Helmut Lachenmann’s Concept of Rejection Elke Hockings Tempo, New Ser., No, 193, German Issue. (Jul., 1995), pp. 4-10+12-14. Stable URL hitp:/flinks,jstor-org/sicisici=0040-2982% 28 199507%292%3A0% 3A 193%3C4%3AHLCOR G3 2.0.CO%3B2-0 ‘Tempo is currently published by Cambridge University Press. Your use of the ISTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at hup:/www,jstororglabout/terms.hml. ISTOR’s Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www jstor.orgyjoumals/cup.html, ch copy of any part of'a JSTOR transmission must contain the same copyright notice that appears on the sereen or printed page of such transmission, ISTOR is an independent not-for-profit organization dedicated to creating and preserving a digital archive of scholarly journals. For more information regarding JSTOR, please contact support @ jstor.org. hupulwww jstor.org/ Sat Jun 17 19:08:27 2006Elke Hockings Helmut Lachenmann’s Concept of Rejection sn composer Helmut Lachen- san enjoys an exalted reputation among small ircle of English contemporary music enthusass, To the wider Engsh music puble, though, he is litle known.! ‘There are hardly any compre- hensive accounts of Lachenmann in English? His consciously lusive compositional syle could even be introduced tothe English audience as “old-guard avantgatde"? without being challenged ae al “The apparent confusion about Lachenann's snusic in English-speaking countess somewhat upssing His persstendy unusual and challenging instrumental treatments ~ olen asociated with modernism ~ can be only one reason for this hesitant Anglo-American reception. Compositions thae explore unusual sounds are by no means uncommon in these parts of the world, The problems mighe sem les trom the disposition of Lachenmann masi than from the way hs music * One only neds compare the England German veson ofthe Het of aan le Michael Rae, Als Kendal. coeds Fes Apa, Wild Melis (Oxo Oxford University Pe, 189), Lachenman who dil not fenare at alia the ong Engl verso, was goes dae reper is Gens cnmtepe * Ahh Lackemann ited in Engl enylopedin carly as 1974 only thre of Lachenmann’ ais hve Ben Trae eto Elsa, One of hse, Di Schou ‘de Stine, 2am Problem male As hee peared in Temp 15 (December 190) The "ent ‘rm today” The hd are,‘ Scarab a9 {ppea inthe samme of 194. Sleced sateen by the amperes offeredin Egleston nthe co Boch Ha Lach (Wieaden: Bre, 198, $1946, 1980) Various panages by and on Lachenmann se sppeaed in Engh proton notes e Huerseld ct Mos Festa 18h, Wars Attn 199 Tom, 98 1991} oF as recond/CD noe. Three Engh cay Rakin reran, Dial Smeyere and Job Waray 2 bel t Breshopl & Hare 9 Wiesbaden, Only Dee Sievers scour was pulied san American our, Te ‘Clr. A numberof prinmaacs aa CD review aces hive appeated sv Eng Lingua daly newnpapers ad music penndkaly Two of 23 tecondings epee inal seoding othe Campi Cll Cate be ‘Oyu extsoge sal doesnot any, » George Benin, programe ochre Meld (Suh Bank Ceo, London 1825 uly 193) np. is made palatable. On the European continent, Lachenmann's music is more or lst successflly smerchandied by means of a highly philosophic vernacular. This dialectic rhetoric has seldom been attractive to English-speaking music enths- iass. Against the music lovers" inclination for loosely-linked Iterary metaphors, Engh speaking. academia in_general appeats to. be Pligued by a bad conscience. I stves for che postivis'sshetoric, fll of facaal information anu one-dimensional logic (this understanding of logic exchades the most stimulating logic of opposition). There is a general resistance © anything thit is by definition ambiguous: for example, the aesthetic experience.* (On the other hand, English music literarure ts less filled with home-made philosophical speculations than its German counterpart. One would be hard presed for example, eo find in an English article an argument that builds om such monstrous univenalties as “art worthy of its art worthy of ts name should alo aways have a rursc, ueopan character. (Walter Giseer) ar-worthy ofitsname. wantstobe more than an are ork (aol! Stephan ‘That means conclusively that every art work ‘worthy ofits mame adds something new to the universe (Konrad Boehmer)" ‘The gusto invoked by a phrase like his exhibits ~ if nothing else ~ the speaker's sel confidence. As if he knew what artis! Does the “The author can ert the suppor of a8 Engh opin. See Crsopber Fon. ‘Britsh Muss a Darstae 18292 Tons 186 eptember 195), p25. S Kowpsiis i 20. Jabs etal — Zassmmerine (Celle Mocck Veg 1975. p.3, tans EH. All eam te by EH: expel Geran Cte ely wesc pce, ‘Uber Schwirgheiten der Bewerang und der Ana eweser Masi Tim mate Boar Gonmmel Terrie es: Reiner Darn Aness Ta Maia Scho Sine, 984, p80 > Wider dr Saeed Verinnelicang (Zar omposito chen Meth und Ashes) (190), Aowal Boner. Ds See Ole oe ow Mask 1961-1990 ed. Burkard Si (Catone: DuMont, 195) 235valuable attempt to tell justify the method of ‘excluding what is supposedly not worthy? Generalizations in the vein of German ve English or dialectical versus postivisic do. not help to clarify what may be seen more as dlisjoining tendencies rather than as opposing facts, Making a case for the differences between German and English ways of verbal communication Jin music-writings emphasizes the need to under- stind the German attributes in Lachenmann’s language, and to separate German modernist rhetoric from Lachenmann’s individual concepts. Only then can one start understanding these concepts as complex, fascinating and even at times paradoxical expressions of a creative mind, Te would exceed the scope of this article