1. Kore (2010), Ensemble Adapter;
2. Ataraxia (1988), Sinfonieorchester Baden-Baden, Ingo Metzmacher, James Clapperton (Piano);
3. Klangfaden (1983), Ensemble Adapter;
4. Saitenspiel (1983), Ensemble Modern, Peter Eötvös;
Collabaration with Deutschlandfunk, Deutschlandradio Kultur and SWR
Philosophical writings from antiquity have frequently underlaid Zimmermann’s work of recent years,
particularly in relation to notions of time an ‘harmonia’ [...] Another recurrent theme in later works
is that of the ‘broken unison’ (both melodic and rhythmic), which clearly has an
allegorical/social dimension as well as a musical one [...] The isolated performance of
single of his pieces emphasises their ‘otherness’ in relation to the main trends in new
German music, whereas the hearing of several pieces together reveals a remarkably rich and coherent personal work. (Richard Toop)
‘Music to sound out minimal intervals and combinations of tones - there is something enchanting
in it: "Slowness is the secret".’
(Wolfgang Schreiber, Süddeutsche Zeitung)
This final part is characteristic of Walter Zimmermann’s composing style,starting with plain material
but enfolding its alleged simplicity until it comes to a new complexity. Zimmermann develops with Klangfaden
(1983, in a new interpretation of Ensemble Adapter) an exceedingly delicate filigree texture, where the
bright tones of the harp and a glockenspiel are strangely interwoven with the darker colours of the bass
clarinet. (Gerhard Dietel, Neue Zeitschrift für Musik)
