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| 1 |
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des Nichts, verlorene Schatten |
15:19 |
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| 2 |
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l´etendue des fins eclats, eparse |
12:58 |
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| 3 |
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erinnerte zeit, gebrochen |
19:04 |
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| 4 |
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offen - fin des terres |
16:24 |
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Total Time |
01:03:45 |
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| Digital Booklet - only with album |
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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 |
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| Recommendation |
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Milestones of electroacoustic music – from Varèse to Ferneyhough – investigated from a music-historical perspective and presented in contemporary 5.1 surround sound.  |
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| Wolfgang Mitterer is playing the organ and leaves no tone unturned. The composer beams the traditional instrument straight into the 21st century – feel free to follow suit! |
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