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This album with live recordings of three concerts of the Munich Musica Viva series starts off with an orchestral work by the German composer Isabel Mundry (*1963). "Flugsand is a composition whose sounds, locations in space and dimensions of time are permanently in motion, regrouping, changing or dissolving." (Isabel Mundry) The work progresses by several curves, some narrower, some wider, ever and again overlapping – thus expressing the unfurling of moments "in terms of sound, space and time." Jörg Birkenötter (*1963) in his compositions endeavors to filter out structures only as he progresses in his work in order to "overcome traditional models." He commented on his piece gekoppelt – getrennt: Musik für großes Orchester mit zwei Klavieren: "As 'impulse generators' [the pianos] trigger multifarious orchestral sounds, which in turn do not remain firmly linked to these impulses but ever and again separate from them, make themselves independent." ...
... Henry Koch (*1960) sees the music in his piece Sonvexxon – Erosion 5 permanently in motion, without however adhering to any strict laws. "Lenses, prisms and distorting mirrors" reflect and diffract light in manifold ways, until it finally generates a flood "that rises quickly and thickens to a pandemonium, then subsides, releasing the final chord it contains, in which a perfect harmony may lie hidden – the overtone series, part of it at least, if only for a brief instant." (Henry Koch) Olga Neuwirth's (*1968) composition Photophorus was inspired by the firefly species of the same name: "The sounds in Photophorus change in shorter and longer waves; even radically assembled cuts are set in the context of processes that govern the entire sound material. A multitude of individual events add up to complex overlaps; the collective result is the glimmering focus of attention." (Bernhard Günther) The use of electric guitars in the orchestra adds another intriguing hue. |
1CD | Contemporary | BR musica viva |
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| Recommendation |
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Pax Questuosa (1982) vividly tells “of the vicarious suffering for peace, which, while broken again and again, remains our only hope.”  |
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| In 1951, after numerous solo compositions, Cage tried his hand at a piano concerto, naturally for the prepared variety. And in marked contrast to the concerto: Sixty-Eight. |
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| The universe of Mr. Xenakis: Early Christian cults in Anastenaria, Greek mythology in Aïs, and clusters and glissandi in the trombone concerto Troorkh. |
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