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6220645: Per Nørgård: Symphonies Nos. 2 & 6

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Per Nørgård: Symphonies Nos. 2 & 6

Awards:

Gramophone Magazine

Editor's Choice - July 2016

Label:

Dacapo

Catalogue No:

6220645

Discs:

1

Release date:

27th May 2016

Barcode:

0747313164561

Length:

54 minutes

Medium:

SACD (download also available)

Format:

Hybrid Multi-channel

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Per Nørgård: Symphonies Nos. 2 & 6


Nørgård:

Symphony No. 2

Symphony No. 6 'At the End of the Day'


SACD

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“I feel each of my symphonies is a whole continentin itself,” the Danish composer PerNørgård(b. 1932) has said. His music stems from an insatiable urge to explore thepheno menaof the world and the possibilities of music, and his eight symphonies stand as milestones along the course of six decades. This recording with the Oslo Philharmonicconducted by JohnStorgårdspresents Per Nørgård’sSecondSymphony, in which the composer unfolds his famous ‘infinity principle’ euphorically and almost psychedelically, and his Sixth Symphony, in which the mature composer proves more exploratory andplayfulthan ever.

Per Nørgård: Symphony No. 6 "At the End of the Day"

I. Moderato

II. Lentissimo

III. Allegro energico

Per Nørgård: Symphony No. 2

Symphony No. 2

The Guardian

15th June 2016

****

“exemplary performances from the Oslo Philharmonic in crystalline recordings that fasten on every sonic detail in the scores...what all these symphonies offer is unlike anything any other composer is writing today.”

Gramophone Magazine

July 2016

“Cumulatively beautiful, structurally tangible and deliciously pure. The Oslo Philharmonic’s ability to collectively recede as if into a minimalist canvas, parts emerging thereafter with brightness and intent without distorting the contours, makes this performance. In music that’s deceptively tricky to pace, Storgårds delivers – again.”

BBC Music Magazine

September 2016

*****

“There’s something almost miraculous about the way Finnish conductor John Storgards has brought this music so finely and compellingly into focus…[in the Second] all is ghostly detached sounds, but then a melodically tight little figure in running notes starts to unfold, somehow transforming yet remaining essentially the same…yet the effect isn’t coldly cerebral: it feels natural, instinctual – as do the exultant brass and bells climaxes that grow out of it”

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