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Swiss composer Klaus Huber (born 1924) has a fondness for sounds that are ethereal and unorthodox. The Purcell- derived plaintive descents that open the four-cello version of Ein Hauch von Unzeit VIII (1972), a “lament on the loss of musical reflection” (here evocatively multi-tracked by Alexis Descharmes) develop almost floating relationships that are thoroughly modern. Lazarus (1978) subtitled “crumbs” for cello and piano, has pianist Sebastien Vichard working directly on the piano’s strings. The brief Rauhe Pinselspitze (The Hard Tip of the Paintbrush, 1992) pits cello pizzicato against a Korean drum, the buk (played by Jean-Baptiste Leclere), . . . . ruhe sanft . . . (in memoriam John Cage) (1992) features four cellos over a background of the sounds of breathing and the name John. The early (1954) Partita for cello and harpsichord is like the work of a different, altogether more conventional composer.
TRACKLIST
01 Ein Hauch von Unzeit Vlll (1972), version pour quatre violoncelles
02 Transposition ad infinitum (1976), pour violoncelle seul
Lazarus pour violoncelle et piano (1978)
03 Part l
04 Part ll
05 Rauhe Pinselspitze pour violoncelle et percussions coreennes (1992)
06 …ruhe sanft… in memoriam John Cage pour quatre violoncelle et voix (1992)
Partita pour violoncelle et clavecin (1954):
07 Part l
08 Part ll
09 Part lll
10 Part lV
11 Part V
12 Part Vl
Performers:
Alexis Descharmes, cello
Sebastien Vichard, piano and harpsichord
Jean-Baptiste Leclere, buk
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