Per Norgard is a major force among Danish composers,
and no wonder. His music has exuberance, brilliance, and the freedom
from inhibition or routine that we expect of a true symphonist in this
post-Mahlerian age. His Third Symphony, in two big movements, features
in its finale a chorus that among other things sings the Latin hymn Ave
maris stella as well as a poem by Rilke. The words are completely
unintelligible, what with all the other stuff going on at the same
time, but it hardly matters because the music is stunningly colorful,
atmospheric (cosmic even), and often very beautiful. There are tunes
here, triadic harmonies, as well as wild dissonance, but it's all
controlled so as to create an impressively intense pattern of tension
and release, and to keep the ear engaged. You won't take in all of it
the first time through, but you will want to come back for more, which
is the first indication that we're dealing with a serious contender for
"classic" status.
The SeventhSymphony, which just had its premiere a few months ago, is a bit
tougher in its harmonic acerbity, but it's also easy to hear the same
creative voice at work. In three short movements, it features prominent
solos for 14 tuned tom-toms, and this highlights the driving force of
rhythm that plays a major role here. The piece is over before you know
it, and leaves you wanting more.
The
performances under Thomas Dausgaard, recorded in the composer's
presence, are presumably authoritative and sound just splendid. The
orchestral playing has plenty of the necessary bravura, and in the
Third Symphony the singers are very well integrated within the complex
instrumental textures. If you're looking for some really good
contemporary music, challenging but rewarding, full of personality and
integrity, then this powerfully engineered production offers a perfect
opportunity to satisfy your craving. (David Hurwitz / Classics Today)
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