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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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Recommendation |
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This music is about fading away, about reverberations, echoes. European instruments sound Asian, and Asian instruments are integrated into European art music. |
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“The Raft of Piano Keys”: Hans Werner Henze’s complete works for piano, between Mediterranean impromptus and the search for lost time. |
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Xiaoyong Chen assisted by the E-MEX-Ensemble and the Chai Found Music Workshop, conducted by Christoph Maria Wagner. A co-production with Deutschlandfunk. |
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