The three works in
this composer’s portrait were written
in close succession to each other, from
1995 to 1999, and thus provide a fair
assessment of the composer’s recent
output. The earliest work here is Namenlos
for large orchestra and electronic sounds.
It dates from 1996. This, as a whole,
may best be described as a suite of
six highly contrasted musical climates,
in turn violent and softer, energetic
and meditative, static and restless.
There are many arresting moments in
this endlessly inventive work, such
as the first section (one of the longest)
in which the nervous orchestral music
rushes headlong into what Thomas Meyer
aptly describes as a wall of electronic
sounds. The final section also calls
for a baritone who softly sings some
lines from Petrarch’s Sonnet 164 ending
with the words Vegghio, penso, ardo...
(I wake and think, and I glow...) which
actually summarise the emotional content
of the work. The electronically produced
sounds (either ring-modulated live sounds
or computer-modified instrumental sounds)
do not compete with the orchestra, but
rather widen its expressive palette.
The electronic part has been precisely
worked out by the composer and Wolfgang
Heiniger, and the result is quite remarkable
and very effective. Few composers actually
achieve such musically satisfying blending
of live and electronic sounds. I think
of Jonathan Harvey and York Höller.
Kelterborn is obviously one such composer.
In spite of its technical complexity,
Namenlos possesses an
extraordinary expressive strength that
holds you from first to last. No easy
stuff, but a truly gripping piece of
music.
The Cello Concerto
is a substantial work in one movement,
travelling through a wide range of moods
and emotions, a sort of long rhapsody
tightly knit by the recurring use of
basic germ cells. The difficult and
technically demanding solo part is present
throughout and is the red thread running
throughout the whole piece. It is supported
by a richly varied, rarely massive,
orchestral fabric. The orchestra is
infrequently used to the full, and is
often split into smaller, chamber-like
groups, which considerably enhances
the variety of the orchestral commentary.
This is a powerfully impressive, richly
expressive work, and one of the finest
cello concertos of the 20th
century next to those of Dutilleux,
Leighton, Lutosławski
and Bernard Stevens. A splendid performance
is given by Ivan Monighetti superbly
supported by the Orchestre Philharmonique
de Ličge conducted by Jan
Krenz. This is actually the live recording
of the world premiere on 3rd
April 2000 in Zürich.
By comparison, the
Kammerkonzert for clarinet
and 14 players is somewhat simpler than
either of the other works here, although
to describe it as easy-going would be
rather misleading. It is in two clearly
characterised movements, Agitato
and Grave, the music of which
speaks for itself, although things are
not always as simple as that. The first
movement has some contrasting material
whereas the second has its share of
energy and violence. The second movement
is scored for bass clarinet and ensemble,
best suited to the predominantly darker
mood of much of the music.
Thus, three substantial
works, all well served by carefully
prepared and committed readings, in
a very fine recorded sound. You hardly
notice that these recordings have been
made live.
Rudolf Kelterborn is
one of the most distinguished Swiss
composers of his generation, and one
who has made quite a name outside his
homeland. For all its complexity and
often uncompromising character, his
music is gripping, powerfully expressive
and utterly serious and sincere.
This is a very fine
release that really deserves consideration.
Recommended.
Hubert Culot
Ivan Monighetti (cello)a; Kurt
Widmer (baritone)b; Matthias Müller
(clarinet)c; Orchestre Philharmonique
de Liège et de la Communauté Françaisea;
Sinfonieorchester Baselb; Ensemble
Collegium Novum Zürichc; Jan Krenza,
Howard Griffithsb, Jürg Wyttenbachc
