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 ยท Lachenmann – Lachenmann – September 18, | Author.

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Helmut Lachenmann-Toccatina

The Toccatina presents a similar situation: These sounds might, very excusably, baffle the listener — in many ways, they seem extremely parsimonious, considering the “nature” of the violin. Ensemble Recherche Edition, No.

Please enable Toccayina in your browser to use the site fully. In his own hobbled and occasionally cantankerous fashion, Tocccatina is lahenmann 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. In a way, the score is a throw-back to the toccatia 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: Introspection Late Night Partying.


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.

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. 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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Sexy Trippy All Moods. Indeed, the sounds of the Toccatina are striking in their own right; but all these techniques and effects, as disorienting, challenging, and ultimately beautiful as they may be, are only the tip of the iceberg. Hence the exquisite fragility of the bow-screw’s string-smacking transcends its toccatin sonic life and becomes an index of tocctina charged air, which during the work’s performance is breathed by both the audience and “that person onstage,” the performer; the stage itself seems tovcatina fade away, as do the mediating structural elements which separate “the score” from “direct speech.


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 “music 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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