|
|
 |
Darmstadt Internationale Ferienkurse 2000 |
| 1 |
|
Cruxification II (Johannes Kalitzke) - Kanon |
06:28 |
 |
|
|
|
|
|
|
| 2 |
|
- Spiegelreflex |
05:50 |
|
|
|
|
|
|
|
| 3 |
|
- Schlachthaus |
04:02 |
|
|
|
|
|
|
|
| 4 |
|
- Fadenkreuz |
08:47 |
|
|
|
|
|
|
|
| 5 |
|
Philipp (Helmut Oehring) |
06:10 |
|
|
|
|
|
|
|
| 6 |
|
Pas à pas (Misato Mochizuki) |
08:21 |
|
|
|
|
|
|
|
| 7 |
|
Traces de moments (Isabel Mundry) |
13:40 |
|
|
|
|
|
|
|
| 8 |
|
Invisible Cities (Alwynne Pritchard) |
07:39 |
|
|
|
|
|
|
|
| 9 |
|
as mo cheann (Jennifer Walshe) |
12:19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
1CD | Contemporary | Special Offers |
|
|
|
| Recommendation |
|
|
|
|
This music is about fading away, about reverberations, echoes. European instruments sound Asian, and Asian instruments are integrated into European art music.  |
|
|
|
|
|
| Compact acoustic events in Vento d’ombra are pitted against the sharp contrasts of the Due notturni crudeli and the subtle art of the dramatic persiflage in Lohengrin. |
|
|
|
|
|
| “Trio Catch are like a fresh new brand for the old lady New Music.” (www.vanmagazin.com) — Could there be a catchier way of phrasing it? |
|
|
|
