Per Nørgård: Symphonies 3 & 7 [SACD]
![Per Nørgård: Symphonies 3 & 7 [SACD]](/images/Per-Norgard-Symphonies-3-7-SACD-B001MUJSEQ-L.jpg)
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CD Details
Composer: Per NørgårdConductor: Thomas Dausgaard
Orchestra: Danish National Symphony Orchestra
Orchestra: Danish National Vocal Ensemble
Orchestra: Danish National Choir
Edition: Music CD
Audio: English (Unknown)
Format: Hybrid SACD - DSD
CD Release Date: 2009-02-24
Music Label: Dacapo [Naxos]
Soundtracks:
- Symphony No. 3, for 2 choruses & orchestra: Part 1
- Symphony No. 3, for 2 choruses & orchestra: Part 2
- Symphony No. 7: Part 1
- Symphony No. 7: Part 2
- Symphony No. 7: Part 3
Music reviews of Per Nørgård: Symphonies 3 & 7 [SACD]
Music Review: A new symphony continuing Norgard's boundless curiosity, but the latest recording of the Third is somewhat disappointing
Rating: 4 Stars
This 2009 disc from Dacapo combines a new recording of Per Norgard's masterpiece Symphony No. 3 with the first recording of his Symphony No. 7. The Seventh was even recorded months before its January 2009 premiere, and the CD was officially released during the intermission of that concert, a turn I'd like to see labels take more often.
Norgard's first big musical discovery was the infinity series, a method of generating line where the same melodic shapes are found at both larger and smaller scales, and so it is a species of fractal. In the early 1970s, Norgard combined the infinity series with harmonies based on the natural overtone series (itself infinite) and rhythms based on the golden section (ditto). The resulting soundworld made for an overwhelming vision of cosmic harmony. Indeed, Norgard's own comments on how the Symphony No. 3 (1974-75) is a musical representation of some kind of eternal truth are worth quoting here:
"The first movement develops as a result of the fundamental cyclic orders subject to the 16 hierarchy of the basic series, subdivided into the tonalities of the circle of fifths. A cycle of peculiar character emerged, which possessed striking similarities to the twelve signs of the Zodiac of ancient astrology. This discovery made a strong and positive impression on me, inasmuch as astrology is, according to Ernst Cassirer, 'considered from a purely formal viewpoint one of the grandest attempts at a systematic, constructive view of the world which has even been dared by the human spirit.' And it is precisely this 'formal viewpoint' which is recovered here in the sonorous time-universe created directly from *ratio*."
If the first movement is a glorious revelation of hierarchical music as pure unextinguishable process, the second is much more individual in character. By sounding some notes while leaving others unheard in the infinity series texture, all kinds of lovely melodies are revealed. There are allusions to the Romantic harp and piano concerto traditions, a dance on organ, and a choir singing two Marian hymns. To bring this metaphysical work to an end, Norgard included an orchestration of his choral setting of Rainer Maria Rilke's "Singe die Garten, mein Hertz, die du nicht kennst". I'd rank this among the greatest symphonies of the 20th century, and on each listen there's always some new path to tread, keeping the work perpetually fresh.
Unfortunately, I don't think Dausgaard's take on the Third can compare with Leif Segerstam's on a Chandos disc. In a piece whose instrumental parts are related by such elegant proportions, it's pretty obvious to the ear when the conductor cannot keep hold of the orchestra, and the musical motion here is jerky or indistinct instead of clear and supple. Then there are issues with dynamic. For example, in the second half of the first movement, when Norgard thickens the infinity series texture almost to the point of noise, the timpani line which accelerates by choosing each successive note from ever faster layers of the infinity series is almost inaudible. That said, this disc does have slightly better mixing than the Chandos, and I look forward to hearing the SACD layer someday.
Norgard could have turned out symphony after symphony using the same building blocks as the Third, and its to his credit that he moved on to new stylistic concerns. However, his perennial concern as a composer is interference between musical lines, and the cosmic harmony of the Third was only a tangent from freaking audiences out with the infinity series. The Symphony No. 7 (2006) in three movements is built up from myriad small motifs that seem to push against each other. The first and third movements are marked by the appearance of fourteen tuned tom-toms. The second movement, which should be left as a surprise for listeners, reveals that you can still get original, even otherworldly sounds from the most well trod common-practice tonalities. Rhythm is also a driving concern, and allusions to Stravinsky and jazz give it a certain zest new to Norgard's symphonic output. There are always many things going on at once here, but that they intrigue the listener through a clear total Gestalt instead of alienating him, show Norgard's consummate skill.
As an single-disc introduction to Norgard's music for the most general classical music audiences, I still favour the Chandos recording of the Third. Nonetheless, the appearance of the Seventh is a major event in the contemporary classical world, and I'd hope that a lot of people will come to this new Dacapo disc soon.
More Per Nørgård: Symphonies 3 & 7 [SACD] free music reviews:
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Description of Per Nørgård: Symphonies 3 & 7 [SACD]
The world premiere recording of Per Norgard's Seventh Symphony is being released by Dacapo, with a new recording of the Third Symphony, also by Thomas Dausgaard with the DanishNational Symphony Orchestra.
Regarded as the leading contemporary voice in Danish music, Per Norgard (b. 1932) sees his symphonies
as 'reports on the state of the universe'. The new work is a constantly surprising tapestry of interweaving
motifs and innovations, reaching for coherence in a web of disparate energies.
Norgard has always had an intense interest in the music of Sibelius, regarding his work as highly innovative, in
polyphony and rhythmic displacements, and in tensions between details and overall form. These influences
are especially evident in his Third Symphony, regarded as one of the classic works of modern Danish music.
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