Per Nørgård’s symphonic progress is far
from straight, and his six essays so far are important milestones in
his output, in that they were often written at crucial stages of his
compositional quest. The Sinfonia Austera (No.1), completed
in 1955, is the only one that roughly fits into the traditional symphonic
mould (bear in mind that Nørgård was a pupil of Holmboe).
The Second Symphony (1970/1) is in one single movement whereas the Third
Symphony (1972/5) in two large movements has a chorus in the second
movement. The Fourth Symphony (1981), again in two movements, belongs
to the particular period in the composer’s composing career in which
he was strongly attracted to and, to a certain extent, influenced by
the works of the schizophrenic Swiss artist, Adolf Wölfli, and
which reached its peak in the opera The Divine Narcissus
(1981/2). Later, the huge Fifth Symphony (1990), written to mark the
125th anniversary of Sibelius and Nielsen, is in one big
single movement, falling into four clearly delineated sections.
Now, Nørgård’s latest symphony, completed
in 1998/9, is again in three movements (or "passages" as the
composer calls them), the last two playing without a break. The Symphony
No.6 "...når kommer til alt..." is scored for
a huge orchestra including several unusual instruments: double-bass
clarinet, bass trumpet, bass trombone, double-bass trombone and double-bass
tuba. However, these huge forces are used comparatively sparingly and
the low instruments develop their own material without obscuring or
drowning the music. Quite the contrary, they often serve as a backdrop
for the brighter moments. And it says much for Nørgård’s
orchestral mastery that there is nevertheless much clarity and transparency
in the scoring that also has its more imposing moments. Orchestral colour
is of course important, as in the brooding slow movement calling for
four cors anglais. This said, it must be added that the Sixth Symphony
is a large-scale work of considerable musical substance and of tightly
worked-out argument that only yields its secrets after repeated hearings;
but that does not fail to impress at a first hearing by the sheer force
of its invention, its propulsive energy and – most importantly – its
earnestness and honesty. Nørgård has said that this was
to be his last symphony, and the rather inconclusive ending has more
than one touch of finality.
The more recent orchestral fantasy Terrains Vagues
(2000, with revisions in 2001) is much freer in structure and
outline, and sounds as if the concentrated work on the Sixth Symphony
needed some forceful outlet, to be achieved by the sonic violence and
impulsive drive of Terrains Vagues. Its single movement
however falls into three dynamically contrasted sections: the first
section is built around ferocious ostinati and massive blocks
of sound strengthened by an accordion and perturbed by the ticking of
three metronomes. This fades into a somewhat more static middle section
whereas the music regains impetus in the closing section which nevertheless
ends in indeterminacy. But what are we to make of the title? After completing
the piece, the composer found a Danish poem bearing that title and decided
to add it as a preface to the score. But also: in French "terrains
vagues" refers either to uncultivated, unbuilt pieces of land
or to deserted, derelict industrial sites. "Vagues"
may also have to do with "waves". No doubt also that
many other titles might have fitted, such as "Urban riots and
Threnody" (my own invention, sorry!) for the piece, to me at
least, rather suggests some of the uglier, more unpleasant facets of
modern city life, for such is the fury, anger and violence pervading
this rugged urban landscape. Whatever the interpretation, Terrains
Vagues is a quite impressive, Varèse-like orchestral
study.
Thomas Dausgaard, the dedicatee of Terrains Vagues,
conducts committed and recommendable performances of these far from
easy works and gets a wholehearted support from his orchestra in top
form. The whole is superbly recorded. The present release, thus completing
Chandos’s Nørgård symphonic cycle, is an indispensable
addition to this highly personal composer’s discography.
Hubert Culot
Danish National Symphony
Orchestra; Thomas Dausgaard