Abstract
Helmut Lachenmann's Serynade was composed in 1997/1998 and revised in 2000. Like so many of Lachenmann's instrumental works, Serynade seeks, on one hand, to expand the field of sonic possibility that the instrument inhabits: in this case, through a subtle exploration of the potential of the piano's pedals to colour individual chords and to generate percussive sounds in their own right. On the other hand, the piece mobilises more conventional modes of piano writing to connect and conflict with pre-existing traditions and literatures. It is a piece that pianist Nicolas Hodges has performed since 2001, an interpretation recognised by the composer as having a particular authority. In this conversation, we explore the music's multi-faceted relationship with the idea of serenade and 19th-century repertoires, as well as its special approach to musical time and expressivity. (Tom Service)
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
