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| It is the eternal questions that Nikolaus Brass mainly concerns himself with in his compositional work: the question of existence, of being, and first and foremost of all possible intermediate stages at the edge of what is conceivable, of what can just be grasped. In VOID (1999) he investigates the feeling left by loss, "structural empty spaces that bear the construction of sound while challenging it at the same time." For a due (2003), Brass has borrowed short captions from Yashushi Inoue's novel My mother; the last part is entitled memoria – "in 'commemoration' and 'consideration' of the speaking speechlessness of music." In TRIO (1987-1991) he works with fragmented shapes that spread through space, splitting the "progression of time" into "states of 'still now – then not anymore'." |
1CD | Contemporary | Special Offers |
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| Recommendation |
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Elmar Lampson
subsTANZ  |
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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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| Focussing and magnification, concentration and expansion – these [...] diametrically opposed dynamics [...] characteristically pervade Luke Bedford’s music. |
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