SKU: BR.EB-9459

ISBN 9790004189368. 10.5 x 14 inches.

TemA was written in the summer of 1968. In spite of Ligeti's Aventures it may be considered one of the first compositions in which the breathing plays a role as an accoustically transmitted energy process (Holliger, Globokar, Kagel, Schnebel and Stockhausen in Hymnen have already worked on this phenomenon independently of each other and from different points of view). Moreover, temA marks for me the first step into that musique concrete instrumentale in which the mechanical conditions of the sound production are incorporated into the composition. This characterizes my later pieces such as Kontrakadenz, Air, Pression etc. more consistently. In temA, unlike what happened in my previous works, the naturalistic extreme cases were consciously accepted but at the same time integrated into a very rigorous musical context which was also to give a new meaning to the traditional playing conceptions. The violation of the tabus felt in the nearly 70s (not only regarding this piece) lay to a less degree in the phenomenon of the sound deformation (snoring, pressed strings, soundless blowing etc.), since such an alienation was perfectly tolerated as an humoristic, dadaistic or expressionistic element. Rather the shock was caused by the technical logic of the movements which rendered relative the sheer surrealistic effect and had to be taken seriously instead of in an humoristic way.(Helmut Lachenmann, translation: Roger Clement)CD:Linda Hirst, Martin Fahlenbock, Lucas Fels CD Montaigne Auvidis MO 782023ensemble phorminxCD WER 6682 2Bibliography:Hiekel, Jorn Peter: Escaped from Paradise? Construction of Identity and Elements of Ritual in Vocal Works by Helmut Lachenmann and Giacinto Scelsi, in: Vocal Music and Contemporary Identities. Unlimited Voices in East Asia and the West (= Routledge Research in Music 3), hrsg. von Christian Utz und Frederick Lau, London und New York: Routledge 2013, pp. 158-174.ders.: Helmut Lachenmann und seine Zeit, Laaber: Laaber 2023, S. 202-213.Meyer-Kalkus, Reinhart: Klangmotorik und verkorpertes Horen in der Musik Helmut Lachenmanns, in: Der Atem des Wanderers. Der Komponist Helmut Lachenmann, hrsg. von Hans-Klaus Jungheinrich, Mainz: Schott 2006, pp. 91-110.ders.: Stimme und Atemsyntax in Vortragskunst, Prosa und Musik, in: Musik & Asthetik, Heft 51 (Juli 2009), pp. 73-106.Nonnenmann, Karl Rainer: Auftakt der instrumentalen musique concrete. Helmut Lachenmanns temA, in: MusikTexte 67/68 (1997), pp. 106-114.Saxer, Marion: Kunstgesang als Klangsymbol. Belcanto in experimenteller Vokalmusik nach 1960, in: Musik & Asthetik, Heft 92 (Oktober 2019), S. 5-25 Weber,Barbara Balba: ,,Es musste einfach schick sein, beim Musikhoren etwas zuriskieren. Weltbezuge bei Lachenmann: Perspektive der Musikvermittlung, in:Zuruck zur Gegenwart? Weltbezuge in neuer Musik, hrsg. von Jorn Peter Hiekel(Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt55), Mainz: Schott 2015, pp. 160-169.

World premiere: Stuttgart, February 19, 1969.

SKU: AP.40463S

UPC: 038081451329. English.

This high energy, rhythmically driven piece is fun to play for any grade level and any size group. It features easy rhythms and techniques such as detaché bowing, tremolo, accents, pizzicato, and a few slurs. Written in the key of A minor, the use of low 2nd fingers for upper strings is reinforced. The viola part doubles the violin 2 part. With students requesting to play it every day, this is a guaranteed crowd-pleaser for both audiences and players! This title is available in MakeMusic Cloud.

SKU: CA.9197205

ISBN 9790007118631. Language: German.

Score available separately - see item CA.9197200.

SKU: CA.9197208

ISBN 9790007236373. Language: German.

Score available separately - see item CA.9197200.

SKU: HL.1142656

Features: • Elegantly displays up to five (5) electric/acoustic guitars or 5-7 cases in studio, living room, showroom floor, classroom, or similar environment in Natural Maple Matte Finish • Adjustable divider pegs with rubberized protective layering keep instruments and cases safely stored and separate from each other • Holds most acoustic, electric, and bass guitars, including instruments with offset bodies • Soft padding on base of cradle prevents guitar bottoms from contacting wood • Sturdy 1″/25mm-thick laminated plywood construction with textured wood grain surface • Convenient cable storage hanger hooks on both sides • Non-slip rubber feet on bottom protects floor from scratches • Safe for standard polyurethane finishes, not tested for compatibility with vintage/lacquer finishes • Ships flat packed with assembly hardware • Product dimensions (assembled): 38″/965mm (L) x 22″/559mm (W) x 36.2″/919mm (H), net weight: 36 lbs./16.3 kg. Interior length: 36″/914mm.

SKU: HL.1142655

Features: • Elegantly displays up to five (5) electric/acoustic guitars or 5-7 cases in studio, living room, showroom floor, classroom, or similar environment in Driftwood Grey Finish • Adjustable divider pegs with rubberized protective layering keep instruments and cases safely stored and separate from each other • Holds most acoustic, electric, and bass guitars, including instruments with offset bodies • Soft padding on base of cradle prevents guitar bottoms from contacting wood • Sturdy 1″/25mm-thick laminated plywood construction with textured wood grain surface • Convenient cable storage hanger hooks on both sides • Non-slip rubber feet on bottom protects floor from scratches • Safe for standard polyurethane finishes, not tested for compatibility with vintage/lacquer finishes • Ships flat packed with assembly hardware • Product dimensions (assembled): 38″/965mm (L) 22″/559mm (W) x 36.2″/919mm (H), net weight: 36 lbs./16.3 kg. Interior length: 36″/914mm.