with a vibrato-like motion of the finger which thus produces the quarter-tones in a rapid tempo. Lachenmann, Toccatina. The string indications should be. 10 2 15 Back again to Lachenmann ‘Toccatina’, a piece which continues to entrance, after 15 years of performing it. The first time was in a very. Download Lachenmann – Search. Home · Lachenmann – Lachenmann – September 18, | Author.
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However, for Lachenmannnature is never merely lying ready to be disposed of; it “loves to hide,” and can be approached only through peeling away the layers of the familiar. And so, the pulverized shards of hypothetical or vaguely remembered lines, threads, and continua summon, even conjure up, visions of a totality in a way that no direct simulacrum of that totality ever could.
Sexy Trippy All Moods. Mikka and Other Assorted Love Songs. Ensemble Recherche Edition, No. Genre Chamber Music Classical. In its sheer humility, its barely testified presence, this little five-minute study for solo violin casts an oddly inverse light on much of Helmut Lachenmann ‘s music.
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Toccatina, for violin | Details | AllMusic
These sounds might, very excusably, baffle the listener — in many ways, they seem extremely parsimonious, considering the otccatina of the violin. Rainy Day Relaxation Road Trip. Share on facebook tocatina tumblr. In a way, the score is a throw-back to the “instrumental musique concete” of Lachenmann ‘s breakthrough years in the late ’60s, when he began re-inventing the means of sound-production on the standard instruments of Western music: Spot-lighting the acoustic machinery of the instruments themselves becomes a means of setting their expressivity aglow; the splintering rejection of a musical metaphysics, a refusal to make tocvatina about music as a whole,” engenders through all its severe dedication an impossibly new metaphysics of music, both present and inaccessible; these sounds speak as if on no one’s behalf but their own.
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In his own hobbled and occasionally cantankerous fashion, Lachenmann is a die-hard humanist, all the innovative and polemical aspects of his art ultimately a provide means of creating a more intimate and potent form of communication, even “harmonization,” between individuals. The Toccatina presents a similar situation: Hoccatina the exquisite fragility of the bow-screw’s string-smacking transcends its simple sonic life and becomes an index of the charged air, which during the work’s performance is breathed by both the audience and “that person onstage,” the performer; the stage itself seems to fade away, as do the mediating structural elements which separate “the score” from “direct speech.