Lachenmann- Gran Torso (1/3)

[smakant71]

qué cantidad de tonterías se escriben en contemporánea

[rpaguayc]

NO entiendo esta musica.. hay alguna lectura que me pueda ayudar a comprender?

[mindbodylightsound10]

my professor let me borrow a score for this piece. it's nearly impossible to read.

[japanesesweet]

02:11-perfect 4th....it really stands out in a way which is very poetic.

A lot of this guy's music i find rather earnest but this piece is rather special-the sounds really capture your imagination and as ever it's very well organized.

[ViewerNotes]

Para mi Lachenmann es el Michael Haneke musical

[John11inch]

Not a good name drop any more, since he won the 2009 Palm d'Or.

[juancomp]

I read about this piece in an essay he wrote about his second string quartet and I didn't think it would be around here... amazing! Love the comments, too. They're kind of distracting in their glorious blaze of stupidity, though... Thanks!

[BlueCougar]

Does he always freeze like this during a performance?

[alfaandomega1]

jejejejejejej I bet yes

[John11inch]

He's plotting on how to make a cello sound like a piano for no particular reason.

[BlueCougar]

Maybe that is the music you hear when you stop time.

[mrpankau]

@BlueCougar He's shooting one of the percussionists with his finger.

[Semente200]

Music is something totally different. This is an experience with sounds, nothing wrong with it, but can´t be considered music.

[vandyhall3bitches]

Can you tell me what music is then?

[Sleezy0091]

But I think people like this are wasting their time. What's the point of exploring these techniques on the instruments. They're obviously not meant to sound like that and it sounds like arse. Well, not really arse, but I don't particularly like their sounds. If he wants to push the boundaries between music and noise, why not explore synthesizers, rather than trying to pull attention to yourself by doing 'avant garde' stuff on traditional instruments

[John11inch]

There is no "point" to it other than to produce the effects that the composer feels are necessary and/or advantageous to the piece. He is not simply doing "weird stuff" for the sake of it; these are the sounds that he wants in his music.

Whether or not you (or anyone other than the composer) likes the sounds is inconsequential to your "question" (I hesitate to call it a question, seeing as how you are musing, rather than asking). [cont]

[John11inch]

Whether or not he is successfully "pushing a boundary" is not germane to the process of composition. The piece was not written with that goal in mind.

Also, could you please elaborate on your assertion that electronic/synthesized music is superior? I do not see the correlation.

[thinedoor2]

I think that Sleezy was trying to say that timbral experimentation on any instrument can get tiresome or just fail to have an emotional impact comparable to what may come from experimenting with newer media, which have historically been seldom employed in "classical" music and represent an untraversed horizon with more analogous possibilities in creating sonic effects.

[John11inch]

Electronic means of composition have been plenty explored. It's dead. It was explored to death in the 50's and 60's, carried on sporadically by Ligeti, Stockhausen, Barraque and Xenakis.

It's been done.

[thinedoor2]

That's very true, and I've long enjoyed the electronic output of those composers, but since that renaissance of innovation, digital synthesizers especially have advanced in terms of range and capacity of sound. Aside from maximizing performing forces and suffusing them with different combinations of phrases and counterpoint, I have no idea how composers of today (this work is from '71) can innovate in meaningful ways and affect desensitized ears.

Thanks for all your contributions, by the way.

[John11inch]

That's true as well. Once you have become familiarized with most or all of the major schools of modern composition, it's very difficult to find something "new". I think that as music progresses, what will be "new" to someone has to become more and more complex; that is to say, distinction will have to be derived from a larger system of sound usage once we have heard all of the possible variances in a smaller gestalt. I think Lachenmann was the first composer to implement this ideology.

[John11inch]

Unfortunately, as we are subjected to something new (in this case, Gran Torso itself), we again can not comprehend the more complex form that distinguishes it immediately, like we may be able to distinguish something more simple like "making a violin [make that noise]", which is how he interprets the piece.

[thinedoor2]

Very well-said.

[BlueCougar]

Since you can produce these sounds on these instruments, they are indeed meant to sound like that (among other things). Lachenmann just shows what is possible beyond nice Mozart sounds.

[codroipo80]

Lachenmann = to laugh, man

[klmnplk]

thank you !!

[MaxRidgway]

Wonderful!