UC San Diego

This dissertation focuses on issues of performance practice in Helmut Lachenmann's Serynade for solo piano (1997/1998, revised 2000), particularly the technical and musical challenges faced when realizing this work. With its idiosyncratic notation, Lachenmann’s compositional language requires careful study prior to performance. As such, this paper discusses extended techniques and phrasing throughout Serynade and provides strategies for learning and performing this major work of the repertoire. In particular, this project provides insight into the production of shadow sounds, intricate use of the piano pedals, and playing inside the piano. Likewise, the unique nature of Serynade necessitates an approach to phrasing and interpretation that is characteristically its own. In addition to performance analysis, this discussion of Serynade will include notes from my meeting with the composer as well as recent research on Lachenmann and Serynade. This dissertation provides practical solutions and a window into the performer’s perspective when facing the many challenges encountered in Helmut Lachenmann’s Serynade.