to investigate comprehensively all of the apparent distinctions, but a few thoughts about some underlying German values might be help Many German texts on contemporary music lose their rhetorical energy when translated into English, In their original German version, they gathered their main momentum out of a battle ‘with an abstract enemy: society. This version of German idealism has inflated all stands of social communication, Ie has to be stid. chat lingering German guilt about fascism and the ‘vo World Wars, the resistance to overpowering state intervention in personal matters, the urge for salient individuality in a tightly controlled infrastructure, and the opposition to over consumption in one of the richest countries of this world, ate issues not shared to the same existential degree by Anglo-American. ‘The continuous reference to German history and tothe political world at large was able to fuel German modernist music aesthetics. The global issues that were meant to be present in human behavioural isues were, at their core, middle- class conventionality nd ignorance. Philosophical and politcal criticism moved onto a highly abstract evel and became, inevitably, somewhat diluted by focussing on the symptoms of human behaviour rather than insisting on specific assessments of concrete political and economic realities. I has been said that a dose of sensual provocation will alert critical mind to whatever it is that might be wrong in this world Unfortunately, the enemy has never been less abstract than “society” The main regulatives of this society, namely the market and the resulting performance-pressure, have never been targeted (who, afterall, would like to saw off the branch fon which ehey ate sitting?) so the impact of "As Jig Seal has iby pointed out in sept so dhe ours model of the German new une ida “alhion ond Tadic, DX ne Al wa Helmut Lachermann’s Concept of Rejection 5 such protest has been very limited. Heinz-Klaus Metzger even claims that modernism never really existed” "Not only were the objects of this eiticsm too abstract. An aesthetic aim that bows exclusively to the “lord. of specialized work’! in dae it celebrates detail, the intensity of the extreme and the effort to decipher multiplicity, cannot care about anything ele. This is a fact, not 4 judgement. Alter all, ehe fanetions of music are manifold! ‘Those composers (including Lachenmann) who wanted ¢0 combine social criticism with a sophisticated stucturalism have Inad to face the 20th-century dilemma: there i, not enough scope for an individual person ~ and the aesthetic experience i foremost an individual fone ~ to engage in both aesthetic sophistication and the solving of such global problems as, for ‘example, starvation in the Third World, ecological disaster or Serbian miltaney. German modernism has defensively ridden the horse of guilt a touch too noisily, while underrating the individual's decision-making ability ‘At the same time, one should never under estimate the enormous creative power that has resulted from this frustration with the un ably poor state of the world. Morcover, the composers who admitted to feelings of increasing powerlessness have retained a personal integrity that others, who appropriated various artistic styles from the fashions of the day, have not. In assessing theoretical writings of modernist composers the task is 10 cut through this, honourable frustration, without minimizing the ¢lobal problems, while reflecting on inadequacies of language Lachenmann’s verbal strategies are a heavily intertwined conglomerate of socal aesthetic and technical sues that can best be understood when read against the German contemporaty music Tad, Sieben Kongrebeti wal ie antics Side, ie de sins fir Ne Mu wad Mahan Dard 19s Reinbol! Brnknann (Main. Scots Stne 1978, parclely pp 9097 "ner Masi 1997, Ble anih nach orn Ba er mode es Inge Roschek, Herbert C. Onerbich, Manos Tagan (Cologne: Thirchen, 182) pp 8S See yng i the sca poe toexpin everything Intoan eho of work, Lachenmann ia itr ith Hicine Klan Meoger, ragenund Antwoe (18). Mek Kincpe 61/62. Hla Lateonoon ed Heme Klas Meter, aie Rc (Meh dion ext» ke, 9), relist Simi, Morton Fema: ‘know nbodyencpt mys ‘who work 0 totemely «But they (joungr compose EH) donor unenand she amount of work tats etey fo wrtea pce in" we cine Asinnung der Mi dkrch Terentia Mort Feun und Tan Kens Geet Mui Tone 52m. 198) pats6 Helm Lachenmann’s Concept of Rejection Hela Ltrmae ps: Chats Oovl) scene of the las 25 years. This background could ‘be outlined with the following key stages: Cage's appearance in Darmstade in 1958, the ‘Art and Polite’ debate in the late 1960b/early 70s, Lichenmana’sanzument with Friedrich Newmaan aout the achievements of seialism in 1971, the revival ofthe aesthetic category ofthe beatiful fin reaction to Peter Michal Braun, 1975/76), the joint appearance of Lachenmann and Wolfgang uhm in Darmstadt 1982, the Henze-debate about “musica negatva’ 1983, andthe fll ofthe Kerlin Wall in 1989. Generally, Lachenmnann’s aesthetic thoughts have been formulated against the background ofa wider paradigmatic shift the problems of employing the metaphor of structre ‘were filly abandoned for the problematic metaphor of speech in the middle of the 1970 Anyone who failiarizes himself with Lichenmann’s verbal intentions is bound. to recognize the obvious change in his theworie, from paradigmatic conviction to a more personal view: His early writings continually interwove social interpretations and personal accusutions with logical arguments. Increasingly. though, Lachenmann