Search - Helmut Lachenmann, Sylvain Cambreling, SWR Sinfonieorchester :: Lachenmann: Das Mädchen mit den Schwefelhölzern

Lachenmann: Das Mädchen mit den Schwefelhölzern
Helmut Lachenmann, Sylvain Cambreling, SWR Sinfonieorchester
Lachenmann: Das Mädchen mit den Schwefelhölzern
Genre: Classical
 

     
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CD Details

All Artists: Helmut Lachenmann, Sylvain Cambreling, SWR Sinfonieorchester, Yukiko Sugawara, Tomoko Hemmi
Title: Lachenmann: Das Mädchen mit den Schwefelhölzern
Members Wishing: 3
Total Copies: 0
Label: ECM New Series
Release Date: 7/27/2004
Album Type: Import
Genre: Classical
Style: Opera & Classical Vocal
Number of Discs: 2
SwapaCD Credits: 2
UPC: 028947612834
 

CD Reviews

The new ways of the opera.
Francisco Yanez Calvino | Santiago de Compostela, GALIZA, Spain. | 11/15/2005
(4 out of 5 stars)

"This is the only "opera" composed by Helmut Lachenmann until today, and I really can hardly call this opera, it would be better to call it "music with images" or "Musik mit bildern", like it's called in german. In fact it's music to be played like an opera, with orchestra and a stage where a story is being developed. If you add live electronics and tape you have, together with the voice, the efforts of this Lachenmann's work, a kind of synthesis of his previous works, like it happens with Ligeti's "Le Grand Macabre".



The work is based in the tale of the little match girl seller, put together with texts of Gudrun Ensslin, an "idealist" from the Germany of some decades ago, and some words by Leonardo da Vinci. Both girls have to fight with the capitalist society for her surviving and for the success of her idea. The music tries to follow them fights and them final losing, as the little seller shows, dying frozen in the streets, something wonderfully put in music by Lachenmann with the orchestra playing in a terrifying pianissimo done with the strings, two pianos and electronics. A final part really remarkable as one of the most impressive in the history of the music, as the forgotten and the inner cold are masterfully described.



This ECM release is the Tokyo edition of the work, from the year 2000, a second version after the one Kairos has released, the german one. I have both of them and I can say there are not many differences really, as the booklet explain. The most important one is in the second CD, in the part called "Musik mit Leonardo" (a piece you can find alone in some other CDs: Kairos & ECM, this last one played by the Ensemble Modern is my favourite performing of this work); in this Tokyo edition, this part is much more frozen, much more desolated and empty, taken out all the amazing ensemble playing the previous version had. In this CD you can listen the own Helmut Lachenmann in the talked part, like he did in the Kairos release of this piece, together with the strings in pianissimo and some presence of the drums. The pieces is much more impressive in the original edition, anyway, having both it's a good way to discover some other possibilities, as Lachenmann did, but for lovers of his music, of course.



The reason why I give four stars and not five is because even it's a great performing, in my opinion a bit better than Kairos' one, I can imagine a better way to do this work, like the Ensemble Modern has shown to everyone who have their recording of Lachenmann's works or to those who have listened his Lachenmann live, an experience for not to be lost.



Sound is good, better than Kairos' release, but I really think this is an opera to be listened in SACD 5.1 multichannel, a possibility not available nowdays.



We have to remember ECM they have some other recordings of Lachenmann's works waiting to be released, like the very last piece Lachenmann had composed, "Concertini", recorded by ECM with the Ensemble Modern, or "Ausklang". I hope they released it soon.



Together with Le Grand Macabre, Prometeo, Die Hamletmaschine, The Mask of Orpheus... one of the better "operas" or "scene music" of the last decades.

"
The last great opera of the 20th Century?
Jeremy Glazier | Columbus, OH | 08/12/2004
(5 out of 5 stars)

"Or the first great opera of the 21st?



Helmut Lachenmann's opera--here substantially revised from the original recording--is nothing short of breathtaking. I first encountered Lachenmann through the Arditti Quartet recording of his 2nd String Quartet; fascinated by the "noise," I picked up Schwankungen am Rand the instant I saw it and wasn't disappointed. I only hesitated briefly at the prospect of an opera (not generally my preferred genre), and I don't regret going with my gut instinct.



The modification of the libretto in this version centers around the "Leonardo" text/scene. According to Lachenmann's note, the text "is removed from the musical context with which it was originally interwoven--it is liberated and can now be, if not easily understood by the listener, then at least auditively deciphered..." Paul Griffiths writes, "Now comes the excursion to Leonardo's cave--the 'leap from the wintry fairy tale to southern latitudes...quasi via satellite,' as the composer puts it....Instead of being the distant creator, the composer is here with us, as narrator."



The deconstructed text is absolutely beautiful in its own way: the way Jackson MacLow's poem is beautiful in Ferneyhough's Fourth string quartet (1990). In both cases the texts are fractured and the shards interwoven with the weft of musical fabric. The effect is NOT "frigid" overintellectualized theory. It is the music of our moment."
Brutal, icy shards of sound
R. Hutchinson | a world ruled by fossil fuels and fossil minds | 08/07/2004
(2 out of 5 stars)

"Helmut Lachenmann is inventive, and I completely sympathize with his commitment to Adorno and a critical perspective on our commodified society. But despite my attempts for over a year, I have concluded that "Das Madchen," which is deliberately ugly, has no redeeming qualities that make it worth listening to. I can only hope that the music works when presented along with the visuals in its operatic form, but in its own right, this is two discs and two hours of auditory torture.



I am not familiar with the conductor or the singers on this new recording. [On the Kairos version, the conductor Lothar Zagrosek and Sarah Leonard, one of the sopranos, are both very accomplished in the avant-garde arena.] But quality performance, conducting and recording cannot surmount the problem of the score, which consists of persistent sibilant sounds from the vocalists (sh-sh-sh-sh-sh...) conveying the icy cold of the little match girl, and fragmented scrapings from the orchestra. There is no structure, or momentum, or variety, or relief. This may well have been Lachenmann's intention, but if so, I am just not masochistic enough to extract any enjoyment out of my pain.



Lachenmann misses a huge opportunity with "Das Madchen." He incorporates a text from the 1960s radical Gudrun Ensslin into the libretto, a fierce poetic indictment of the alienation of the commodified society. (She was convicted of burning down a shopping mall in protest of overconsumption while millions starve.) But these words are never heard! Perhaps in the opera they are projected onto a screen, I don't know. But the potential power of juxtaposing the Hans Christian Anderson tale of the little match girl who burns all her matches and dies in the cold street and the radical girl who burns the shopping mall, is lost, and there is nothing dramatic in the score that utilizes the juxtoposition. There is also a long digression into a text from Leonardo da Vinci, and while this works well enough as a stand-alone piece, it is not at all clear how it adds to the story of "Das Madchen mit den Schwefelholzern."



If you are interested in Helmut Lachenmann, I recommend the ECM disc called SCHWANKUNGEN AM RAND, which is fantastic (see my review). But I can't recommend "Das Madchen," either the original Kairos recording or this new one from ECM."