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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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“So it is a matter of distributing the signs on the paper and weighing them against each other to create a kind of dance." (Gerhard Amanshauser)  |
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| Music and carpets? Well, the latter’s slightly irregular patterns certainly inspired Morton Feldman to write his Crippled Symmetry (1983). |
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| Of transgressions and abysses, dangers and beauty: Trio Catch! |
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