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Per Nørgård: Symphony No. 6 (Score)

Per Nørgård: Symphony No. 6 (Score)

Per NørgårdSYMPHONY NO. 6AT THE END OF THE DAYfor orchestra, 1997-99Preface / Programme Note?? with the Lord a day is like a thousand years, and a thousand years is like a day?(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean ?when all is added up?. However, in my opinion, nothing ever quite adds up, there is always ?something? missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still ?something?, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of ?other worlds?, is revealed ....The symphony is dedicated to Helle, my wife.Per Nørgård

SEK 2134.00
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Feste Romane : Poema Sinfonico per Orchestra

La Calisto : Dramma per musica in three acts

Tales and Legends from Savoy : Contes et Légendes de Savoie

Les Voyages de Gulliver : Gulliver's Travels

Le Lion de Belfort : Un hommage au sculpture Frédéric Auguste Bartholdi

Cantica de Sancto Benedicto : Saint Benedict Cantata

Cantica de Sancto Benedicto : Saint Benedict Cantata

Cantica de Sancto Benedicto is a three-movement work for mixed choir, soprano solo, concert band and organ ad libitum - on Latin lyrics that relate to the life of Saint Benedict. It was commissioned by the city of Norcia in Italy, whereBenedict was born. The holy Benedict (480-547) is considered the founder of monastic life within the Roman Catholic Church. His enormous influence is especially owing to his monastic rule, the Regula Benedicti.Jacob de Haan has named the movements ofCantica de Sancto Benedicto after the Holy Trinity: the Father (Gloria Patri), the Son (Gloria Filio) and the Holy Spirit (Gloria Spiritui Sancto). The lyrics of thehymn Gemma Caelestis, (which, like the othertexts, were originally used in Gregorian chant) are voiced by the choir. To this purpose, Jacob de Haan composed new, choral-like, homophone music. The sequence Laeta Quies is rendered by the soprano; the verses (divided over the threemovements) are alternated with those of Gemma Caelestis. The work closes with an impressive grand finale, in which texts are used from the proprium of the mass in honor of the saint’s day of the holy Benedict (11 July). Notes to the conductor:For this cantata, there are various possibilities for the performance. The first involves a performance in which the choir and soprano parts are only accompanied by organ. Such a performance has several advantages: since the band never soundstogether with the choir and the soprano, no balance problems occur, and even a performance with a large concert band and a small cantata choir is conceivable. A special layout is also possible - with which you can set up a three-dimensionalperformance in a church. For example, the choir can sing in the chancel, accompanied by the choir organ; the soprano can stand on the gallery, accompanied by the main organ; and the band can be seated in another part of the church. The choir couldalso sing from a gallery. With layouts like this, working with two conductors is advisable. Choral parts available separately.

SEK 4350.00
1