,

Nikolaus Brass: Works for piano solo

17,99 

+ Freeshipping
Article number: NEOS 11601 Categories: ,
Published on: August 25, 2017

program:

Pieces for Empty Hands – 11 Benedictions (2011) 16:03
[01]  Opening 00:18
[02] 1 Arias 01:04
[03] 2  01:10
[04] 3 fast 00:20
[05] 4 quarters = 72 01:11
[06] 5  01:30
[07] 6 night piece 01:24
[08] 7 Lachrymosa 02:09
[09] 8 maestoso 01:55
[10] 9 quiet 02:15
[11] 10 Arias 01:34
[12] 11 fast 00:23
[13] ending 00:49

[14] Songs on the Run – Piano Music II (1983) 15:45

[15] VOID (1999) 14:09

[16] Undine goes (2014) 07:46


Dialoghi d'amore V
 (2010 / 2011) 25:58
[17] 1 intimate, silent 03:05
[18] 2 sublime, calm, breathing in sound time 03:25
[19] 3 currently 02:50
[20] 4 flowing, floating, singing 15:02
[21] 5 present, easy 01:31

Total playing time 79:59

 

Jan Phillip Schulzepiano

 

World Premiere Recording

Press:

# 3_2018

[…] The listener is rewarded with depth, with often delicate skepticism, and also with calm structures that are impregnated with musical contemplation, pondering over sound worlds. […] Every event seems to bring with it the question of progress. Each fade becomes an exciting moment. With a pronounced sense of sound, Schulz emphasizes the openness and liveliness. […] And the experienced BR sound engineers of the Bayerischer Rundfunk succeeded in making a suitably dry recording that doesn't lose any detail, no matter how small.

With this wonderfully varied CD, the NEOS label presents a piano cosmos in the usual chic packaging, the consistently high level of which is unparalleled.

Torsten Moller

 

March 2018

Jan Philip Schulze has recorded Nikolaus Brass' complete piano works with crystalline sharpness, including many a gem of compositional introversion. The "Pieces for Empty Hands - 11 Benedictions" (2011) contain only fragments of musical forms in loose connections, a mosaic of fleeting sound symbols. Not a word too much in the expansive 2dialoghi d'amore V” (2010/11), compositional calligraphy that lives up to its performance instructions: “intimate-sublime-floating”. “VOID” (1999), on the other hand, reflects moments of stillness and emptiness with dimly shimmering chromaticism and lazy chord repetitions, as if Morton Feldman were visiting.

Dirk Wieschollek

 

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