as admitted that while his personal aesthetic philosophy stimulates him. the issue of| tnusie perception is finally ‘lef to the demons’ From the programme notes to Tanznite mi Devtchlandied (1980) onwards, Lachenmann increasingly stresses the personal nature of his statements Meanwhile find more and more dll to formlite 3 Kind of programme about my work .... my trust in language i receding. What happens in programme ‘ote ike this one isa manifold hiding of composers ‘The art consists of distinguishing the mask Gom the face. I do not exclude myself, beeawse I fel that cverything that we composers ater — in the sly perception tht the verbal medium is more coherent than the aesthetic ~ is more or ls dhe debris of sense find feelings, We throw them behind us in odd persecution mania inthe hope of escaping control of ths perplexity for which no magerne is responsible 980)" ‘This perplexity seems to have grown even greater, because in 1988 Lachenmann gave this ‘Surprising answer toa question from Heinz-Klaus Metzger: 1 am always earning around in cices, as you probably have realized, when I thik about the relationship between material and intentions ... But nobody should ak me, hove dhismechaniom of diurbance and binging to consciousness realy functions and why this, proces of distithance through serceualreiteepretae ton appears to be not only mere resistance But an expresive act believe i this mechani, and dhe ‘older I become the more I fly from the horible social pressure to explain everything into a kind of ethos af work. (1988) Despite the change in rhetoric, Lachenmann has formulated most effectively an approach to composition which relates to the structuralists’ concept of rejection " with a specific consider- ation of the ‘aura’. The following outline of " programme brochure Danaeshiner Ming 180, p22 "Fragen und Antworten’ 19-120. The late Here (ascn of ejection) bas fen sccompanied vasa ard 198) (ad ae) who ‘ommponl and verbo she vei of Lachenmann. The Stor thinking Bee of Nola A. Her, Fede Dil faci 1A, Hans Ulich Lehano,Diter Schl (around 1970) and Hane foacbin Hepes oath diferent lial motto) and more recently Mathie Splinger fd Grburd Saber, Bur he concep a jection ete core ‘of any moder doug oing bck the ist alo hs tentry. Move peciealys Thoms Meyer coined the term ‘achenmantscal =i nda the amy of mac textures (onl inarunentl este uid’ lene) gly pbiedinaspplement of tbe agama (1. Dee 1989p repined Musik Texte 32 (Dee 199) p53, [Newall Lichen sid demostate Dates at Jpteg te ‘eplotng caren’ of ged fntnaentl Sound, “Fagen und Antworten’ 3. The tem “ata! apposed wo describe a phenomenon wich i le concretely sencible with cenain act [arash he tee etn, Contr othe oro smpon, he tem sr wast neon by Alor ‘ese to Walter Benjani (fb. 1940)" tern aur ox fly though hough in Th. W. Adorno Ue Hiker ‘Benin Frat xn Main: Sukamp, 1970), pA, tro, gh athe ter ars Became racial buckboehisconcept of rejection is not exhaustive but aims 2 specification. Otherwise, Lachenmann loses against generalities; as Tristan Maral put it recently! "Every composer rejects, since every composer his choices! Tes important, in what fllows, to keep in smind that atleast since 1982, Lachenmann has denounced the concept of sejecton.'® He repeatedly claims that this concept has been ‘widely misunderstood. ‘The term [rezction, EH] is unfortunatly noe my invention ut used by me. .nreltion othe term of [beauty and of rejection of habit ad then the whole rubbish started, {she had o dig myself permnenely ‘ut ofall sat of, even well meaning, interpretations (ae) Despite these denunciations, ‘Je refuse le refus," Lachenmann spoke in 1990 about the "good old days of estrangement’." recalling the stimulating spirit of resistance that has certainly phyed a crucial pate in his conceprualization. At the same time ashis denunciation of rejection one ‘ean read, reasuringly, ‘The tak of dhe composer fly implies the creation of context which cleanest [the sound, EH.) and which tivesit back ie virginity under a new perspective. And this means les: to make, batt avoid, eo exelde the self-evident, eo invoke creative resistance, (1993) A ‘Lachenmann concept of rejection’ cannot be simply extracted from Lachenmann's written words, nor can the silent consent ofthe composer bbe assumed. This particular isue rather unearths ‘of Benjamin's argument i Dax Keser im Zetirsiner teicher Repo (Prank om Main: Saka, 163), psa p18. Lachenmann absorbed hs tem through Gyorgy Lak’ writings ‘Tray Mara pre-concet kt the concert on 25/07/ 1995 (Melb Fal 1993 London ~ South Bank Cent, 1825 july 15). "tm che open dicuions seth Wolfgang ihm at the armed mer couse 12, tp recordin, Iran, ‘Maatinatur Daria, No, Lachenmann in an interview with Chine Mas Hesucher Rundfkll (1 Feb 192, Mepage mss el at Brio. p2 "Lachenmann nan inervicw in Pai during the Fetal Domne Paris. 199, Sle Oe Meise, ado France) reported by Ane Rey i Le Mole and by Cleat Gord Heimat Lachenmann’ Kneis dr Gooner, fk Haney Werner HewterWaler Wolfgang Sper (Atanich edition tet + hai, ch sbsoqent delve, 154) np Sach book tt fe ro) 242, Pal Sache Sing > Ladesma nam iterview wth Peter Soendy. Des pads pmére, Eneten ance Hel Lachenmann [programe bochie otal D Anon Pri 198 Heat Leche, pS: tts from Lachenmann German tte ition ep Helmut Lachenmann’s Concept of Rejection 7 ‘representative problems. Firstly, the reception of Lachenamann’s musics already strongly established using ‘well meaning interpretations” that do not necessarily reflect’ Lachenmann’s own ideas. Secondly, his concepts have evidently undergone a development in the last 30 years. The same statement can mean different things a different times. Thirdly, even the most dedicated disciple of Lachenmann’s music will have to admit that there are a number of issues that are not completely rational in Lachenmann’s writings Hence, to follow Lachenmann’s theoretical reflections requires an awareness, not only ofthe German attributes and modernise language, but also of the irrationalities woven in the verbal ‘expressions ofa living composer who had set out to, and succeeded in, writing original music. 