München: Herbert Post Presse, 1962.
Large folio (360 x 275 mm). Original publisher's light red printed wrappers with titling to upper. 1f. (recto title, verso copyright), 17, [i] (blank) pp.
Wrappers slightly worn and faded, especially at edges; creased at corners; previous owner's handstamp to upper "Myrtle Hillier."
First Edition. Very scarce.
"n the 1960s two tendencies of fundamental importance to [Lachenmann's] later work began to emerge: first, as he commented in 1962 in his introductory text to the piano piece Echo Andante, he developed a kind of ‘musical thinking in which structure was not the means to expressive ends, but instead expressivity, as a pre-existing factor already inherent in the means, became the point of departure for structural adventures’. Second, and linked to this approach, was his increasing interest in the ‘anatomy’ of sound, which went further than the purely acoustical considerations central to serial thinking (pitch, duration, dynamics and timbre). Lachenmann now integrated the mechanical and physical conditions of instrumental and vocal sound production into his compositions, and developed the concept of what he has called musique concrète instrumentale, music ‘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’...
"In response to the stereotyped perception of his music as the expression of protest or denial, a cliché that became established at quite an early date, Lachenmann has repeatedly emphasized the novelty and uncontaminated aspect of his sound worlds. His work may indeed strike its listeners initially as a denial of the familiar; in other words, they perceive only what they find lacking from it. However, once they open up to his new and strange world of sound, his work offers the chance of an aesthetic experience largely undistorted by habit: an immediate and thus a liberating experience. This ‘existential’ dimension of artistic creativity has been at the heart of Lachenmann's poetics of composition since the 1960s." Ulrich Mosch in Grove Music Online.
Price: $65.00 other currencies