Helmut Lachenmann's Salut Für Caudwell: an analysis

This analysis of Helmut Lachenmann's Salut für Caudwell (1977) for guitar duet is intended to add to the small amount of English literature that directly examines Lachenmann's music. A description of Salut's construction is offered, decrypting the extended techniques employed and outlining the work's formal design. The concept of ‘musical ruins’, namely degenerative yet familiar material, is deployed as a means to discuss specific moments of the music, and it will be demonstrated that moments of ‘musical ruin’ are inherently linked to aspects of instrumental technique as well as the musical form, making them critical to the reception of Salut. Other analyses of Lachenmann's work are used as methodological models and comparisons, providing a framework within which to examine unfamiliar musical territory, and placing Salut within the repertory of Lachenmann's more thoroughly documented music.

Ruin Renewal: Manchester's Upper Brook Chapel 

This essay offers a reflection on the development of the Upper Brook Chapel, Manchester. Taking Robert Smithson's concept of 'ruins in reverse' as a starting point, the essay attempts to articulate how the processes of ruin restoration can lead to an aesthetic that is more ruinous. The essay draws upon existing architecture and natural formations for comparison, before reflecting upon the social implications that arise from such redevelopment projects.

Hearing the Ruin: Ownership through Sound

Here's a short reflection piece on ruins, sounds and ownership, alongside some excellent writing from others in the Clusters and Entanglements group.

Interpreting Telemann: restoration and reconstruction

June 2017 marked the 250th anniversary of Georg Philipp Telemann’s death. In its aftermath we look at a variety of recordings of his oeuvre, with a focus on chamber music. In particular, Telemann’s varied fantasias, a genre whose origins lie in the impromptu fancy of the improviser or the airy dreams of the composer, provide an opportunity to differentiate methods of interpreting historical music. We encounter the pursuit of authenticity through historically informed performance as well as artistic practice that makes an equally valuable contribution to the repertory, or what I distinguish as restoration and reconstruction respectively.