Huber / Bour / Nagy- Gespenster / Harakiri
Nicolaus A. Huber's music as an intervention into the familiar. The title of the booklet text sums it up: "Indeed, Huber repeatedly challenges the audience to abandon routine listening habits, and this for decades of seemingly inexhaustible creativity. For example, he does not regard sounds as elements whose origin, direction and hierarchical position can always be clearly identified and - once set - can no longer be changed. On the contrary: according to Huber's understanding, a tone moves on as a probability wave and can change direction at any moment, take on a modified form or temporarily disappear and reappear elsewhere. It is obvious that one is never safe from surprises. In two orchestral works and two pieces - written over a period of 43 years - recorded by the ensemble Reflexion K the composer repeatedly depicts this with aesthetically completely different approaches.
Nicolaus A. Huber's music as an intervention into the familiar. The title of the booklet text sums it up: "Indeed, Huber repeatedly challenges the audience to abandon routine listening habits, and this for decades of seemingly inexhaustible creativity. For example, he does not regard sounds as elements whose origin, direction and hierarchical position can always be clearly identified and - once set - can no longer be changed. On the contrary: according to Huber's understanding, a tone moves on as a probability wave and can change direction at any moment, take on a modified form or temporarily disappear and reappear elsewhere. It is obvious that one is never safe from surprises. In two orchestral works and two pieces - written over a period of 43 years - recorded by the ensemble Reflexion K the composer repeatedly depicts this with aesthetically completely different approaches.