Clementine Gasser


Clementine Gasser – CD-Review PIONEER 23
Concerto Magazin Alfred Krondraf december 2003
Genre Contemporary: Top Score 5 points

The CD features Clementine Gasser performing her own compositions on the cello. She calls her music “subversive classical avant-garde” and I would agree with her there! Gasser’s music is subversive on the surface, loud and unrestrained, but only on the surface. She has the feeling, she has the necessary technique and she handles her cello superbly.

The syntactical formal development and the intricate ramifications of the differentiated structure are impressive and speak of unusual choices entirely her own. A piece may start with a slow introduction, be joined by a pulsating that becomes increasingly rhythmic, followed by a theme branching out into a many-faceted structure and climaxing into a virtuoso finish. Then again, a long composition may span only a few notes – sometimes one single note carries a distinct mood – subtle moments of holding back and a quiet calm. It’s a must-hear.



« Spleen de Paris » de Charles Baudelaire
Concerto Magazin Alfred Krondraf february 2005 – Review
Clementine Gasser and Charles Baudelaire engage in intimate exchanges

He, Charles Baudelaire, is considered to have invented the dandy and flaneur, his home was Paris and his writings were evocative; She, Clementine Gasser, is considered the inventor of ”Wilde Kammermusik” (or wild chamber music), her chosen home is Austria and her music is intoxicating. It was a spiritual encounter between two diametrically opposed characters who engaged in a very intimate exchange.

The cellist and composer Clementine Gasser explored the poetry of Charles Baudelaire and translated his bizarre, suggestive, rapturous language into sound. Together with the outstanding percussionist Erwin Schober and the two “voices” Markus Hering and Patrick O. Beck, Gasser developed the programme « Spleen de Paris ». The texts by Baudelaire are used as a basis for the percussion-cello music which is partly contemplative, then again wildly eruptive, which reflects the entire universe of Baudelaire’s poetic exploration of his Paris, his era, his zeitgeist.

The two “voices”, one reciting in French, one in German, set the mood for the transposition of emotional states which seems to have been achieved with playful ease. Particularly those moments when the two languages and speech melodies deliberately overlap have a deeply personal quality and create a profoundly individual, very captivating aura that has a lasting impact.

One suddenly hears and feels not only the stillness, but also the longing and desires, the failures and achievements of a very eventful life – and there is a very uncompromising quality to all this. This is what it was like when Baudelaire lived his life, when he committed his thoughts and emotions to paper. Just how well texts from a long forgotten time can be interpreted both in keeping with the author’s intentions and in a very contemporary form is impressively demonstrated by Clementine Gasser and her ensemble.