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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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“The building blocks upon which your tradition rests“: Cristóbal Halffter brings together Spanish, Sephardic and Arabic texts in his Siete cantos de España.  |
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| "Six Melodies" (1950) and "Thirteen Harmonies" (1985): Annelie Gahl (violin), Klaus Lang (Fender Rhodes) and col legno present an excitingly accessible John Cage. |
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| The diversity of the seemingly incompatible: Points, contrasts and shapes of sound in Rihm’s string quartets Nos. 10 and 12 and the Quartettstudie. |
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