Air for Orchestra with Percussion Solo - 20 Min.; only study score; orchestral parts for hire

new version 1994

Youtube-Audio

solo: perc – 4(4picc.A-fl).0.4.2.dble bsn – 4.3.3.1. – perc(6) – hp.e-guit- pno.e-org – 2 ad-hoc player- str: 12.12.10.8.6.

World premiere: Frankfurt am Main (Darmstädter Ferienkurse), September 1, 1969
World premiere of the revised version: Graz (Steirischer Herbst), October 8, 1994
World premiere of the EMO version: Wiesbaden (cresc... Biennale), November 27, 2015

As well as in the previously created Notturno, it was also necessary to gain new functions for the anachronism of a "concert" for solo and orchestra; Functions that refer to the realistic of the instrumental actions beyond the sound - or even past the sound. Experience has shown that - and causing - under certain conditions - every sound based on its special properties with the listener very prosaic conclusions about the concrete situation and the mechanical process that has produced it. A high horn-tone, for example, may be experienced in a tonal connection as a consonant or dissonant contribution, in a non-tonal area as a "emancipated sound color"; Another way to take note of it in everyday life would be to take note of it and to be aware of as a direct result of a characteristic physical effort under certain conditions. Not to be covered or blurred this prose aspect of the one who was heard, to prevent its displacement from the communication process that is common with regard to any aesthetic utopias, formed an impulse determining the composition technology when working on this piece. Instrumental alienation, popular stone of the impetus among the audience and also with some players; The suffocated blow, the pressed string, the toneless air floor: in such a context, they mean non-surrealistic gag or aggressive provocation, but logical integration of the entire available sound and noise repertoire beyond salon-capable, and they serve a concept of beauty that the taboo of habit breaks through and is based on the purity and structural clarity of the sounding situation as an energetically determined field. The solo drums as the most sensible-also obvious-medium of such sound realistics, which is about involving the outer mechanical causality, which is based on a sound, in the experience and reflection, this music does not simply play the main, but rather The key role. (Helmut Lachenmann, 1969)