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10:00 AM-5:30 PM

Helmut Lachenmann @ 90

Mini-Symposium|Six Presentations and a Discussion explore German composer Helmut Lachenmann's work and legacy

  • Goethe-Institut Boston, Boston, MA

  • Language English
  • Price Admission free, please RSVP
  • Part of series: Helmut Lachenmann @ 90

A man facing the viewer in the foreground, musicians in the background. Helmut Lachenmann

On the occasion of the 90th birthday of Helmut Lachenmann, one of the most influential and deeply visionary composers of the last 100 years, the Goethe-Institut Boston hosts a mini-symposium with composition students and professors from New England. Six informal presentations by a variety of mainly Boston-area composers, historians and musicians give insight into his work and are the basis for a discussion on Lachenmann's unique sound world and his continuing influence on composers today. The goal of the following discussion is to formulate a list of questions for the composer in an upcoming internal zoom conversation for composition and other interested students.

The mini-symposium is free and open to the interested public. Please rsvp here. SCHEDULE

Rick Burkhardt: Resonance - Helmut Lachenmann's Allegro Sostenuto
10:00–10:30 AM 

Helmut Lachenmann’s Allegro Sostenuto takes as its material the dynamic envelope of notes played on the piano, and explores artificially altering that envelope by combining it with the varied, controllable dynamic envelopes of the clarinet of cello. This presentation investigates how such alterations inform the formal structures of the piece, analyzing the piece’s first section in detail, and proposing a way of hearing the form of the entire piece in relation to discoveries from that analysis.

Richard Carrick: Performing Salut für Caudwell
10:30–11:00 AM

Salut fur Caudwell is one of Lachenmann's unique works from the 1970's, blending a new catalogue of classical guitar extended techniques with disjoined text by idealist English poet Christopher Caudwell. Richard will offer an analysis of the work, based on rehearsing, performing and analyzing the work with Lachenmann in 2008, focusing on how the music uses micro sounds to generate energetic and deep musical expression.

Stephen Drury: Serynade: Melodies, resonances, silences
11:00-11:30 AM 
An investigation of Lachenmann's major work for piano solo, its techniques and sonic implications. Block chords, figurations, repeated articulations, and sympathetic resonances combine to create an emotionally evocative and visionary spiritual journey. The resources of the piano are expanded by careful compositional attention, provoking an intimate and compelling degree of listening guided by a clear and exquisite formal structure.

BREAK
11:30–11:45 AM

Rebecca Marchand: Darstellung v. Notieren: Considering Dimensionality in Graphic Notation

11:45 AM – 12:15 PM
In a 1970 interview with Ursula Stürzbecher, Helmut Lachenman used the phrase "graphische Darstellung" (versus "Notieren") to describe notations in Pression and Guero. This work-in-progress probes the possible significance of that phrase, suggesting that it might be more than just an issue of semantics and could ultimately provide a keener and more specific analytical taxonomy for discussing graphic notation.

Nima Janmohammadi: That rare joy of listening...
12:15–12:45 PM

In this presentation, I examine the generative properties of musical objects in Lachenmann’s Zwei Gefühle (1992), tracing how a basic musical idea evolves into large-scale form. I will show how these generative properties permeate every dimension of the musical material—harmony, timbre, temporal treatment, and the morphology of gestures. In particular, I will highlight how musical objects themselves act as formative agents, shaping dynamics, acoustical oppositions, temporal proportions, and ultimately the overall architecture of the work.

Efstratios Minakakis: Architectonics of Sonic Design: Towards a Gestural Syntax in Lachenmann’s Grido
12:45–1:15 PM
This presentation proposes a method of conceptualizing aspects of gestural syntax in Lachenmann’s work and applies it to an extended passage of his third string quartet, Grido. The method complements Lachenmann’s idea of sound-types (1966/91) with analytical tools adapted from Dora A. Hanninen’s “Theory of Analysis.” Using the latter, I organize individual sound morphemes into associative sets and examine how they interact with each other and evolve into a network of associative landscapes. I further address how the mechanics of their interaction and evolution create syntactical implications that inform the larger sonic design.

