Lately someone have complained of Helmut Lachenmann‘s inactivity, interpreting it as an exhaustion of ideas, a lack of will in dealing with the failure of the current contemporary music; the situation is also complicated because of the orchestras’ budget, which leads to a reduced risk of the initiatives and of the costs related to the training of musicians who have to learn the scores in the orchestras: in this sense, the German composer fascinates and frightens at the same time. If we look at his orchestral production, from his first large fresco of Notturno (Musik for Julia) in 1968 up through the two compositions that make up this new CD for the Kairos R., we notice a strong homogeneity of intent and it is quite difficult to find a composition that stands out from the rest, except after repeated listenings. However, beyond the immeasurable stylistic achievement, in the Lachenmann’s wonderful musical world the particular configuration of the sound
