Otto Ketting (1935 - 2012) * Symphonies 3 & 4, Printemps for string orchestra Отто Кеттинг (1935 - 2012) • Симфонии 3 & 4, 'Весна' для струнного оркестра
Netherlands Radio Philharmonic Orchestra (01, 03-05) Netherlands Radio Chamber Philharmonic (02) Jaap van Zweden, Thierry Fischer, Otto Ketting
01 Symphony No. 4 (2007) .............................. Jaap van Zweden 02 Printemps for string orchestra (2001) ............ Thierry Fischer 03 Symphony No. 3 (1990) - 1st movement ....... Otto Ketting 04 Symphony No. 3 (1990) - 2nd movement ...... Otto Ketting 05 Symphony No. 3 (1990) - 3rd movement ....... Otto Ketting
Music should be about emotions and experiences, time and
surroundings – besides being about music – no matter to what extent
these are concealed or stylized. ~Otto Ketting
What is characteristic of Ketting's work in general and of his Third and Fourth Symphony in particular is the seamless amalgamation of a healthy Stravinskian critical distance through which a hot-blooded expressionism in the style of Alban Berg has been filtered. Another characteristic of Ketting's four completed symphonies to date is their non-classical organisation, despite his unmistakable commitment to tradition. Only the Third Symphony is composed of separate movements; all the others are monolithic in structure. The Third Symphony is written for normal modern orchestral forces, but in his Fourth Symphony the woodwinds are conspicuous by their absence; the particular colour of this work is defined by colourful contrasts between the brass and the strings. The nucleus of Ketting's music: tradition is not something that has once existed, but is rather a value that confirms its worth only in the sounds of today. 
This release jumps a long way forward from the 1960s where the above
disc left off; the Third is from 1990. By this time, Ketting’s style
had jelled into a very recognizable personal idiom, and this substantial
three-movement work has more thoroughly absorbed the contradictory
elements of Bergian expressionism and Stravinskyan mechanism that vied
for attention in the composer’s younger years. This piece might well be
described as neo-romantic (especially the slow movement, with its
Mahler references), though the tension between atonal and richly tonal
material remains a trademark of Ketting’s brand of dramatic expression.
The Fourth (2007) is a serious and monumental single-movement form with
very pronounced tonal tendencies, and a slow-stepping main theme that
returns obsessively at intervals, suggesting a passacaglia
intermittently surfacing as an underlying background structure.
Printemps is a nostalgic, atmospheric, relatively conservative and
instantly accessible work, with echoes of Ravel and Berg. 
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