|
|
 |
| 1 |
|
des Nichts, verlorene Schatten |
15:19 |
 |
|
|
|
|
|
|
| 2 |
|
l´etendue des fins eclats, eparse |
12:58 |
|
|
|
|
|
|
|
| 3 |
|
erinnerte zeit, gebrochen |
19:04 |
|
|
|
|
|
|
|
| 4 |
|
offen - fin des terres |
16:24 |
|
|
|
|
|
|
|
|
|
|
Total Time |
01:03:45 |
|
|
|
| Digital Booklet - only with album |
|
|
|
|
|
|
Gerald Eckert is not a musician only. This qualification alone would hardly enable him to compose the way he does. ...
Very early on he began to assemble his interest in physics and mathematics, as well as painting and architecture, around the music. He has created art located "in between the abstraction of mathematical and physical concepts and moments of a sensual, image-creating quality." (Matteo Nanni) In des Nichts, verlorene Schatten Eckert employs finely chiseled sounds that are perforated again and again. The resultant "rough" surface of the work in a way constitutes the inner dramaturgy of the composition. In l’étendue des fins éclats, éparse he seeks to "suspend the progress of time and the sound space," demanding repeatedly that the violinist comply with the direction "senza tempo" (timeless). erinnerte Zeit/gebrochen also deals with time, encompassing a sound reservoir ranging from lowest tones in microintervals to violent beats. And offen – fin des terres, for ensemble and electronics, addresses the notion of the end, with instruments and artificial sounds becoming extremely condensed towards the center, only to unfold again as the composition continues. All in all incredibly intense music that displays a great variety in sound and succumbs to no kind of order whatsoever. |
1CD | Contemporary | Special Offers |
|
|
|
| Recommendation |
|
|
|
|
The world of St. Francis of Assisi: Drawing inspiration from Giotto’s frescos, Lutz-Werner Hesse traces life and suffering of the miracle-working saint with organ and gongs.  |
|
|
|
|
|
| With their 2nd Album the 5 austrian wunderkinder - better known as Alma - are back at it again and show us once more what traditional austrian folk music has to sound like nowadays. |
|
|
|
|
|
| "The energie of the insub-ordinate": In akkor(d/t)anz, romantic piano music seethes with monumental chords while pop tunes suddenly pop in Songbook # 0–11. |
|
|
|
