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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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Une Soirée Vian (1991): on the borderline between opera, oratorio and cabaret Denys Bouliane investigates the heritage of the French writer Boris Vian.  |
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| John Cage never came to a standstill: until the very end he kept on searching for (and finding) hitherto unexplored new forms of artistic expression. |
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| "A dream of the music of the future:" impressionism, jazz, neoclassicism – and plenty of Antheil are the ingredients of these unique works for piano. |
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