In order to assess Helmut Lachenmann's characterization of (his) music as an ‘existential experience’ this article focuses on a specific aspect of many of his compositions: stretches of near-silence and minimized musical activity such as reduced dynamics and gestures which contrasts the surrounding material. I argue that in the case of his early vocal compositions Consolation I and II (1967 and 1968) these ‘meta-musical fermatas’ relate to a key portion of each work's text in order to encourage self-reflection on the part of the listener. My analyses reveal the influence of Luigi Nono and Karlheinz Stockhausen, particularly in terms of word-setting and of the works’ spiritual and political messages. I further trace the changes undertaken in these compositions and in Lachenmann's commentaries for them over the following decade. I suggest these changes relate to political events in Germany occurring between 1968 and 1977 which also led to the conception of Lachenmann's ‘music with images’, Das Mädchen mit den Schwefelhölzern.

中文翻译：

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拉肯曼的沉默之声（以及诺诺和斯托克豪森的无言回声）

为了评估赫尔穆特·拉肯曼 (Helmut Lachenmann) 将（他的）音乐描述为一种“存在体验”，本文着重于他的许多作品的一个特定方面：近乎无声的延伸和最小化的音乐活动，例如减少动态和与周围环境形成鲜明对比的手势材料。我认为，就他早期的声乐作品而言安慰我和二（1967 和 1968 年）这些“元音乐 f​​ermatas”与每部作品文本的关键部分相关，以鼓励听众进行自我反省。我的分析揭示了路易吉·诺诺和卡尔海因茨·斯托克豪森的影响，特别是在文字设置以及作品的精神和政治信息方面。在接下来的十年里，我进一步追溯了这些作品和拉肯曼对它们的评论所发生的变化。我认为这些变化与 1968 年至 1977 年间发生在德国的政治事件有关，这也导致了拉亨曼的“带有图像的音乐”的概念，Das Mädchen mit den Schwefelhölzern.