SYMPHONY 3 & 4 / PRINTEMPS

Composer(s): Otto Ketting

Artist(s): Netherlands Radio Philharmonic Orchestra, Netherlands Radio Chamber Philharmonic
Reference: KTC1373
Barcode: 8711801102115
Format: 1 CD
Release date: 2008-10-03
SKU: KTC1373 Categories: , ,

€ 21,50

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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.

1. Symphony No. 4 (2007)
Composer: Otto Ketting
Artist(s): Netherlands Radio Philharmonic Orchestra

2. Printemps for string orchestra (2003)
Composer: Otto Ketting
Artist(s): Netherlands Radio Chamber Philharmonic

3. Symphony No. 3 (1990): I. 1st movement
Composer: Otto Ketting
Artist(s): Netherlands Radio Philharmonic Orchestra

4. Symphony No. 3 (1990): II. 2nd movement
Composer: Otto Ketting
Artist(s): Netherlands Radio Philharmonic Orchestra

5. Symphony No. 3 (1990): III. 3rd movement
Composer: Otto Ketting
Artist(s): Netherlands Radio Philharmonic Orchestra

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SYMPHONY 3 & 4 / PRINTEMPS
€ 21,50
Listen on your favorite streaming serviceSpotify IconSpotify
Listen on your favorite streaming serviceSpotify IconSpotify

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.