Sichtbare Spuren (Visible Traces)
musikFabrik
Sichtbare Spuren (Visible Traces)
musikFabrik
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In these compositions visible things have left audible traces, whether in reference to the image of the pietà, distorted to the point of grotesquery by Mauro Lanza or in the form of everyday activities from which Nicolaus A. Huber has fashioned his music’s ‘canvas’. In Bernd Alois Zimmermann’s score for an experimental film by Michael Wolgensinger, we find traces from a whole range of musical spheres, as a counterpoint to the image. In the case of Rebecca Saunders, even invisible things become visible in the quest for the lost object.
