 |
|
| 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 |
|
|
|
| Recommendation |
|
|
|
|
“Drawing close to the point of complete fusion into a ‘single musical instrument’”: Uroš Rojko’s chamber music port-rays very special conflicting relationships.  |
|
|
|
|
|
| Somewhere between Alex- ander Rodchenko, Jackson Pollock and Charles Ives: Marino Formenti’s piano studies based on an instal- lation by Florian Pumhösl as a listening experience! |
|
|
|
|
|
| Contrasts, hard cuts and discrepancies: Stefan Wolpe’s chamber music offers the listener a stylistic variety that defies simple categorization. |
|
|
