recipients of the Order of Merit of Baden-Württemberg]]
[[Category:Academic staff of the Conservatoire de Paris]]
[[Category:Members of the Academy of Arts, Berlin]]
[[Category:Academic staff of the Hochschule für Musik, Theater und Medien Hannover]]
[[Category:Pupils of Karlheinz Stockhausen]]
[[Category:State University of Music and Performing Arts Stuttgart alumni]]
[[Category:Academic staff of the State University of Music and Performing Arts Stuttgart]]
[[Category:German male classical composers]]
[[Category:Ernst von Siemens Music Prize winners]]
[[Category:20th-century German male musicians]]