Die Nacht Aus Blei

Hans-Jürgen von Bose belongs to a generation of German composers who completed a reversal in the first half of the seventies. They strove away from the ever-increasing complexity of the music and composed as it were out of the belly. Indignant protest was in response to these outrageous trends, but which you rashly and hastily to the New Simplicity explained to them to arrange somewhere for general calming the public. On the New Simplicity, the label followed neo-romanticism; because of Bose and his peers were interested in Alban Berg, who among the three Viennese Dodekaphonisten - had captured most clearly, in spite of certain technical subtleties, to the overflowing feeling of a rich, warm harmonies - in addition to Schoenberg and Webern. From mountain it was only a small step to Robert Schumann, whose proliferating Klangfiguren once tended to precious miniature, another time for sweeping large form. For Bose but this attitude could not be the final destination. He looked around and learned from the work of Bernd Alois Zimmermann, György Ligeti and Brian Ferneyhough. An estimated carpenter and he appreciates still the pluralistic approach, but just the purism of to refuse all already existing in an impasse had led. Ligeti was important because he half-serious, half-playful was always looking for new ways. The immense complexity of Ferneyhough was another corrective to a carefree drauflos composing. Modernity to draw from the new spirit of romanticism, but remained of Bose's Ideal.