With his virtuoso and sensitive playing Rolf Borch re-introduces us to an instrument we think we know. With his clarinet Borch alone opens up an inviting musical landscape, which he explores with the patience of the artist and the playfulness of the musician.
Helmut Lachenmann more or less created a new alphabet of musical sounds in his piece Dal Niente; a way of musical thinking that has attracted many followers. The piece for bass clarinet by Ambrosini on this recording is a complete ‘theatre of sounds’ where the instruments at times sounds just as much like a percussion instrument or a synthesizer with several sine wave generators, as it does a wind instrument.
The “shadow of a gentle joy” – and the sound of a cartoon in the making
Sven Lyder Kahrs has borrowed the title Wie schön leuchtet der Morgenstern from J.S. Bach’s chorale BWV 436 and Kahrs acknowledges that his piece pays tribute to the old master. The title – describing the beautifully radiant morning star – is intended to “visualize a qualitative state”. Mark Adderley visits visuals in the making: Composer and musician fuses into the drawing artist, with the ‘clarinet pen’ moving both high and low in doodles and more structured adventures in Drawings 1.
Rolf Borch (b. 1975) has over the last couple of years established himself among the foremost clarinet soloists. Among his many performances with orchestras and ensembles, the Lachenmann clarinet concerto Accanto together with the Oslo Philharmonic Orchestra during the Ultima Fesival 2005 is of particular significance. In addition to his wide classical repertoire, Borch has a strong affinity for new music. This has resulted in more than 40 premiere performances. The list of composers he has collaborated with is long and includes the names of Brian Ferneyhough, Nicolaus A. Huber, Kaija Sariaho, Helmut Lachenmann and of course Norwegian composers like Magne Hegdal, Sven Lyder Kahrs, Jon Øivind Ness, Mark Adderley and Eivind Buene.