The recent new edition of Helmut Lachenmann's Salut für Caudwell (1977) published in Breitkopf & Härtel (2020) by guitarist-researcher Seth Josel has renewed public attention on this seminal work from contemporary guitar literature. As a performer myself, I first performed the piece in 2008 (its Chilean premiere) and have recently premiered the new edition. Performing this piece in a concert situation is always a big event for both performers and listeners; the score seems to age well and its multivalence urges a rethink about how to approach it today. The purpose of this article is threefold: to consider the contribution of the new edition, to examine the relation of notation and performance through the analysis of selected recordings and to interrogate the possible futures for Salut , given recent developments in research into contemporary performing practice.
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Diego Castro Magas (2024) studied this question.
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