LUNCH BREAK
1:15–3:15 PM

DISCUSSION & QUESTIONS FOR HELMUT LACHENMANN
3:15–5:30 PM

Biographies

Rick Burkhardt is a composer, writer, and performer whose text and music compositions have been performed in over 40 US cities, as well as in Europe, Asia, Australia, Canada and Mexico. He currently teaches songwriting, and has in the past taught courses in music composition, playwriting, performance, and music history at Brown University, Harvard University, The Evergreen State College, and the University of California, San Diego, as well as workshops in colleges across the country.

Richard Carrick is a composer, conductor, pianist, and Guggenheim Fellow. Described as “organic and restless,” his music combines spatial depth with emotional intensity and includes works for solo instruments, ensemble, orchestra, and multimedia and participatory formats. He directs the composition program at Berklee College and the Either/Or ensemble in New York. His artistic career has been shaped by international teaching and concert activities, as well as studies at IRCAM and the Royal Conservatory, among others.

Stephen Drury is a pianist, conductor, and internationally sought-after performer with a repertoire ranging from Bach to contemporary music. He has performed in renowned concert halls such as Carnegie Hall, the Kennedy Center, the Barbican Centre, and the Leipzig Gewandhaus, and has brought modern sounds to Pakistan, Greenland, and Montana. As a committed promoter of new music, he has worked closely with composers such as John Cage, György Ligeti, Frederic Rzewski, and John Zorn, given master classes worldwide, and founded the Summer Institute for Contemporary Performance Practice at the New England Conservatory, where he also teaches.

Rebecca Marchand is a professor of music history at the Boston Conservatory at Berklee, where she has been teaching since 2009. Her teaching and research focus on contemporary and experimental music, particularly graphic notation. She was president of the New England Chapter of the American Musicological Society and is a member of the national council. In addition to her teaching duties, she coordinates the music history department and directs the ETUDE program to promote diversity and inclusion in teaching.

Nima Janmohammadi is a composer, improviser, and multi-instrumentalist. As a performer of Persian classical music, he studied with renowned masters of Persian music including Mohammad Reza Lotfi and Hossein Alizadeh, and has since appeared in numerous concerts and recordings. As a composer of New Music, his works range from symphonic and chamber ensembles to string quartets, saxophone orchestra, and open-form graphic scores that integrate composition and improvisation. Nima is a full-time faculty member in Contemporary Musical Arts, Music Theory, and Musicology at the New England Conservatory of Music. He holds a bachelor’s degree in Persian classical music from the Tehran National School of Music, a master’s degree and graduate diploma in Contemporary Improvisation, and a doctorate in Composition with a minor in Music Theory from the New England Conservatory.

Efstratios Minakakis is a composer, conductor and educator whose work engages memory, cultural identity, and art as social testimony. It also explores the rich possibilities engendered by the interaction between arts and sciences. Described as “emotional, to the point of viscerality” (Cleveland Uncommon Sound Project) and “an alluring haze” (New York Times), his music has been commissioned and performed by leading contemporary ensembles and performers, such as the Grammy award-winning Crossing Choir, Prism Saxophone Quartet, and Partch Ensemble. Recent notable collaborations include saxophonist Don-Paul Kahl, bassoonist Ben Roidl-Ward, pianists Jihye Chang and Katelyn Valhala, cellists TJ Borden and Annie Jacobs-Perkins, and violinist Gabriella Diaz. Upcoming projects include the world premiere of Vykinon, a microtonal concerto for two pianos and wind orchestra commissioned by pianists Stephen Drury and Yukiko Takagi, and a new work for the Loadbang ensemble. Efstratios is a faculty member of the Composition and Music Theory Departments at New England Conservatory.