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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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[...] Hudry researches very early on, a form of vigorous interaction between the performer and the machine – an axis of his compositional output.  |
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| As fascinating as ever: Cerha’s monumental opus Spiegel, in which he "investigates fundamental phenomena of musical creation." |
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| Even Hector Berlioz praised the sound of the, then newly invented, saxophone, likening it to the “mysterious vibrations of a bell, long a er it has been struck.” |
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