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| The first part of Perspektiven whose world premiere was in 1956 is entirely geared towards the music of Anton Webern, with the sonic contrasts overlying the mirror symmetric unity of the movement. In the second part, however, symmetry also determines the sound of Perspektiven. Zimmermann struggled in the early1960s when his opera Die Soldaten was rejected as unplayable by the Opera Cologne. It almost happened to him again when his Dialoge, composed in the fall of 1965, was rescued only through the engagement of the famous piano duo Kontarsky. At a later point, however, Zimmermann reworked the entire score since the orchestra musicians could not read his special music notation. Apart from the two pianos, the ‘dialogue’ also engages the entire orchestra, with the sound of this conversation changing “constantly with respect to density and continuity”. In his Monologe, Zimmermann was concerned with a sonic pluralism in which “dialogues extend beyond times and spaces and remain monologues in dialogues and a myriad of exchanges.” In his orchestral piece Photoptosis, Zimmermann manages to perfectly convey the force of light, from gentle glimmer to brilliant glow. |
1CD | Instrumental | Piano | Orchestral | Contemporary | Special Offers |
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A virtue out of necessity: under Cage’s hands the preparation of the piano developed from a flash of inspiration into a distinctive mode of expression.  |
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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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| Somewhere between Alex- ander Rodchenko, Jackson Pollock and Charles Ives: Marino Formenti’s piano studies based on an instal- lation by Florian Pumhösl as a listening experience! |
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