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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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Patrick Pulsinger assembles a quartet to embark on a musical reflection on Morton Feldman at the WIEN MODERN festival. A perfect col legno production!  |
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| Gerhard E. Winkler explores the timeless, "archetypical" nature of relationship tangles: Heptameron, the pandemonium of human relations, as an interactive opera. |
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| Helmschrott breathes new life into an ancient, once-popular instrumental form, masterfully leading it in new musical directions with his 12 church sonatas. |
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