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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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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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All you need is air
A songbird that stops singing must die. Georges Aperghis demands a similar degree of self-sacrifice of the performer of his 14 Récitations:  |
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| I Hate Mozart, hit production of the Vienna Mozart Year 2006, superbly presented by the original ensemble, has now been released on SACD and DVD! |
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| The recording of the Donaueschinger Musiktage 1993 presented by col legno! |
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