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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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Russia’s answer to the western-focused Postmodernism: the polystylist Schnittke on the track of western Baroque.  |
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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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| Angel View is an assemblage of urban and musical debris. A hybrid between a wordless live radio play, soundtrack and instrumental theatre. |
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