Abstract
This article is a pastiche of brief thoughts that I hold on six important works by Helmut Lachenmann: Guero and Serynade for piano, his first string quartet, Gran Torso, a duo for guitars called Salut für Caudwell, his opera Das Mädchen mit den Schwefelhölzern, and his double concerto NUN. As a pianist, the thoughts on the techniques used in the two piano works are hopefully insightful to new pianists looking to broaden their repertoires. The other two works are discussed briefly and again mention some technical elements and my general reactions to them, this time from a listener's viewpoint. These sections come from a longer article with the same title.
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