Thus, Ullmann creates a quiet music in order to give himself and his listeners the opportunity to hear more, and better. This comes about because our ability to hear is augmented when listening to quiet music.

We hear better because we make an effort to hear better. That is why Ullmann likes to locate his sound sources at the periphery, so as not to make it too easy for the ear. In order to let sounds develop and move on their own time, the pieces are usually longer than the general concert norm dictates. The opening minutes serve as the exposition of the tempo and the mode, to condition, as it were, the listening.

Bernd Leukert. (Translation: Laurie Schwartz)

Three Audio-CDs in a Box, Booklet German/English

Artists

Maruta Staravoitava (flute), Pavlos Serassis (clarinet), Patrick Stadler (saxophone), Orsolya Sepsi, Éva Csizmadia (violins), Lucie Martin, Hans-Peter Schulz (pianos), Molly McDolan (oboe da caccia), Dafne Vicente-Sandoval (bassoon), Hans-Peter Schulz (organ), Philipp Kusin, Markus Putzke (organist's assistants), Jardena Flückiger (voice), Christoph Bösch (flute), Helena Winkelman (violin), Oliver Margulies (viola), Ellen Fallowfield (cello), Clara Gervais (double bass/percussion), Stephan Schmidt (speaker), Leonardo Idrobo (electronics)

Pellegrini-Quartett