{"product_id":"lachenmann-ausklang-breitkopf-1","title":"Lachenmann: Ausklang","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/helmut-lachenmann\"\u003eHelmut Lachenmann (1935-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Study Score\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano, Orchestra\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Ausklang (1985)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: Paperback\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790004209097\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e13.8\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 192\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ca href=\"https:\/\/issuu.com\/breitkopf\/docs\/pb_5168_issuu\" class=\"global-button global-button--text\" target=\"_blank\"\u003e \u003csvg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"16\" height=\"16\" fill=\"currentColor\" class=\"bi bi-book\" viewbox=\"0 0 16 16\" style=\"margin-right: 5px;\"\u003e\u003cpath d=\"M1 2.828c.885-.37 2.154-.769 3.388-.893 1.33-.134 2.458.063 3.112.752v9.746c-.935-.53-2.12-.603-3.213-.493-1.18.12-2.37.461-3.287.811V2.828zm7.5-.141c.654-.689 1.782-.886 3.112-.752 1.234.124 2.503.523 3.388.893v9.923c-.918-.35-2.107-.692-3.287-.81-1.094-.111-2.278-.039-3.213.492V2.687zM8 1.783C7.015.936 5.587.81 4.287.94c-1.514.153-3.042.672-3.994 1.105A.5.5 0 0 0 0 2.5v11a.5.5 0 0 0 .707.455c.882-.4 2.303-.881 3.68-1.02 1.409-.142 2.59.087 3.223.877a.5.5 0 0 0 .78 0c.633-.79 1.814-1.019 3.222-.877 1.378.139 2.8.62 3.681 1.02A.5.5 0 0 0 16 13.5v-11a.5.5 0 0 0-.293-.455c-.952-.433-2.48-.952-3.994-1.105C10.413.809 8.985.936 8 1.783z\"\u003e\u003c\/path\u003e\u003c\/svg\u003e Look Inside! \u003c\/a\u003e \u003c\/div\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ca href=\"https:\/\/www.breitkopf.com\/assets\/haendler\/samples\/9790004209097.pdf\" class=\"global-button global-button--text\" target=\"_blank\"\u003e \u003csvg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"16\" height=\"16\" fill=\"currentColor\" class=\"bi bi-file-pdf\" viewbox=\"0 0 16 16\"\u003e\u003cpath d=\"M4 0a2 2 0 0 0-2 2v12a2 2 0 0 0 2 2h8a2 2 0 0 0 2-2V2a2 2 0 0 0-2-2H4zm0 1h8a1 1 0 0 1 1 1v12a1 1 0 0 1-1 1H4a1 1 0 0 1-1-1V2a1 1 0 0 1 1-1z\"\u003e\u003c\/path\u003e\u003cpath d=\"M4.603 12.087a.81.81 0 0 1-.438-.42c-.195-.388-.13-.776.08-1.102.198-.307.526-.568.897-.787a7.68 7.68 0 0 1 1.482-.645 19.701 19.701 0 0 0 1.062-2.227 7.269 7.269 0 0 1-.43-1.295c-.086-.4-.119-.796-.046-1.136.075-.354.274-.672.65-.823.192-.077.4-.12.602-.077a.7.7 0 0 1 .477.365c.088.164.12.356.127.538.007.187-.012.395-.047.614-.084.51-.27 1.134-.52 1.794a10.954 10.954 0 0 0 .98 1.686 5.753 5.753 0 0 1 1.334.05c.364.065.734.195.96.465.12.144.193.32.2.518.007.192-.047.382-.138.563a1.04 1.04 0 0 1-.354.416.856.856 0 0 1-.51.138c-.331-.014-.654-.196-.933-.417a5.716 5.716 0 0 1-.911-.95 11.642 11.642 0 0 0-1.997.406 11.311 11.311 0 0 1-1.021 1.51c-.29.35-.608.655-.926.787a.793.793 0 0 1-.58.029zm1.379-1.901c-.166.076-.32.156-.459.238-.328.194-.541.383-.647.547-.094.145-.096.25-.04.361.01.022.02.036.026.044a.27.27 0 0 0 .035-.012c.137-.056.355-.235.635-.572a8.18 8.18 0 0 0 .45-.606zm1.64-1.33a12.647 12.647 0 0 1 1.01-.193 11.666 11.666 0 0 1-.51-.858 20.741 20.741 0 0 1-.5 1.05zm2.446.45c.15.162.296.3.435.41.24.19.407.253.498.256a.107.107 0 0 0 .07-.015.307.307 0 0 0 .094-.125.436.436 0 0 0 .059-.2.095.095 0 0 0-.026-.063c-.052-.062-.2-.152-.518-.209a3.881 3.881 0 0 0-.612-.053zM8.078 5.8a6.7 6.7 0 0 0 .2-.828c.031-.188.043-.343.038-.465a.613.613 0 0 0-.032-.198.517.517 0 0 0-.145.04c-.087.035-.158.106-.196.283-.04.192-.03.469.046.822.024.111.054.227.09.346z\"\u003e\u003c\/path\u003e\u003c\/svg\u003e PDF Preview \u003c\/a\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eThe wish to defeat gravity, to outsmart it, or at least to simulate situations of conquered gravity, can find its pendant in the many attempts to delay the fading away of sound which has been put into vibration by an impulse - or instance the sound of a piano. The history of piano music, and not just since Romanticism, is almost completely the history of such techniques. Though these play an important role in my compositions, I am more interested in how the possibilities are changing. Pianistic models derived from fingering techniques, organised as mechanical processes initially only meant to move the strings, the fading away of which should be prevented by several violent interventions; severe rhythmicised processes of construction and deconstruction; filtering, sudden integration of totally different categories of perception, etc: such smuggled models created their own dynamics.\u003c\/p\u003e\n\u003cp\u003eAlso essential is the possibility of transfering the initial pianistic type (attack impulse, figuration, form, metamorphosis, but also reversibility and firmness) to the orchestra, to separate characteristic orchestral groups as if to create a superpiano. The solo instrument thus becomes only part of the whole. As signposts in this material landscape, there are raw basic forms such as the unchanged echo, the pure sound, but also more complex forms such as \"false echo\", the \"filtered cantilene\" and finally also \"martellato\" fields covering their own echo or being swallowed by it\n.\nSimultaneously, there is a harmonic image: harmonics orientated towards simple and aggregate forms, unison sound (the orchestral version of the string choirs of the piano), but also a second, the simple tonally unresolved interval. All these are coordinated in view of the fading processes which have to be hindered on a small and a large scale, expressively emptied and loaded anew. The music thus goes through situations which – continuing, contrasting or changing in quality originate from one another. It appears to move away from the initial idea, becoming more and more independent, only to reach that same idea again, recognizing themselves as a giant cantibile, and subject themselves to it.\u003c\/p\u003e\n\u003cp\u003e(Helmut Lachenmann, program notes for the Huddersfield Festival 2000)\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Breitkopf \u0026 Härtel","offers":[{"title":"Default Title","offer_id":43386108608591,"sku":"PB5168","price":143.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/43baff418e0176554646516c0bdcce14.jpg?v=1752263581","url":"https:\/\/www.ficksmusic.com\/zh\/products\/lachenmann-ausklang-breitkopf-1","provider":"Ficks Music","version":"1.0","type":"link"}