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Published online by Cambridge University Press:  18 July 2003


There is a school of thought in Britain which suggests that the rigours of modernist composition resulted in sterility and uniformity. Yet in the German-speaking world, composers have explored a wide range of expressive possibilities within a modernist sensibility. They have proved that the discipline of modernism is capable of stimulating genuine individuality, and over the past 30 years, Nicolaus A. Huber has emerged as one of the most distinctively radical, yet equally recognizable personalities on the German contemporary music scene. In contrast to Lachenmann, Rihm, or Höller, Huber has not attempted anything on the largest scale, but in the spheres of orchestral, chamber and instrumental music, he has produced a substantial body of work of considerable originality and dramatic power, frequently involving theatrical elements.

Research Article
© Cambridge University Press 2003

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This article is substantially based on the composer's introductory notes to his works, collected in Josef Häusler (ed.), Nicolaus A. Huber: Durchleuchtungen. Texte zur Musik 1964–1999 (Wiesbaden, 2000).