Sospeso performs works by Helmut Lachenmann in the Sospeso Xponential concert on Tuesday, November 11, 2003.

Helmut Lachenmann was born in Stuttgart in 1935 and studied there at the Musikhochschule between 1955 and 1958. His interest in the current avant garde was reinforced by his first visit to the Darmstadt Ferienkurse in 1957, where he met Luigi Nono, with whom he studied in Venice between 1958 and 1960. Stockhausen was added to the pedagogical mix three years later, when Lachenmann attended the Cologne New Music Course.

In 1966 Lachenmann embarked on his own academic career, lecturing first on music theory at the Stuttgart Musikhochschule and subsequently teaching at the Ludwigsburg Pädagogische Hochschule and the Musikhochschule in Hanover, before returning to live in Stuttgart in 1981.

When Lachenmann's music began to be performed in the early 1960s, first at the Venice Biennale and at Darmstadt, his works appeared to fit comfortably into the aesthetic of the post-Webern serialists, in particular revealing the influence of Nono's pointilliste techniques. From the late 1960s onward, however, Lachenmann began to look for a new approach to the problems of musical language and syntax. In a series of works, beginning with temA (1968), Pression for solo cello (1969), and Air for percussionist and orchestra (1969), he started to exploit a new, alienated sound world that treated instrumental technique in a radically unconventional way.

Throughout the 1970s and 1980s, with scores such as the string quartet Gran Torso (1972), Salut für Caldwell for two guitars (1977), and Mouvement (vor der Estarrung) for chamber orchestra (1984), Lachenmann continued to question many of the basic assumptions about the function of music and the expectations made of it, backing up his musical achievement with the vigorous polemics of his writing and lectures. Always, though, the pressure of tradition remained a background presence in his explorations, sometimes even emerging as audible points of reference in his scores. In his most recent pieces, Lachenmann has begun to pick up recognizable elements of a post-serial language which reveal the tradition from which his music evolved.

Since 1983, Lachenmann has been a featured composer at numerous festivals and concert series in Germany and abroad, including the Holland Festival in Amsterdam, Ars Musica in Brussels, Musik der Zeit in Cologne, Festival d'Automne in Paris, Wien Modern in Vienna, and Tage für neue Musik in Stuttgart and Zurich. He is a member of the Akademie der Künste in Berlin and of the Akademien der Künste in Hamburg, Leipzig, Mannheim, and Munich.