Mouvements für Lachenmann (2005)


Staging of an evening concert


Staging / Choreography: Xavier Le Roy
Music: Helmut Lachenmann
Schattentanz für Klavier (Nr. 7 aus "Ein Kinderspiel", 1980)
Salut für Caudwell Musik für zwei Gitarristen (1977)
Mouvement (- vor der Erstarrung) für Ensemble (1982/84)
Piano: Marino Formenti
Guitars: Gunter Schneider & Barbara Romen, Tom Pauwels & Günther Lebbing
Ensemble: Kammerensemble Neue Musik Berlin
Musical Direction: Peter Rundel
Dramaturgy: Bojana Cvejic, Berno Odo Polzer
Lighting: Götz Dihlman
Production: Wiener Taschenoper
Coproduction: Tanzquartier Wien, Wien Modern, Hebbel am Ufer Berlin
Supported by: Hauptstadtkulturfonds Berlin


"Salut für Caudwell"
Extract of "Mouvements für Lachenmann". Staging of an evening concert

Staging / choreography: Xavier Le Roy
Music: Helmut Lachenmann, "Salut für Caudwell" for two guitars (1977)
Guitars: Gunter Schneider, Barbara Romen, Tom Pauwels, Günther Lebbing
Dramaturgy: Bojana Cvejic, Berno Odo Polzer
Sound: Wolfgang Musil
Production: Wiener Taschenoper
Coproduction: Tanzquartier Wien, Wien Modern, Hebbel am Ufer Berlin
Supported by: Hauptstadtkulturfonds Berlin

 

"Mouvements für Lachenmann" is a piece which has been produced after the proposal to make a music theatre evening with compositions from Helmut Lachenmann in the frame work of the festival Wien modern (2005) for a portrait of the composer in honor of his 70's years birthday.
The piece extend some aspects of works from Lachenmann and proposes a dramaturgy of relationships between the visible and the audible in order to reveal some already existing theatrical aspects of Lachenmann's compositions and to transform the concert event in a choreography.
The perceivable gap between the sound producing movement as peformative action and the resultant sound as starting point, is continued by Le Roy in "Mouvements für Lachenmann" with Lachenmann's approach, by dissolving the mimetic relationship between note, action and sound into movement.
All possible forms of dissassociation between what can be seen, heard, or silenced, unfold in a line of flight from a regular concert! The potentialities to listen, not-listen, hear, not-hear, see, not-see, in all combinations, empower one's senses with a passion: the radical experience of possibility which is a capacity of both presence and withdrawal.

"Le Roy's procedure resembles that which the French philosopher Jacques Rancière would call subjectivization. He extracts from the dominant modes of articulation and identification that which remains unidentifiable in the given field of musical experience: the body with all its senses." Bojana Cvejic

Helmut Lachenmann in the presentation of his composition "Mouvement- (vor Erstarrung)": "Only by the inclusion once again of non-alienated sound must it be proven that the importance lies not just in fracturing the sound, but rather in the attempt to break down and discover anew the perception practice in ourselves."

 

 

 



HAU 2 - Berlin, Germany
2006/01/28

Wien Modern - Vienna, Austria
2005/11/18