A tribute to Klaus Huber

Klaus Huber (1924–2017) helped shape his era as a composer and teacher through sound and words. His oeuvre spans the spectrum from the Swiss-influenced neoclassicism of the post-war period to the transcultural openness of the 21st century. ‘Die Seele muss vom Reittier steigen’ (The Soul Must Dismount), a kind of chamber cantata from 2002, reveals exemplary facets of Huber’s work, not least a striking, sonically sensual fragility. Huber shares the idea of the power of fragility with the Palestinian poet Mahmoud Darwish, whose lines have evidently kindled his creative fire. The work lasts a good half-hour, bringing together many of Huber’s interests: silence and outcry, microtonality and the Arabic tonal system, mysticism and political engagement. For Huber, this also includes ‘out-of-fashion’ instruments such as the baryton, which fell out of favour around 1800, or the high vocal part, which combines Baroque soundscapes with Arabic influences. The rising Winterthur countertenor Elmar Hauser will sing, whisper and embody these elements. Roberto González-Monjas, in turn, follows in Huber’s footsteps to weave a meaningful tapestry of lamentation across the ages. Back to Henry Purcell’s final aria from ‘Dido and Aeneas’, one of the most beautiful and sorrowful pieces of music ever written, and forward again to Olivier Messiaen’s apocalyptic ‘Abyss of the Birds’ for solo clarinet, right up to the haunting climax: “The soul must dismount from its steed and walk on its silken feet…”

6.45 pm Concert introduction in the City Council Chamber