Norbert Moret was born
in Fribourg where he completed his musical
studies. From 1948 to 1950, he stayed
in Paris and studied with Arthur Honegger,
René Leibowitz and Olivier Messiaen.
The latter’s teaching had, so we are
told, an important influence on Moret’s
musical development although you hardly
notice it when listening to the music.
In fact, while listening to his fine
music, I more than once thought of Honegger
and Bartok rather than of Messiaen.
Moret did not come into prominence until
he was fifty when his Germes en
éveil was successfully
performed during the Fête de l’Association
des Musiciens Suisses. From then on,
he composed consistently till his death
in 1998. His fairly substantial output
includes a number of concertos : a Cello
Concerto (1984/5) written for Rostropovich
who recorded it (Erato 2292-45530-2,
now reissued on MGB CD 6103,which I
have not heard so far), a Violin Concerto
En rêve (1988) for
Anne-Sophie Mutter who recorded it (DG
431 626-2), a Double Concerto for Violin,
Cello and Chamber Orchestra (1981) that
is available on Grammont CTS-M 23-2
(which I have not heard either), a Triple
Concerto for Flute, Oboe, Harp and Strings
(1984) as well as two organ concertos
from 1995/6 and 1998 respectively, all
of which are unavailable in commercial
recordings so far. His output also includes
several choral works, such as his oratorio
for soloists, choruses and orchestra
Mendiant au ciel bleu
(1980/1) that is available on MGB CD
6199 of which I have just found a copy
in a second-hand shop in Brussels.
The three pieces recorded
here include two of his latest scores,
the Trumpet Concerto of
1996/7 and the Horn Concerto
of 1995 as well as a slightly earlier
major work Suite à l’image
du temps for double string orchestra
completed in 1979. This major and substantial
work originated from a commission by
Edmond de Stoutz for his Zürcher
Kammerorchester. Because of a tight
deadline, Moret initially planned to
write a string version of a recent piece
Temps (1977/8, for baritone,
strings and two trumpets on words by
the composer). However, he soon realised
that the absence of the voice and of
the trumpets caused some problems as
far as textures were concerned. He solved
the problem "by filling-in the
gap" with a second, smaller string
orchestra. This resulted in the present
Suite à l’image du temps
in five movements (the vocal work has
six movements) : Pourquoi, Ombre
dansante du songe, Abîme, Extase
and Aux quatre vents, which may
be considered as impressions vividly
evoking (one suspects) the various moods
of the poems set in the vocal cycle.
(I definitely would like to hear Temps.)
The piece, however, may be fully enjoyed
without any prior knowledge of the poems;
and comes off superbly well as a magnificent
work for strings, full of imaginative
string writing, displaying a remarkable
mastery as well as a considerable expressive
strength. This is a marvellous piece
of music, worth the comparison with,
say, Martinů’s
Double Concerto
and Bartok’s Divertimento,
to name but two that come to mind. One
cannot but wonder why a work such as
this is so rarely heard.
The Horn Concerto and
the Trumpet Concerto, both late works,
were written in quick succession. Although
they may not be quite in the same league
as the masterly Suite,
they are nevertheless very fine works
idiomatically written and exploiting
the expressive range of the solo instruments
to the full without ever resorting to
"tricks and gimmicks". The
solo parts, though, are quite demanding,
and call for some considerable stamina
on the soloist’s part, but never gratuitously
so, I must say, and for some consummate
musicality. The composer also draws
some remarkable expressive strength
from his comparatively modest orchestral
forces. In both concertos, there are
many fine things and some arresting
textures and harmonies; and both display
a most refreshing joie de vivre
(without sounding "lightish")
that is one of their most appealing
qualities. I often thought of Jolivet
(e.g. the Trumpet Concertino) or of
early Ohana (e.g. his own early Trumpet
Concertino), and none the worse for
that of course. (Incidentally, Moret
also composed a Concerto for Strings,
Trumpet and Piano in 1970.)
Needless to say, these attractive works
get very fine readings and very fine
recordings. (Incidentally, the Horn
Concerto was written for the present
soloist, Bruno Schneider.)
In short, this fine
release is an excellent introduction
to Moret’s superbly crafted, imaginative
and personal music, which was new to
me. (The only work of his I knew is
his Violin Concerto En rêve
in Mutter’s recording with the
Boston Symphony Orchestra conducted
by Ozawa, which is now – I think – available
as part of a boxed set with Mutter’s
recordings of 20th Century
concertos.) I know now that I would
like to hear more of it soon. This is
a very rewarding release well worth
looking for.
Hubert Culot
Jeffrey Segal (trumpet)a; Bruno Schneider
(horn)c; Orchestre de Chambre de
Lausanne; Okko Kamua, Jesus Lopez-Cobosbc