Label: Edition RZ
'Born in 1938, Volker Heyn is an 'outsider', or perhaps an 'unloved insider', an avant-gardist when it comes to experimental music, reaching beyond the trends of his generation of New Simplicity, Neo-Romanticism, New Complexity and so forth. In 1960 he left Europe to spend more than ten years in Australia where he joined a travelling theatre company, made ends meet by singing in nightclubs and working the night shift in a metal works. Heyn's music is the mise en scène of an acoustic condition, whose manifold reflections perpetually interlock and shatter, like a box of mirrors. It investigates a process, which in itself is inaccessible and cannot be reproduced on paper. Volker Heyn is not interested in sound per se - in the positive acoustic gesture - but, and especially, in the negative form, in the responding tone gesture, in the duplicating of friction and in discontinuous movements. His composition patterns follow the resonance - the overhang - that we are able to perceive only by restricting our sensors almost to zero, in order not to succumb to its violence. And this must be enough, more would be too much. Then these remnants of sound will be drained and exhausted right up to the merest subversive unit. This is the soundscape that we are given: an intricate, though ultimately innocent structure of endless macro and micro sounding reactions.' 'K'TEN' (2005) for doublebass, violin, keyboard, percussion. 'Sirènes' (1983) for stringquartet. 'Préludes zu Ferro Canto #1 + #2+ #3' (1989) (fragment) for tape. 'Blues in B-flat' (1981) for cello. 'Blah 2' (1985) for violins, 'Resurrection #1' (2000) for keyboard, doublebass and tape. 'Les Visages des Enfants' (2002-2004). 'Graffiti, Risse' (1998-1999) for 4 woods, keyboard and 3 strings.