‘Liminal’, from the Latin limen, denotes both thresholds and, curiously, the home. Since its original use by the anthropologist Arnold van Gennep in 1909 to label the central stage in a transformational rite of passage, the term has been used in very many contexts: from writings concerning sociology within both local and global contexts to an internet aesthetic of eerie empty spaces, a sort of loose understanding of modern spiritualities and plenty of art gallery labels.

In Homer's The Odyssey, Odysseus and his men are on their way home to Ithaca when they land on a remote island inhabited by lotus-eaters. The locals share their indolent-making lotus plants with the Greeks, such that the troops’ homeward journey is disrupted and they find themselves in a state of limbo. Identities, both individual and communal, become entangled and blurred. Beat Furrer takes these sorts of uncertainties of self as inspiration in his Lotófagos (2007) – that is, Lotus-eaters – scored for soprano and double bass, which sets José Ángel Valente's poem of the same name. Drawing on Gilles Deleuze's conception of bodies, this article argues that the identity of an elusive but persistent collective subject in Valente's text can be found within the difference between the two performers’ bodies in Furrer's setting. The pair's movements weave in and out of each other, moving through spectres of each other's material, fleetingly suggesting cohesion through tension before jettisoning this for what contextually appears as relief. As such, the series of surreptitious vignettes presents a ‘conatus’ of the piece defined by tension, emulation and transience; Furrer's Lotófagos creates space for Valente's mysterious subject to be presented as the immanence of forces between two performing bodies.

The title of Beat Furrer's nuun, for two pianos and chamber orchestra (1996), invites two principal readings. As a pun on the German ‘nun’, meaning ‘now’, it invokes a presentist mode of musical thinking, whereby each moment is heard to exist in a continuous state of development. It also invokes myth, as suggested by Wolfgang Fuhrmann, in its palindromic reflection of the name of the Breton goddess Nu, who, in medieval mysticism, ‘had the power to let time stand still’. In this article, I use Byron Almén's 2017 theory of musical narrative as the basis for a narrative analysis of nuun, aiming to reconcile these allusions with the aesthetics and formal processes of the piece, as well as Furrer's documented preoccupation with notions of storytelling in music. In doing so, I expand upon the hermeneutic readings of the piece proposed thus far, establish connections with textural archetypes in Furrer's oeuvre, both pioneered by and preceding nuun, and consider lines of dialogue with broader discourse on time in contemporary music.

The natural world is a frequent touchstone for the Swiss-born Austrian composer Beat Furrer. In the operatic work Violetter Schnee (2019), for instance, images of snow and coldness take on a central role. Other works, such as Wüstenbuch (2009) and the Spazio Immergente triptych (2015), refer more indirectly to notions of barren landscapes and ecological excess. At the basis of all these works are sentiments of slippage and loss, of far-reaching melancholia and an unrepairable detachment from reality. The composer's multi-layered use of repetition further underlines these sentiments and aids in the creation of constantly shifting sonic landscapes. This article argues that the recurrent use of nature imagery in Furrer's work signposts a latent ecological dimension in his oeuvre. In doing so, the article focuses on the slipperiness of musical repetition, and more particularly on the heavily destabilising power of the loop. Taking Violetter Schnee as the starting point for inquiry, and using Timothy Morton's philosophical project of ‘dark ecology’ as a heuristic framework, the article reads Furrer's recent work against the background of ecological critique.

This article focuses on three of Beat Furrer's works described as opera or music theatre: Begehren (2001), FAMA (2005) and Wüstenbuch (2010). Each of these pieces sets texts from Roman, contemporary and historical authors in exploration of the liminal spaces between life and death, and the possible transitions between them. In Wüstenbuch one such text is included from the Papyrus Berlin 3024, known as the source of the Ancient Egyptian philosophical text ‘The Dispute between a Man and his Ba’, a reflection on the meaning and value of life and the transition between life and death. Furrer's compositional style does not offer a linear narrative on such questions but rather multiple perspectives and tableaux, each of which calls the others and itself into question. In order to explore this and understand what the meeting and interchange of the different texts and authors offers within the context of Furrer's music, I outline a method of ‘listening intertextually’ in order to hear the liminal spaces not only within but between these compositions. I consider the hybrid and hypertexts that arise within the music, and the ways that they can be therefore considered – as in the subtitle often given to FAMA – a ‘drama of listening’.

Between 1967 and 1988 Maryanne Amacher's City-Links series comprised radio broadcasts, sound installations and interdisciplinary performances featuring her practice of mixing sonic material from multiple remote locations joined via telecommunications infrastructure. These works reflect Amacher's compositional elevation of the process of sonic perception alongside musical material, an approach that would evolve to inform her later work in which she dealt with the musical potential of psychoacoustic phenomena known as auditory distortion products. This article aims to provide an overview of the City-Links series as a unique product of the experimentation in post-war avant-garde music and visual and conceptual art. After a synopsis of Amacher's early compositional development, I offer a comparison between Amacher's City-Links and John Cage's radio works, exploring different contemporary approaches to transmission and broadcast as a compositional medium. I then situate the site-specificity of the City-Links works within the extramusical frame offered by Amacher's contemporary Robert Smithson's site/non-site dialectic. The article finally suggests the necessity for a more holistic examination of Amacher's legacy that accounts for both the musicological and art-historical implications of her work.