Lachenmann: Dal niente
Intérieur III for clarinet

world première Nuremberg (Ars nova), June 4, 1970

Like my other compositions from this period, „Dal niente“is also indebted from a technical perspective to the idea of a “musique concrète instrumentale”, in which all of the sounds point away from themselves to a certain extent toward the preconditions of their production, bringing the latter into the structural events as a kind of “corporal” experience. The “instrument” becomes a “device”: a characteristically manipulated filter for the player’s breath as controlled by the composition and its interpretation. The independent modification in finger positions, types of attack, and the forms of articulation in air pressure thus become discernible as a multi-level polyphony. Artificial structures of time and elementary perception of sound processes – which are more objects of observation than of the sort of “listening” which is directed at expressivity – condition each other and relocate the expressivity that was ousted from the single gesture to the emphatically concentrated experience of an awareness of their anatomy.

(Helmut Lachenmann, translated by Steven Lindberg)

Alain Damiens
CD Accord 202082
David Smeyers
CD cpo 999 102-2
Eduard Brunner
CD col legno WWE 31863
CD ECM New Series 1599, 453 257-2
Uwe Möckel
CD Montaigne Auvidis MO 782075
J. Corbett
LP pläne 88504
Eduard Brunner
Musik in Deutschland 1950-2000
CD RCA 74321 73600 2
ensemble phorminx
CD WER 6682 2


Brunner, Eduard: krawall im saal. Eduard Brunner über seine Erfahrungen mit der Musik von Helmut Lachenmann und die Zusammenarbeit mit dem Komponisten, in: Neue Zeitschrift für Musik 167 (2006), Heft 1, S. 32f
Galindo Agundez, Antonio: Konflikte in der Interpretation zeitgenössischer Musik. Brunner-Lachenmann: eine Fallstudie, in: rohrblatt 27 (2012), Heft 1, S. 25-30
Jahn, Hans-Peter: „simultan“ – eine Erinnerung, in: Neue Zeitschrift für Musik 167 (2006), Heft 1, S. 12-15