RECORDINGS OF THE MONTH
Per NØRGÅRD (b. 1932)
Symphony No. 2 - In One Movement (1970, rev. 1971) [23:06]
Symphony No. 6, At the end of the day (1999) [31:15]
Oslo Philharmonic Orchestra/John Storgårds
rec. 1-5 June 2015, Oslo Opera House orchestra rehearsal room (2); 25-28 May 2015, Oslo Konserthus (6)
DACAPO 6.220645 SACD [54:21]
Per NØRGÅRD (b. 1932)
Symphony No. 4 (1981) [19:38]
Symphony No. 5 (1987-1990, rev. 1991) [36:14]
Oslo Philharmonic Orchestra/John Storgårds
rec. 1-5 June 2015, Oslo Opera House rehearsal room (4); 25-28 May 2015, Oslo Konserthus (5)
DACAPO 6.220646 SACD [55:52]
I first became aware of Per Nørgård’s music about twenty years ago
via his string quartets played by the Kontra Quartet (Kontrapunkt 32015).
I progressed to his Concerto for Viola and Chamber Orchestra Remembering
Child with Pinchas Zukerman (DaCapo DCCD 9002) and then Borderlines
and Voyage into the Golden Screen (DaCapo
8.226014). That’s as far as it went.
Nørgård studied with Vagn Holmboe at the Royal Danish Academy of Music in
Copenhagen, and later with Nadia Boulanger in Paris. The Nordic styles of
Sibelius, Nielsen and Holmboe were early influences. He then started exploring
modernist techniques which led him to serial composition based on the ‘infinity
series’. This he employed in Voyage into the Golden Screen
and the Second and Third Symphonies. His compositional oeuvre to date consists
of six operas, two ballets, eight symphonies, concertos, choral works and
chamber music, of which there are ten string quartets.
On the back of the success of Voyage into the Golden Screen, Nørgård
quickly followed up with the one-movement Symphony No. 2 - "A tribute
to the power ... of the infinity series" (booklet). Increasing the series
of notes from the previous work’s 1000 to 4096 of uninterrupted quavers,
he profited from greater scope to construct melodies and climaxes. The feeling
is one of timelessness and unfolding in waves of sound; the effect is hypnotic.
To establish structure, the music is divided into 16 phrases defined by bell
sounds, and each fourth phrase is marked by a brass fanfare. The flutes have
a prominent role. Towards the end, Nørgård builds the music up to a startling
climax, employing a myriad panoply of instrumental textures. Then, in the
final bars, the music dissolves into silence. Storgårds' pacing of
the work adds to its potency, effectively bringing cohesion to its cumulative
narrative.
Symphony No. 6, At the end of the day, was a joint commission by
the Danish National Symphony Orchestra, the Gothenberg Symphony Orchestra
and the Oslo Philharmonic to herald the Millennium. Dedicated to the composer’s
wife Helle Rahbæk Nørgård, it was first performed in early January 2000. It’s
more upbeat than the other symphonies, and more classically framed with its
fast-slow-fast three movement pattern. The outer movements are ebullient and
frame a dark, sombre Lentissimo passacaglia, sketching a vision,
to my mind at least, of a figure wandering in a gloomy, unfamiliar landscape.
It’s scoring is resourceful, Nørgård proving himself an alchemist and
master of colour. He blends several unusual instruments into the mix, including
double bass trombone, double bass tuba and double bass clarinet. I’m
particularly enamoured by the finale, a quirky and capricious romp, infused
with a surfeit of wit, and sprinkled with a luscious helping of rumbustiousness.
The brass section of the orchestra I would single out for special mention
– their rasping growls are irresistible.
In 1979, the composer encountered the art works of Adolf Wölfli (1864-1930)
in Denmark. The Swiss artist spent most of his life in a mental hospital,
having been diagnosed with schizophrenia. Some see his split personality reflected
in the prolific collection of texts, art works and musical fragments that
he produced. In 1912 he’d planned a musical work entitled Indischer
Roosen-Gaarten und Chineesischer Hexen-See (Indian Rose Garden and Chinese
Witch’s Lake), but the project was never realized. Nørgård used these
titles for his two-movement Fourth Symphony, subtitled Hommage à Adolf
Wölfli, adding that the work is ‘a handshake with a friend, with
thanks for a good idea’. Luminous glissandi open the first movement,
evoking a sinister sound-world. At times there’s a threatening persistence.
Storgårds achieves some well-controlled dynamic variance and convincing orchestral
colour. The portrayal of birdsong motifs in the second half are extremely
effective. The second movement follows abruptly without a break. The orchestra
unleashes chaos and discord, and the atmosphere of portent and impending catastrophe
is overwhelming.
As part of a Nordic triptych including the fifth symphonies of Sibelius and
Nielsen, Nørgård’s Fifth had its premiere; the year was 1990, the orchestra
the Danish National Symphony, and the conductor Esa-Pekka Salonen, the dedicatee.
A large-scale canvas, the work is divided into five sections, though the composer
was anxious for the listener to decide on the number of movements. The upsurges
of the first part are reminiscent of lava boiling and erupting, underpinned
by unease and instability. Impressive are the wonderful sonorities, with each
section of the orchestra given its moment to shine. In the second section,
noises resembling seabirds invade the landscape and, at one point, 'Jingle
Bells' briefly pops its head around the corner. Two more subdued sections
follow where the drama subsides, Nørgård seemingly taming his forces. Then
the energy builds up for the sprint to the finishing line. Chaos reigns, and
the work ends in a coruscating whirlwind of sonic splendour. Storgård adroitly
steers the Oslo Philharmonic deftly through the peaks and troughs of this
complex score.
These four symphonies complete DaCapo’s cycle begun in 2009 with Thomas
Dausgaard conducting the Danish National Symphony Orchestra in the Third and
Seventh (Dacapo 6.220457), and in 2014 with Sakari Oramo and the Vienna Philharmonic
adding the First
and Eighth.
In vivid, well recorded sound, orchestral detail is sharp and defined. Jens
Cornelius’ annotations provide in-depth background to the symphonies.
Stephen Greenbank
Previous reviews (Dan Morgan): Symphonies
2 & 6 ~ Symphonies
4 & 5
|
Support us financially by purchasing
this from
|
|
 |
 |
 |
|
|
Support us financially by purchasing
this from
|
|
|
|
|
|
|