{"title":"HELMUT LACHENMANN'S SALUT FÜR CAUDWELL (1977) TODAY: BETWEEN STRUCTURE AND ASSEMBLAGE, BETWEEN INTERPRETATION AND EXPERIMENTATION","authors":"Diego Castro Magas","doi":"10.1017/s0040298223000943","DOIUrl":null,"url":null,"abstract":"<p>The recent new edition of Helmut Lachenmann's <span>Salut für Caudwell</span> (1977) published in Breitkopf & Härtel (2020) by guitarist-researcher Seth Josel has renewed public attention on this seminal work from contemporary guitar literature. As a performer myself, I first performed the piece in 2008 (its Chilean premiere) and have recently premiered the new edition. Performing this piece in a concert situation is always a big event for both performers and listeners; the score seems to age well and its multivalence urges a rethink about how to approach it today. The purpose of this article is threefold: to consider the contribution of the new edition, to examine the relation of notation and performance through the analysis of selected recordings and to interrogate the possible futures for <span>Salut</span>, given recent developments in research into contemporary performing practice.</p>","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"68 1","pages":""},"PeriodicalIF":0.5000,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Tempo","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1017/s0040298223000943","RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
Abstract
The recent new edition of Helmut Lachenmann's Salut für Caudwell (1977) published in Breitkopf & Härtel (2020) by guitarist-researcher Seth Josel has renewed public attention on this seminal work from contemporary guitar literature. As a performer myself, I first performed the piece in 2008 (its Chilean premiere) and have recently premiered the new edition. Performing this piece in a concert situation is always a big event for both performers and listeners; the score seems to age well and its multivalence urges a rethink about how to approach it today. The purpose of this article is threefold: to consider the contribution of the new edition, to examine the relation of notation and performance through the analysis of selected recordings and to interrogate the possible futures for Salut, given recent developments in research into contemporary performing practice.
期刊介绍：
Tempo is the premier English-language journal devoted to twentieth-century and contemporary concert music. Literate and scholarly articles, often illustrated with music examples, explore many aspects of the work of composers throughout the world. Written in an accessible style, approaches range from the narrative to the strictly analytical. Tempo frequently ventures outside the acknowledged canon to reflect the diversity of the modern music scene. Issues feature interviews with leading composers, a tabulated news section, and lively and wide-ranging reviews of recent recordings, books and first performances around the world. Selected issues also contain specially-commissioned music supplements.
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