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| While traveling through time in Italy and Germany, Thomas Jahn was particularily intrigued by the “culture of resistance”. The poems underlying the cycle are all concerned with resistance – resistance against war, against the lack of affection and against inhumanity: “He finds its remnants, so prevalent in Italian folklore, also in German lyric poetry.” (Hans-Werner Heister) Some of the texts alternate between German and Italian, sometimes even within the space of a single phrase or word. The prologue opens in the manner of Schubert’s Winterreise: As strangers we arrive, as strangers again we leave. And “for all the cohesion of the overarching dramatic and formal composition, the cycle offers a great variety of inflections, gestures and characters, of different combinations of instruments and uses of the singing voice. Here, the instrumental solo stands alongside the technical requirement of the preproduced audio tape, melodic simplicity alongside exalted raptures, and grief next to chicly hysterical exhileration. And every single piece has an unmistakable face of its own. What, in the end, form a common thread running through the entire piece are not cross-references established by a shared musical material, but the thematic leitmotifs. |
1CD | Contemporary | Special Offers |
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Of transgressions and abysses, dangers and beauty: Trio Catch!  |
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| Compact acoustic events in Vento d’ombra are pitted against the sharp contrasts of the Due notturni crudeli and the subtle art of the dramatic persiflage in Lohengrin. |
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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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