2. The Development of Lachenmann’s Concept of Rejection 2.1 Provocation Against What? Lachenmann’ questioning of social conditions is undoubtedly reflected in the provocative pose of his music. Ie reveals on the first encounter ~ rnextto an impression of seriousness anda somewhat exotic ingenuity ~ a strong sense of alternative thinking whichis supported by his writings. He has the courage to verbalize experiences that are different from our everyday ones. This almost reminds one of enlightened religious elements and has been described ~ against an undoubredly different representation by Lachenmann himselE = a8 Catholic? Lachenmann’s concept of rejection is most audibly an atitude of general provocation. His ‘musical ‘nguage” is, on the first encounter, that cof an ‘enfant cerribl’ who provides anaesthetic experience by means of an ‘intense shock’? 2 See Peter Becker's general dscasion of the concept of rejection ‘New Mask vicen Ange nd Verweng [Komponen hee. eich, mclgche and page Fragen Sich Bete, efi dein or Nee Mask aad Atuereclang Dara 23, cf, Ekchard Jose (nia Shot 198), 26-37 2 Frank Sick catered Lachenmann 2 atic in is PAD, ‘Da Police in den Komponen von Hela Lecheamann und Nicolas A, Huber, Rheiiche Fd Wilhelm Universit Bonn, Germany, 191, unpubl Sofi Gubsialinarefened tothe ms of Helet Lachernaon oat her sles f ni pal guy “The Hand at Compr Camper Comets About Comanpoy Sued. Andrew Ford (St sont: Alen 8 Un ry Ld, 193), pp 24025, Teng be netewory topo out a Lachmann grew pina clergyman’ household. Lachensnn’s wn iw pes i the following statement, Tame ataiy noe + mara vatherreigiwly minded~ andthe ame ne all ‘dob toward all (993), he terse wth Peter ‘Seeny."De parade ephmrer,progamme boche Ls Fetal D'Aaomne 3 Bai 1988,8 Helmut Lachenmann’ Concept of Rejection Regular sound-waves and an uninterrupted flow ‘of sounds ae suppressed. His continuous corings of unusual instrumental treatments, his expanded recourse to silence and statics, immediately stir the attention and creat a suspenseful intensity of unfulfilled expectations Inthe context of recent German discussions? silence, equilibrium and quiemess are celebrated as the ultimate modemis'’s rejection. They are used to refuse communication and to manifest defiance against the industrious performance of ‘our century. Since Cage and Feldman, however, silence was not only understood as disruption of confrontation but ako as an act of opening. The usc of silence has extended the spatial dimensions within which the perception of musical motion proceeds. Bue there are certainly more aspects to silence and quietness. They demonstrate a composers personality which could probably be described a self-critical. The modesty of acoustical means conveys a sudden bewilderment. [A ths point, hysterical and grotesque laughter and depressive mania succumb to the admission of a very personal responsibilty. Various religious practices have tied to reach this point of identification with one’s own responsibilities Christians have emulated this striving, in their call dna nobis paem. Its this aspec of silence that will retain an ethical value ong alter the effects of the unexpected novelty andthe provocation have subsided ‘When Lachenmann first mentioned the tem rejection in 1973, he would define the normal tone aan objet of rejection primary to provoke ‘Together with tema and Presi for cello, Air ‘exemplifies in my creative proces conscious beak in ‘octal aesthetic matters ofcourse an atempe and offer fof beauty not by mere rejection of the common but tsa through dgisng the conditions of ling besuy {suppression ofthe underlying physi requirements tnd energies, suppression ofthe underlying flor 2 Lachenmann ‘Lagi Nona oder de Ricki suf de see Mon (1969) dor 36 ne 1971, 238, > or example, te Bekele at Darmstad ent 21. lye Coal rd Lat Aceon eg Nes. Avr ot Ms der Copeman Hebe Henk ergs lai Neola! Manvel. Herbert Heck 18 pel Gerad ber, Skene. (Ver Scheie’ Scare! 60 (iotbem: Wale 1990, pp2-255, she ne Engl. {Gerke Sub “About Sence or What happen rotng happens En U2 (1901), poke oe Teac nol 2 "Silk Sino le Den Sicko Romine sen 10 (988, pp 2426 "Pir fhe L-mensoned ps Pies wat deve he ee fle oct by Wer Zimmermann rc de Vicia, Welle Grae, Gerd SoG So are recent conto by” Mate Sung Heir Holi Nisin Haber ‘if you like: ee hidden work. (1973) Increasingly, Lachenmann’s muted sounds and extinguished noises have been joined by tradiionally-produced tones. By 1988, he chimed that he is, lesshappy to employ ‘exteritoril sound material, Since the te no aboot new sounds ba abou new listening, his has also to stand the test vat the “beaut tone” of cello sting. (198)2" The incorporation of normal tones and flowing gestures have proven to bean addition to the brand-name ‘Lachenmann’. Far fom neo- romantic or "Klangiarben'-composers, Lachen- mann's primary palette of textures is sill arousingly elusive Beyond the experiments with instrumental alternatives, Lachenmann’s main object of provocation has been tonality aan incarnation of human ignorance. Inthe