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Per Norgard. Find the CD here for £12.99.
Track Listings
| 1. Symphony No 3: Moderato |
| 2. Symphony No 3: Allegretto |
| 3. Concerto in due tempi (Piano Concerto: Allegro moderato |
On this CD:
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Symphony No. 3
Composed by Per Norgård
Performed by Danish National Radio Chorus, Danish National Radio Symphony Orchestra
Conducted by Leif Segerstam
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Concerto for Piano and Orchestra (in due tempi)
Composed by Per Norgård
Performed by Danish National Radio Symphony Orchestra
with Per Salo
Conducted by Leif Segerstam
Product Description
Amazon.co.uk Review
Completed in 1975, Per Nørgard's Third Symphony finds this ever inventive composer on a high plateau of achievement. Having begun in the shadow of Nielsen (his teacher was Vagn Holmboe), Nørgard went through a period of experimentation until, around 1968, he hit upon the "infinity series"--a way of structuring music with the coherence of serialism, but also with the vast sound-palette of free tonality. This symphony is the climax of the phase when the infinity series was applied directly on all levels--tonal, harmonic and rhythmic. Don't panic: the work communicates without in-depth knowledge of why it does what it does. Try the cascading opening or the first movement's radiant and tranquil close: this is music to be absorbed and savoured over time, and you'll find yourself coming back to it. Segerstam's often over-imaginative conducting brain is fully engaged here, while the leaner and tighter concerto from the mid-1990s provides a window on a more recent phase of Nørgard's career--but that's another story. --Richard Whitehouse
Completed in 1975, Per Nørgard's Third Symphony finds this ever inventive composer on a high plateau of achievement. Having begun in the shadow of Nielsen (his teacher was Vagn Holmboe), Nørgard went through a period of experimentation until, around 1968, he hit upon the "infinity series"--a way of structuring music with the coherence of serialism, but also with the vast sound-palette of free tonality. This symphony is the climax of the phase when the infinity series was applied directly on all levels--tonal, harmonic and rhythmic. Don't panic: the work communicates without in-depth knowledge of why it does what it does. Try the cascading opening or the first movement's radiant and tranquil close: this is music to be absorbed and savoured over time, and you'll find yourself coming back to it. Segerstam's often over-imaginative conducting brain is fully engaged here, while the leaner and tighter concerto from the mid-1990s provides a window on a more recent phase of Nørgard's career--but that's another story. --Richard Whitehouse
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