Nicolaus Richter de Vroe, one of the strongest talents among the younger composer from Saxony, joined since the mid-eighties produced primarily with instrumental chamber music. And even in the West, he made a sudden talking point after he had won in 1985 at the Cologne Composition Competition "Young Generation in Europe" a price. Previously, Judge de Vroe had (with a major in violin) visited the Special School of Music in Dresden, the university and finally five years the famous Moscow Tchaikovsky Conservatory. There was a lot of opportunity, more modern than in Dresden perceive. Even Cage came up, and began Richter de Vroe to penetrate into the mind of Zen Buddhism. All in all predominate in pieces Judge de Vroes subversive moments against ingrained conventions of composing, playing and listening. They range from the preferred exploring the regions of noise liable - on the individual, detailed game-action (against a collective feeling generated mass al fresco) - up to the incoherent, free child, labyrinthine design of musical progressions. There are, in spite of explosive force, a predominant gestures of violence, combined with a knack for subtle, fragile and aimlessly static, what time - at least in the music of the GDR - a completely new quality possessed, but beyond all probaten forms of aggressive ideological composing differed.
5 Isole Di Rumore (Durchlässige Zonen II) Aus Weißen 16:40
6 Tetraдƃ III - I 2:40
7 Tetraдƃ III - II 3:16
8 Tetraдƃ III - III 3:12
9 Tetraдƃ III - IV 6:24
10 Tetraдƃ III - Lum'q'uart'inance 12:32
Nicolaus Richter de Vroe, one of the strongest talents among the younger composer from Saxony, joined since the mid-eighties produced primarily with instrumental chamber music. And even in the West, he made a sudden talking point after he had won in 1985 at the Cologne Composition Competition "Young Generation in Europe" a price. Previously, Judge de Vroe had (with a major in violin) visited the Special School of Music in Dresden, the university and finally five years the famous Moscow Tchaikovsky Conservatory. There was a lot of opportunity, more modern than in Dresden perceive. Even Cage came up, and began Richter de Vroe to penetrate into the mind of Zen Buddhism. All in all predominate in pieces Judge de Vroes subversive moments against ingrained conventions of composing, playing and listening. They range from the preferred exploring the regions of noise liable - on the individual, detailed game-action (against a collective feeling generated mass al fresco) - up to the incoherent, free child, labyrinthine design of musical progressions. There are, in spite of explosive force, a predominant gestures of violence, combined with a knack for subtle, fragile and aimlessly static, what time - at least in the music of the GDR - a completely new quality possessed, but beyond all probaten forms of aggressive ideological composing differed.