vein of Walter Ben} Lachenmann has led a complex. argument that connects a compositional technique (eg. tradi tional tonality) with reception habits in the ‘age ‘of technical reproduction’. Against an anonymous enemy ~ the complacent mass ~ the participants called for an ‘Aesthetics of Resistance’ =" Tonality was used a a euphemism not only for habitual reception but also for concert hall music representation, for an ignorant audience and fora musicianship of mere virtuosity, The attack against traditional tonality. was moreover a provocation against a multitude of implied ‘musical phenomena: such as, for example, cstablished genres, commercial dance rhythms, orchestral hierarchy or formal schemata that were associated, unquestioned, with bourgeots music making If one investigates Lachenmann’s attack against tonality in his music, rather than in his ‘writings, one detects an aspect of tonality other than the proclaimed listening convenience ot functional tutelage. Lachenmann’satack against tonality has mainly been an attack on the ‘perception of directed musical motion.2* Two of his critical comments from 1969 and 1979 suffci- cently demonstrate this misnomer (tonal suction, tension, pubs). Directed musical motion is indeed, to Lichenmann’s discomfort, not confined elidete KorumniatonGedanke und Pikes ‘nes Komponen (173 os 295M he 174, p20 Fagen and Antworten’ p12 peer Weis, dak kr Wikrams Henshelerag, 15) (Bern 2 This appears to be one pole muphor applied in imusclperpuon. Arce real mony the a Te ben ese smite for publican In Converyto tonality (nor is tonal music, by the way, “only” a directed process). While in 1969 he sill asked, How do 1 fice myself finally fiom the obviously obsolete tonality. its mental models and forms of ‘communication ~ or in other word: how do I get 0 4 kind of music beyond the laws of experience of the tonal consionsnes and its aesthetic taboo? in 1979 he had to conclude, Iedocs not matter how much one wants to fee oneself fiom tonality [diected motion, EH. Ie always catches up on you. The problem sa not: How do 1 ‘ceape from dhe tonal scion, ako not: wath which trick do Tadjse myselt toi rather, the Usk i 0 understand those tonal determinations of che material together withthe continually changing whole (1979 IE one reads ‘musical motion’ instead of tonality, one ha to agree with Lachenmann that the categories of tension and relaxation (diso- sance/consonance, cadence) canbe presen in all ‘music. Yet he has filed to acknowledge that che posites of tonal motion are not necessarily ‘exhausted by composing it sa dtected process ‘of goal and solution, as some harmony theories righ wane uso believe. Lachenmann, secondly, 2 Uap Non oer der ROAR af eerie Ma’ p28 2 Vis Gnndbesimmangen ds skins (1780 [NendAnaerswMad Geena ee Hebe Head (Calo Mery Hee Heck, 8, po Helmut Lachenmann’s Concept of Rejection 9 Pepin fake Sin Que 89 peed it pio a pe See an Semen reo im! also missed the point that directed “gestures and ‘movements are not determined by an increase oF decrease of tonal tension alone, but by any dlirected change of acoustic parameters (increase cor decrease of volume, widening or narrowing of the overtone band, acceleration or deceleration, tendency to either pulsed or pulseless eds) and, ‘most importantly, by the abstracting levels of hhuman perception." Whatever. metaphorical terms are employed in explaining human percep- tion, the mental switch between concentration on dleuiled gestures oF orientation towards more cohesive movements applies inthe same way for factional tonality as for post-onal music. The ‘more information the perceiving mind receives, the more it will abstract, but a ditection it will have. Lachenmann’ compositions ery to suppress the direction of identifiable gestures and movement ‘The ratio of changing acoustical parameters is, 2 This phenomenon afuman perception, cll ‘percep seaming sa seein seein Basbeen recent fof tm pycology research Fed Led, 5 Means nt A Bregnin). This manly American reach was ‘cceble knowin Gerny trough he work by Hele Es Mower. Her book on music pycology ule in 1985. Her paper in be Dumtade opting, Spmposm n 192 expicy quoted Lesh De a Moe Hite, "Uber de Wihmetinung mulalicher Former Fomine Ne Mok eee de Ist Ne ‘Mua ead Merson Darsa 3,e Eahcard Jo (hie Scot, 192) pp 2635, prlly p23,10. Helwut Lachenmann’s Concept of Rejection often either radically low, so that his gestures appear totally isolated, or so high that fields of manifold overlapped activities Ireeze into static blocks.!? Lachenmann’s resistance to motion tonality has matured since his outspoken offensive around 1970, Although he has continued 0 fequate ‘gesture and the dialectic mechanism of tension and relaxation’ with ronal chinking,§* tonality has faded asthe main object of his attacks, booth in his writings and in his compositions For the sake of consolation, I have decided from my ‘cutrent perspective to ave no more conflict wth tal reas whatoever. Hence, no mote fear of contac because Tsimply tell myslf U have been there (assay One can therefore not help noticing in Lachenmana’s later works an increased cohesive gesticulation, which he had once damned as Absurd forms. In an introduction to his irs string {quartet Gran Tir (1971-72, 76, 88), Lachenmann admitted that since Klangchaten (1972) his ‘musical form has displayed an ‘immediately comprehensible, unequivocal gestare.!S. This process has taken place since Acanto (1975-76, 2) both within his own musical idiom and by the incorporation of recognizable quotes. Lachenmann’s concept of rejection has obviously lessened its provocative habitus, both asregutds the unusual treatment of instruments 2s, well as his milder attitude to tonality. His provocation has formed, in any ease, only the starting point from which he "pursues his way £0 the end’ By turning his provocation into compositionally-shaped processes, Lachenmann’ works have succeeded beyond those of his many followers. 