I began writing Notturno in 1966, and after a few interruptions in my work, I completed it at the end of 1968. In spite of the traditional practice, the soloist accompanies the orchestra in this work, however: he is not subordinate, but rather entirely sovereign: the soloist prepares the whole, balances it, modifies and sets it in continuously changing perspectives, he functions therefore as a "key figure".

This work is unique among my compositions, in it you can find (and this has to do with the mentioned interruptions) two different aesthetics: the older one which understands sound as a result and expression of abstract visions of order, and the newer, in which all order should maximally serve concrete and direct sound reality. In between those two is the function of the solo part.
(Helmut Lachenmann)


CDs:
Andreas Lindenbaum, Klangforum Wien, cond. Hans Zender
CD Accord 204852
CD BMG/RCA 74321 73512 2 (Musik in Deutschland 1950-2000)
CD KAIROS 0012142KAI


Bibliography:

Hiekel, Jörn Peter: Helmut Lachenmann und seine Zeit, Laaber: Laaber 2023, S. 139-141, 245-251.
Horn, Josefine Helen: Postserielle Mechanismen der Formgenerierung. „Notturno“ (Helmut Lachenmann). „... a la fumée“ (Kaija Saariaho), Musiktheorie-Abschlussarbeit Stuttgart 1998.
Toop, Richard: Concept and Context: A Historiographic Consideration of Lachenmann’s Orchestral Works, in: Helmut Lachenmann ­– Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, pp. 125-144.