Label: Another Timbre

90年代よりWERGOやEdition RZといった現音/クラシックレーベルから音源を出版、当店ではGod Recordsからリリースされた2枚のオルガン・ワークスが過去に人気を博したオーストラリアの作曲家/オルガン奏者Klaus Lang。ここAnother Timbreからは2019年にデビュー、本作は関連作を含め通算4タイトル目となる2026年音源[Geschrieben In Wasser]。演奏はApartment Houseが担当、ドイツ語で[水に書かれた文字]をタイトルとした氏が長年抱いてきた儚さと持続性の関心を作品化したもので、ヴァイオリン、ヴィオラ、チェロ、ピアノが静かな音域にて展開、演奏と沈黙が絶えず入れ替わる最小限の構造が非常に美しい内容。







On geschrieben in wasser., Klaus Lang pares the piano quartet down to a faintly breathing organism, letting soft, slowly shifting harmonies hover at the edge of audibility like something written on water just before it disappears.
Geschrieben in wasser. (“written in water”) sets Klaus Lang’s long-standing preoccupation with fragility and duration within the intimate frame of a piano quartet. Scored for violin, viola, cello and piano, the piece unfolds almost entirely in the quietest registers of ensemble playing, where sound and silence continually trade places. Rather than treating the quartet as a vehicle for drama, Lang reduces gesture to the bare minimum: sustained tones, tiny inflections of bow pressure, and chords on the piano that emerge like pale shapes, hang in the air, and then evaporate. The music seems less to progress than to hover, inviting the listener into a state where the slightest change feels momentous.

The title signals the work’s central tension. Writing “in water” implies an inscription that cannot last, and Lang’s materials are chosen to embody that condition. Harmonic fields are narrow, often built from neighbouring pitches that beat gently against each other, producing internal tremors and faint halo-like overtones. The strings frequently move in close formation, slipping almost imperceptibly between chords, while the piano colours their resonance with barely struck tones and resonant decay. Each sonority is treated as a present-tense object of attention rather than a stepping stone in a narrative: the question is not where the harmony is going, but how long it can be held before it dissolves.

In performance, geschrieben in wasser. feels like a meditation on listening itself. Dynamics stay low; attacks are soft; the boundary between intentional sound and ambient noise becomes porous. This forces a recalibration of perception: room acoustics, the grain of bowed strings, and the after-ring of the piano all move to the foreground. Time stretches, yet the piece never drifts into formlessness. Instead, Lang uses subtle shifts of density and register to articulate a series of almost invisible turns, like ripples intersecting on the surface of a lake. The sense is of music constantly on the verge of disappearing, and of an ensemble working with great care to keep it just, and only just, in place.

Within Lang’s broader catalogue, geschrieben in wasser. stands as a concentrated study in his core concerns: near-silence, slow process, and the use of minimal means to open a large interior space. It asks both players and listeners for a particular kind of attention - patient, close, willing to sit with uncertainty. In return it offers a listening experience that is as much about the quality of the surrounding air as about the notes themselves, a quiet but insistent reminder that some of the most affecting music happens precisely where it threatens to vanish.