2.2 Interference to what extent? Ieis essential to demonstrate the point where Lachenmann’s provocative attitude feeds into his compositional works, The success of his compos tions has not rested on “ritualizing the sad and annoying social conditions” with squeaking Lachenmann wed other metaphors for what the suo ele ste blk he compared the crspeser with ah stan plier tuipulating. whole pipe=ound amis (Glske At a diferent pice be Salle» compostion 2 polyphony of orden’ (OF Hac) "Vie Grendbestn- ranger 93 2) -Bedigngen des Matrsh Sachwort mar Pras Jet “Theoncdang (178), Frente 7S, Dawah Bere ‘New Mla 17, Er Thoma Maine Soe’ She 198), p98 Lachenmann nthe inersicw with Chrtine Mat, pt Held an inroctory aper ats sce concern Manic, ecrded 8 Ap 84 >e-Feagen and Aneworte’ 13 ‘ois, but on an involvement withthe mystery ofan aesthetic experience that even Lachenmann will finally leave "up to the demons’ ® Until 1988, he strove verily to pinpoine the goal of his compositional endeavout. The keywords in understanding have been “strucerais’ with dhe inclusion of the ‘aa For Lachenmann, provocation against che common alvaye ined inereence with familiar sound combinations. In his word, the seructraist's approach expressed itself wih alls for individuation of the means in a work.” fora “confrontation with interconnections and neces sities of the musical material’ (1979) for a “detachment” of “means out of their common speech connection’ 1982)" for a “sructural refraction of old relationships’ (1988) for a “sense, keenly heard handling of the musica snateria’ (199) While these underlying ideas fof de- and reconstruction stem from post-war serilism (with reference to the German Beet hoven-BrabmsSchoenberg variation tradition), Lachenmann’ reflective language initially ook its impale from the Weis/Benjamin/Lukics tradition, and later shifted to the language of poststructralit philosophy. ‘The artwork is meant to be a complex organism of reshuffled and adjusted particles in an ever-changing context. Lachenmann expressed his thorough sympathy with the premises of seralism. This is why be hus often been assigned the role of defender of moderasm: the though ofthe serial 2s a speculative proces to detach the consciously levelled modifiation of the ‘orginal material om che common, materialized (erdigihtn) context, snd adiionally to mediate the abrupt, this as remained for me, and nor only forme, {valuable ides ot of the serial lesson. Beyond the Imechanicab-academic misuse, it is powsibly the core clement of musical srcturaign which i able wo lead ‘our merely hearing custo an altertiveFistening, and 2 Hans Were Henze, Dicer Ka. Bin Ae 1974-1982 (Fran MCS. Fhe 198), *Lachomann quote re phrte by Laigt Now, Manik baie Unshl velonen land Geel 9 (Ag! Sep. 19), a8 "Reding des Matera’ 957 4 -Viee Grondbesismangen des Maske 9.67 Accu, inna enee AuFrang in Zatch am 28, November WA, Mase Kage 6182_ Hela Lace (©°Frgen und Antworten’ p20 Mosk at tre Unica were’ p16 For example, wih the Minn Bile 1902 ‘mp ns ell unr the ie Mabe a Rome Sth ved once spun pom the paren Berwees Flas Lachenmann and Wolfgang Rib, ay modern rome pte12 Helmut Lachenmann’s Concept of Rejection beyond shit, 3 new way of fclng by taking the common apart has tobe sted, however, that he fexpresive determinations (eelaonhips), which re totaled ia the sound mater, xe sor Wily ‘verted, gored, ped (1985) ‘The fashionable terms de- and reconstruction are easily translatable into the cassie term variation, Lachenmann himself recognized this “The compositional proces which cases such preliminary and incidental negation could almowt be described i the categories of dhe clase thematic development. On the oponte ide, ave aca ised thet ne negation and trasformation proces inthe ‘Bae mocchen of Beethoven’ Hofer sd the fourth piece out of Weberns op.10. (1988) ‘The emphasis of this approach is not the proclaimed de- and reconstruction but the totality of its applied vanation principles. “Expressive reinterpretation through compre- hensive variation’ naturally leaves many questions tunanswered which cannot be taken up here. One query might, however, be directed to the degre of variation, 35 no composition is completely free of variation, and therefore of ‘individuation and cstrangement. How much variation destroys ‘common associations, and up to which point sit “mere stylistic imitation’? The subtleties of various degrees of estrangement would be more effective subjects of reflection than some extremist constructivist slogans. Lachenmann has increasingly conceived musical mater in terms of sound and action categories rather than physical parameters. Attention should ected to his statement from 1988 about ‘graded scales of qualitative jumps’ ‘Already inthe forefront of composing {happenupons for me incalelable mental connection of more a les complex extegories. Including thei fragility. they form mycomponionalnsrument, This relates tothe thinking in parameters ofthe ites, but which iniially stared trom quanttive galing, and played, so 10 ‘peak, wath previously insaledreglstors. The graded sles shat Teeate for myself consist rather out of qualitative jams that make apizzicat to anasco anda Punisimo toa