Like my other compositions from this period, Dal niente is also indebted from a technical perspective to the idea of a musique concrète instrumentale, in which all of the sounds point away from themselves to a certain extent toward the preconditions of their production, bringing the latter into the structural events as a kind of corporal experience. The instrument becomes a device: a characteristically manipulated filter for the players breath as controlled by the composition and its interpretation. The independent modification in finger positions, types of attack, and the forms of articulation in air pressure thus become discernible as a multi-level polyphony. Artificial structures of time and elementary perception of sound processes which are more objects of observation than of the sort of listening which is directed at expressivity condition each other and relocate the expressivity that was ousted from the single gesture to the emphatically concentrated experience of an awareness of their anatomy. (Helmut Lachenmann, translated by Steven Lindberg) CDs/LP: Alain Damiens CD Accord 202082 David Smeyers CD cpo 999 102-2 Eduard Brunner CD col legno WWE 31863 CD ECM New Series 1599, 453 257-2 Uwe Möckel CD Montaigne Auvidis MO 782075 J. Corbett LP pläne 88504 Eduard Brunner Musik in Deutschland 1950-2000 CD RCA 74321 73600 2 ensemble phorminx CD WER 6682 2 Bibliography : Brunner , Eduard: krawall im saal. Eduard Brunner über seine Erfahrungen mit der Musik von Helmut Lachenmann und die Zusammenarbeit mit dem Komponisten, in: Neue Zeitschrift für Musik 167 (2006), Heft 1, p. 32f. Galindo Agundez , Antonio: Konflikte in der Interpretation zeitgenössischer Musik. Brunner-Lachenmann: eine Fallstudie, in: rohrblatt 27 (2012), Heft 1, pp. 25-30. Jahn , Hans-Peter: simultan eine Erinnerung, in: Neue Zeitschrift für Musik 167 (2006), Heft 1, pp. 12-15.