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CONSOLATION II BY HELMUT LACHENMANN: SYNTHESIS SYSTEM OF THE CONTEMPORARY MUSICAL PERCEPTION
Abstract
The ideatic formulations of Helmut Lachenmann (b. 1935) consecrate specific connotations to the perception/ grasping of linguistic and social-cultural determinants, driving away any poetic fiction (or false sound-paraphrase) from around aesthetics and music. Conceived as a polyphony of syntactic and semantic organisations, Consolation II (for 16 mixed voices) redefines music as a social-cultural phenomenon. Studying his vision in a critical manner, the polarities are perhaps the most important heritage assimilated by Lachenmann from the Darmstadt experience. We can say that in Consolation II, Darmstadt and the Lachenmann idiom are intertwined, generating lectures between the language of criticism and its reception. Starting from an invocation kept since the 9th century in the Wessobrunn Monastery in Bavaria (Germany) and entered into the cult practice in the 17th-18th centuries ‒ the author undoes the crinkles of its material in order to detect its primary invocational support. On its way to the final representation, the initial invocation makes room to new semantic re-contextualisations. The vocal mechanics is emancipated, new effects (phonematic migrations) are invented. The descriptive makes room to the figurative, the text becomes denaturalised, linguistic conventionalism is cast aside; the sound-result meets an accessibility that needs to be learned. The music in Consolation II is thus brought into being under such a dull light, surprising the lector with its bidirectionality (mirrored by the narrative resorts of both source text, and target text). Organically involving the analysis method based on sound items which direct one in the apprehension of the phonematic / lexical content, and the systemic analysis (e.g. when the looping mechanism of the structures is described), the study provides the tool for encountering a grammar of listening, different (or not) from that of composing.
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