forisimo, and the regulator and thee ‘way of fanctioning ate determined by my sel (1988) «Cerda Komponen 1986 Mai Te H(t 1986) pa Fagen und Anoworte’ pI © 'Silana — Abbildangen und. Kownmentrragmene (09837 Mank-Kint 162 Hela Lana, pp.7-7, The talaon of Bowen to 208 NO. imovement eto tm pero crsc, Bt expec eter hu de athe ewe Lakeman wis ea Sy Thevetremon amu hte amore concerned ith tno ay of ound peoducson rater mh mss notions mentioned arr i ale Fragen nd Antworten! ‘Once the awareness of Lichenmann's thinking incomplex acoustic (qualitative jumps that make a pizrcato to an arco...) rather than physically measurable events has ben acknowledged, his article from 1983 on the ‘Siciliano’ from his ‘Tanzate yields ample examples. For example. he Uifferentiates between a “distorted sound level “sounds which relate to blown tones but are beaten, plucked or touched’ and an ‘effectively toneless and hoarse tonelesness. His treatment of those unique categories in ‘Siciliano’, however, employs traditional variation principles such as “exposition... combination... separation... addition... intensification and extension’ Lachenmann’s fascination with extreme sounds and with various types of natural and manipulated echoes has much in common with the thinking in clectronicstadios of the 1950s and 60s. There is reason to believe that he conceived timbre, tone- ‘motion and echo very much in terms of electronically produced music." Tides such as cho Andante, Klangschatten, Schattentanz, Ausklang have hinted at his preoccupation with vatious echo phenomena ‘As amore important extension to the structuralst’s concept, Lachenmann has taken the philosophically abstract concept of ‘aura’ into account in his compositional manipulations. 1 think, the decisive specification of compositional thinking eam be extracted fom the parucular ay of reducing the term of struct n favour of inclusion of the “aus because through ths procedure the social realty and the existential experience of the individual © Acouic event oof mali of psc data were aeady Rules Sokhaert sarin point fr farther fcomction (Enyfeneptier) in bis Gee r “ang (195/36) ns Kon (1959/0) 8 Chg Dunemider pointed out in "Seve Menke wm 1: Sochanet Konak’ day, Bie 24 cer Poe ee ds Komponen echt Be Hawt Heth xg um erg (Star Fan Stine: Veg vo) ps Sciam, pp.76-M, Se Lachenmann’ destin ofthe a 2" Lcheoma’sconcepof gue cnet stramentale isa comple topic is conep of rjc and Aherelne ot pursed ere any fate, 22 The te asi decid by Lachenmann "Die ie Gnundbesinmange’, p72. sho im "Bedingungen det Maer pt ackenann sho ys heer exe inject spony with “ars ie Bodin det Maer 3 ‘Confsnply. Lchenmat’s tem “steve pats! Uist mension in "Di Sekine and die Schein. Za Poblen mshalicher Aste hee (1976, New lhe Sg 24/1 (FebMatch 1977}, ppt?) sometimes wed Syosocnly wth al "apes ofthe musa mater ee ‘Uber das Komponen 9) a sometinessyonsmotly seth th ara ly ce Ase AB orn Mescew NZpa ie (on P85 phappear not only a8 a component to hide fom oF to reject bu as an essential component of musical formation, however mirrored (1978) Lachenmann’s increasing reference to. the “speech quality’ (rather than ‘auratic quality’) might have been the result of confrontation with semiotic theory. Foreign and native literature on semiotics appeared in publication iss from che catly 1970s onwards and spread among German. inellecuals. Lachenmann’s seruggle for eredi- bility in a commercilly-orinted music industry cexprescs itself as avoidance of unequivocality, even if his theoretical writings apparently clsguise precisely this degree of imprecii The resulting ‘speechless gesticulation’ (Konrad Boehmer’) of his music cannot rely on an cstablshed system of communicational signs but ‘operates on other cognitive levels of game and perceptual ambiguity/mobilty. One of Lachen- ‘man’s achievements rests in che subtle shadings that can be made out in this zone between the definitely familiar and referential chaos Lachenmann’ attempt to restore credibility to ‘music's “speech quality’ through structural inter= ference occurs on at least two levels. He disappoints expectations conjured up by symbolic sigus and he avoids clearly articulated form ‘from above’ (Adomo). The first approach can be loosely described the second necessitates analysis, that cannot be done independently of the composer. Lachenmann manipulates associations with, for example, tonal gestures (eg. Mozart’ clarinet concerto in Acant), folk songs (eg the nursery rhyme “Hanschen Klein’ in Ein Kinderpie), dance rhythms (as for example a siiliano in Tanzsute mit Deutschland), musicr ians' habits (e.g. the virtuoso). quotes in quotes (eg. the folk song ‘Oh du lieber Augustin’ that Schoenberg used in his Second String Quartet is used again in Lachenmann’s Mouvement) orchestral mannerisms (eg. the unresolved romantic swell 2 Bedingungen des Matera’ p97 ++ For esample, Ubero E's Et in Sei ws ‘amined to German in 17; Op ipo Da Of nv in 173, Jem Pagers Br Stas as felt in 1973 Hans-Georg Gast, De Abit de She Kat ale Spi, Spl dF Ses, 197) Arm's Ma Spat andr Veins ego Kenpo ws pblied i 1978, Gemmehe Sn 6 (ran Nl: ibang), wee en on 0 Mesa re eh ce nc ‘Niom Chon. Aik Sjar-Theve (Fat ai Subsam, 183, * Sprache Ges al Fomproblem aces Msi For i Nar at, Veen sts New Ma ‘in Mukering Dart 3, Elke Jot (Maine Shon. 192), p.6-2, ‘Helmut Lachenmann's Concept of Rejection 13 gesture in Konrakaden) a5 well as certain musical articulations such as arpeggio- and_glssando patterns, Bartok pizzicatt (Gran Tero), oF even concrete sounds of children, as in Fasade°° Lachenmann has seldom specified