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| It is the eternal questions that Nikolaus Brass mainly concerns himself with in his compositional work: the question of existence, of being, and first and foremost of all possible intermediate stages at the edge of what is conceivable, of what can just be grasped. In VOID (1999) he investigates the feeling left by loss, "structural empty spaces that bear the construction of sound while challenging it at the same time." For a due (2003), Brass has borrowed short captions from Yashushi Inoue's novel My mother; the last part is entitled memoria – "in 'commemoration' and 'consideration' of the speaking speechlessness of music." In TRIO (1987-1991) he works with fragmented shapes that spread through space, splitting the "progression of time" into "states of 'still now – then not anymore'." |
1CD | Contemporary | Special Offers |
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“The succinctness of his work will first become fully apparent when it becomes possible to view the second half of the twentieth century from something more like a bird’s-eye view.” (Alessandro Solbiati)  |
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| The master of partial tones: Ivan Wyschnegradsky continued Scriabin’s harmonic principles and (successfully) searched for new tone colors. |
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| This music is about fading away, about reverberations, echoes. European instruments sound Asian, and Asian instruments are integrated into European art music. |
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