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Project
Salut für Caudwell
This project has as its central focus Helmut Lachenmann’s “Salut für Caudwell” (1977), one of the true ‘Meisterwerke' of avant-garde chamber music repertoire of the late 20th century. Encompassing the navigation of diverse source materials, as well as extensive consultations with the historic performers, both of whom are still with us, Seth Josel is currently preparing a new edition of ‘Salut' in collaboration with Breitkopf & Härtel. Concomitantly, an exhaustive critical apparatus will accompany the edition and shall be published by Orpheus Institute in their forthcoming open-access series.
The project’s genesis lies in the archives of the Paul Sacher Stiftung in Basel, where Josel discovered numerous discrepancies across multiple iterations of the piece, many of which were not resolved in the print edition. In addition, examination of the performers’ scores revealed further notational and, by extension, performative issues, thus spurring on consideration of the various materials as reflecting archeological ‘layers’ of sorts and providing him insight into the way the historic performers took certain decisions and effected alterations, exclusively in direct consultation with the composer.
A critical edition of a modern work undertaken by an artistic researcher is indeed a ground-breaking endeavour, and Josel shall be charting new terrain herewith. He will argue that such research concerning a work, which unto itself breaks new ground in terms of notational predilection and extended techniques, must in fact be conducted by the engaged, informed performer. For only he/she can truly be ‘inside' the work.
The project’s genesis lies in the archives of the Paul Sacher Stiftung in Basel, where Josel discovered numerous discrepancies across multiple iterations of the piece, many of which were not resolved in the print edition. In addition, examination of the performers’ scores revealed further notational and, by extension, performative issues, thus spurring on consideration of the various materials as reflecting archeological ‘layers’ of sorts and providing him insight into the way the historic performers took certain decisions and effected alterations, exclusively in direct consultation with the composer.
A critical edition of a modern work undertaken by an artistic researcher is indeed a ground-breaking endeavour, and Josel shall be charting new terrain herewith. He will argue that such research concerning a work, which unto itself breaks new ground in terms of notational predilection and extended techniques, must in fact be conducted by the engaged, informed performer. For only he/she can truly be ‘inside' the work.
Datum:1 jan 2016 → Heden
Trefwoorden:Avant-garde kamermuziek, Helmut Lachenmann, Compositie, Partituren, Historische uitvoeringspraktijk
Disciplines:Muziekuitvoering, Geschiedenis van de muziek, Musicologie en etnomusicologie, Muziekcompositie
Project type:Dienstverleningsproject