Helmut Lachenmann: Mouvement

»Like a beetle wriggling on its back, which keeps idly executing acquired mechanisms« – thus Helmut Lachenmann described his ensemble piece »Mouvement (– vor der Erstarrung)«. The wriggling – or, in a metaphorical sense, the insisting on overcome musical means which have lost their meaning – is pointless. In the best case, however, thus Lachenmann’s hope, the recognition of this pointlessness gives rise to novelty. Alternatively, listeners could also think of an explosion which might have taken place shortly before the piece begins. After this omitted catastrophe, isolated individual actions gradually, and only temporarily, come together in a coherent whole.

After Lachenmann, we hear two new works: one is by the multi-award-winning English composer Naomi Pinnock, a student of Harrison Birtwhistle and Wolfgang Rihm. The other was written by the young Polish composer Paweł Malinowski, whom reviewers have described as a gifted storyteller.

​Supported by Kunststiftung NRW