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Carsten Dahl: »The Sadness Will Last Forever«

Sune Anderberg. © Alexander Banck-Petersen

Til at få øje på var bevægelsen fra mørke til lys, da Copenhagen Phil i kammeropstilling forleden uropførte Carsten Dahls let uortodokse, men intimt transparente koncert for to klaverer, van Gogh-overvejelsen The Sadness Will Last Forever (2022).

Først: en smeltet stenmasse af kontrafagot, basklarinet, pauke, kontrabasser og dybe anslag i de to flygler. Sidst: en hvislende vanddamp af let dissonerende violintåge og piblende tangentspil. Derimellem: glasklare solistmotiver, alvorsramte linjer på kanten af det atonale, marcherende slagtøj, unisone flugtløb og, endelig, kontrapunktisk forsoning mellem Martin Qvist Hansen og Søren Rastogi i tålmodig bevægelse tone-mod-tone.

Tydeligt var det, at Dahl var ude i et dramatisk, men samtidig apollinsk ærinde. Stram metrik og taktnære, sobre motiver holdt den skæbnetunge inderlighed i skak. Skriften var nøgternt autoritativ, men lod sig også opildne som korte lyn på himlen: et skred indledt af valdhorn, buer slået mod strygerne, hektisk skærende træblæsere inden førstesatsens stormfulde standsning.

Og så altså modsætningen i den korte andensats: klavererne, der langsomt viklede sig ud af atonale klynger og ind i et tålmodigt afbalanceret lys. Nærmest som en terapeutisk strategi, et harnisk mod melankoli og mørke. En for så vidt abrupt struktur, men samtidig med en gennemgående personlig tilstedeværelse, en kamp mellem strenghed og mani, som måske er lige dele van goghsk og dahlsk. Tilmed, hurra, i vældigt værdig philsk opførelse.

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