... besides which, as you say, who decides what the "intended function" of an instrument is? All instruments have changed their actual function (that is to say, what they're used for, rather than what one individual or another thinks they "ought" to be used for) and indeed their form over time. The current form of the cello, with its extended fingerboard, endpin and metal-wound strings etc., has taken shape as the result of musicians doing things (playing in higher registers, finding a more ergonomic playing position, projecting its sound through larger ensembles and in larger spaces) that the cello wasn't previously "intended" to do. The Sydney Grews of the nineteenth century (there were probably a lot more of them then) would certainly have had something haughty and disdainful to say about valved horns.
Originally Posted by MrGongGong
Originally Posted by JohnSkelton
In Grido even the "traditional" elements somehow sound newly-created, which is one of Lachenmann's central desires I think, although it doesn't always happen - in the piano piece Serynade for example, which seems rather ponderously didactic to me. On the other hand it might appeal to those who like "music for ordinary instruments used in the ordinary way" (and being ponderously didactic).