While twentieth century Swiss composers often synthesize the Latin and Germanic sources of their country’s inspiration in their aesthetics, it is to France that Pierre Wissmer (1915-1992) is resolutely attached, both in his life’s journey as in his artistic ideals. Imbued at first with a post-Ravellian neoclassicism, over the years his style has shifted toward a more distanced relationship with tonality and a more inner language. However, the refinement of the contrapuntal writing and instrumentation will always remain a constant feauture of his art.
The orchestra occupies a preponderant position in his production. If he readily references classical structures, such as the symphony (composing nine of them between 1938 and 1989), or the concerto, he has likewise written free-form works whose construction continues to remain meticulously elaborate.
This is the case of Clamavi, a symphonic triptych composed in 1957 and premiered the same year on Radio-Genève as part of the International Red Cross Day. The most “Honeggerian” work of Wissmer, it is based on the Lutheran chorale Herr, nun lass in Frieden which runs through the three parts uninterruptedly.
That same year of 1957, Pierre Wissmer composed L’Enfant et la rose, a symphonic score inspired by Antoine de Saint-Exupéry’s The Little Prince. The composer did not use the original title on purpose as his goal was to recreate the poetic universe of the book devoid of any descriptive intention. The work bears the incription of the famous quotation “One can only see well with the heart, the essential is invisible to the eyes.” It is constructed in the form of twelve variations, very freely taking up the material set out in the introduction. © Claves Records