There are, he points out, “dignity and despair” in Burghers of Calais and the struggle of moral opposites invoked by L’Appel Aux Armes (The Call To Arms). Pelt’s Gates Of Hell, was inspired for Rodin by a vision in Dante’s Divine Comedy. It features Pelt playing into a cup mute and creating intensity through repetition plus a bit of judicious electronic manipulation and, at a key moment, a brief open-horn scream. As always in his albums Jeremy Pelt surrounds himself with colleagues attuned to his musical, artistic and intellectual wavelengths. In the case of The Rodin Suite, they are Victor Gould, piano; Vicente Archer, bass; and Allan Menard, drums; Alex Wintz, guitar; Chien Chien Lu, vibraphone and marimba; and Frank Locrasto, Fender-Rhodes.
My recommendation is that you listen to this album after reading Pelt’s liner notes. Then, listen to it again.