Lachenmann: Salut for Caudwell
Expected to ship in 1-2 weeks.
- Composer: Helmut Lachenmann (1935-)
- Instrumentation: Guitar
- Work: Salut for Caudwell
- ISMN:
- Size: 16.5 x 11.7 inches
- Pages: 66
Listen on Soundcloud
Description
World premiere: Baden-Baden, December 3, 1977
The typical aura attached to the guitar as a folk and art instrument encompasses the primitive as well as the highly sensitive, intimate, and collective. It also includes aspects that can be precisely described in historical, geographical and sociological terms. These expressive potentials are available from the start; but for a composer, the problem is not to use them or even desperately to ward them off, but rather to incorporate them among the musical resources chosen, while simultaneously allowing them to be incorporated into oneself. With this in mind, I began with typical modes of playing the guitar, simplifying techniques but also reshaping and developing them, often beyond the limits that had been set by a practice that revolved around this aura.
While composing — or, more precisely, while conceiving and refining relationships between sound and movement — I constantly had the feeling that this music was "accompanying" something; if not a text, then isolated words or thoughts: things, at least, that should be considered but cannot be expressed in words, because we live in a largely speechless society in which nuanced communication has been rendered useless by media excesses and the ruthless manipulation of emotions. This is suggested by the inclusion of spoken words deriving from Illusion and Reality: A Study of the Sources of Poetry by the English Marxist poet and author Christopher Caudwell, who, exactly forty years ago, died in Spain at the age of thirty alongside those who attempted to stop the Franco regime.
Caudwell's aesthetics demands an art that is becoming conscious of its causality and expresses this in the name of a kind of freedom that encourages people to confront reality truthfully, with all its multi-layered contradictions, instead of sticking their heads in the sand or taking refuge in private idylls. Caudwell's thinking — which, to this day, has been deliberately ignored by his own political kindred spirits — also requires rejecting those who enable this politicized concept of art and freedom to be further degraded by forcing it into a Procrustean bed of ideological doctrines that have been revealed, meanwhile, to be essentially pretexts for new forms of oppression. This piece is dedicated to him and to all outsiders who, because they interfere with mindlessness, are quickly branded as destructive.
Helmut Lachenmann, 1977 (translation: Seth F. Josel)
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
Lachenmann: Salut for Caudwell
