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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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Polyharmony, Tone Cluster and Counter Rhythm: the three movements of Henry Cowell’s piano concer-to of 1928 (very nearly) reveal the essence of his oeuvre.  |
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| Thick woven music, whose apparently static exterior has a complex, seething interior! Charles Uzor’s extraordinary piano concert Ricercare. |
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| Haubenstock-Ramati erected a cathedral’s nave made of sen-sual sounds in his composi-tions for solo harp and up to sixteen pre-recorded additional harp parts. |
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