his objectives more specifically. In the introduction to the clarinet concerto cana (1982), he lists che destruction of the melody, harmony and the ‘beau tone. Beyond a provocative rejection, he consciously works agains ‘a pulsing meter 3s basis for every familiar tonal time determin- ation’? During the whole clarinet concerto, for ‘example, Mozar’s concerto runs silently on a tape, Only once does it break into the region of acoustic perception. Already on an exposed level, Lachenmann deconstructs Mozart's masterwork, the tonal language, the gene ofa concert, the expectations ona viruoso soloist and the eapacity of a clarinet In the article on his ‘Siciliano’ (1988), Lachenmann talks about resisting ‘pitch order (i 2 tonal or serial sense) by integrating unexpected noise spectra of all kinds of defnitepitch- instruments with indefinable pitches.** In response to Heinz-Klaus Metager (1988), he also ‘mentions musical contradictions whose exhibition results in a compositional strategy. namely berween ‘polyphonic order and sound’, between “musicians habits and a new action repertoire’ boeeween the ‘varying treatments of the filth tuning of instruments, ofteemolos, down and up bows!” Lachenmann’s sophisticated confrontation with expectations employs much more than a Acan pp * Sin’ p76 Fagen ond Aneworte,14 Helmut Lacenmann’s Concept of Rejection ‘The shift of emphasis in Lachenmann's concept of rejection was strong: from a general social cntique manifested in a provocation aginst the beauiful tone and functional tonality, to the rejection of the associated ‘ar’ by means of an extended. stacturalsm. The extreme consequences of such an approach resulted, finally in the rejection of any personal expect- ations ofthe composer Helmur Lachenmann, as he demanded fom himself, 4 kind of imensive inner provocation, which follows (him) inc hs sleep The issue is not propel ‘nos new ad iteresingstuctural world, Thisshould only be exciting beatae i exsites i and demands an “ltemative behaviour of us. The excitement should fake place within our self-discovery (1988) Following Lachenmann’s statements through the self-evident and the extreme has not solved many questions for theoreticians. Admittedly, he thas outlined his internal concerns, has defined his, ‘emphasis at different stages and has demonstrated ‘open questions. After attraction to and involve rent in Lachenmann’s theoretical statements one is likely to arsive, once again, at che question of the importance of «composers verbal expressions in relation to their music. Without demanding rational validity, we are prepared to accept that birds and religious notions have been intensely inspiring for Olivier Messiaen. Just because Lachenmann’s statements appear to be rational does not mean they have not stimulated him in the same way as the birds did for the French ‘master. Afterall, it was Lachenmann himself who disclosed to Ulrich Mosch chat his thoughts have been ‘the work accompanying mental gymnastics’ A stretching exercise for the triple flip of the actual performance? ‘What is the actual performance of a musico- logit interpreting the Lachenmann-sources and verbalizing the experience of his music? How successful will che musicologis’s attempe be t0 force the ambiguous into. the unequivocal? “Fragen uid Annwore’ p.8 Obviously, litte analytical work has been done fon Lachenmann’s music*! Inthe few examples availble, speculations appear in such awkward language as ‘inner and outer pedal points. ..(2) for “moments of orgasm. ..(?)" Lachenmann himself consciously avoids specifying technical procedures. Like those of Pierre Boulez, Brian Femeyhough and others the compositional constructions are complex to such a degree that ‘empitical analytical research is bound to get los. What can be deduced are numerical orderings on a very superficial sale ‘One can bear a number of prejudices towards academia, butit gives the time and scope to linger fon contradictory issues without having to solve them shore-sightedly. The analytical problems ‘with music like Lachenmann’s can indeed be addressed if one allows what appears to be ‘contradictory inthe first instance to become the crucial stimulus. If one is prepared to explore the field of perceptual mobility between various levels of abstraction and focus, one is able to break out of both German generalizing philosophy and English positivist analysis, One rot surprised to find in Brian Ferneyhough 2 person who bridges those worlds: in my own works 1 atempe to ensie 3 syle Jimmanent double coding in and theough the space opened up by perceived. distonanal mobility of relationship both frm the objective and he subjective standpoins, the former by means ofseuetual mul tracking’ -. she later, subjective, viewpoint is, meanwhile, manifest in the way the shadowy. rationaly-repeesed "Other sallowed the opporeunity to thrusts panfal wedge nto the monadie carapace of onder. ‘The subject analysis is another chapter in the life of the present musicologist. As long as this issue cannot be comprehensively discussed ~ and it can, unfortunately, not be done at this point ~ the topic of Lachenmann’s rejection will inevitably remain fragmented. The fragments, nonetheless, are telling The more sabato. by Hamer a, Pee Barings, Robe Penckows and Lichen hamelt peated oly 2M ona 61/82 Heh Lakeman. © You Shake, "Wie en Ker afd Ricken ppl fs Measnea ond Entoran) (1982-48) von Helm Ceboumun!, Maske (ek 1985), pp.te See Lichen’ ‘plypbony of onder ‘tulle Unive, ihe snd Kompston. Damier Brae snr Neves Ms 2, of Gane Bove, Ulich Monch (ain: Shot. 198), 9:2