 |
|
| 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 |
|
|
|
|
And: The feast is in full progress – Judgment Day as an intense cello concerto. And as an encore: Ten Preludes for cello solo.  |
|
|
|
|
|
| Veerhoff’s chamber music compositions range from classical major forms for violin and piano to experimental pieces for solo percussion, and for percussion and viola. |
|
|
|
|
|
| In his interpretation of the music from Osvaldo Coluccino, Alfonso Alberti takes us by the hand to lead us part of the way through our innermost being. |
|
|
