Dear customers, we would like to inform you that due to the current situation concerning the novel corona virus, exit restrictions have been imposed in Austria. For this reason we kindly ask you to send all requests in written form to [email protected]. Of course, you are still welcome to use the various contact forms on our website and place orders online in our webshop. We ask for your patience in case we are not able to process your requests at the usual speed - due to legal regulations, companies in Austria are currently only able to operate at reduced capacity. However, we would like to assure you that Universal Edition will continue to look after its customers in times like these. Best regards, your Universal Edition team.
At the very moment when I was in conversation with Paul Sacher, and he was encouraging me - actually commissioning me - to write for Anne-Sophie Mutter, I remembered in a flash high notes that I had heard her play with uncommon energy and animation. I had never encountered in her playing that attenuation and impoverishment in SLOW playing in the highest regions that is typical of some virtuosos: on the contrary, precisely in remoteness her playing is richest and most alive. Especially then, when I want to give form to what is most remote, I want its representation to be the act of a living being. From that I began to spin. The thread? Until it was all spun?
The orchestra is small, and plays the role of doppelganger. The violin speaks its nerve – line out into the resounding space – inscribes it there. In essence, this is monophonic music. And it is always song, even where beat and pulse shorten the breath and press it hard.
The line, is it a whole? It is all only a part, a segment, a fragment; it is delivered up to our observation without beginning and without ending - and as we listen we draft the outline of a whole that isn't there. But it must be there....