Symphony No. 6 'At The End Of Day' (1997-99) for Orchestra by Per Nørgård. 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
SKU: BT.EMBZ60432
ISBN 9789633307687. English.
The purpose of this book is to describe the function of military music in the musical life of Hungary in a historical context. With this historical account, it can contribute to the general wind music history revealing the details of band music in that culture. The study analyzes the music of the Hungarian Permanent Army from the early eighteenth century until the middle of the twentieth century. The musical development from the instruments of tunesters is described from the oboists, harmonie, and the seminal appearance of wind band as we know it today. Through the biographical sketches of conductors, descriptions of instruments used in various instrumentations, the role of theuniform unique to each band, and programs of the performed music, the study also describes the function of band music in the cultural life of Hungarian cities during this particular period. This descriptive study is an account of 200 years of Hungarian military music. László Marosi was born in Sárvár, Hungary. He studied conducting at the Liszt Academy of Music, Budapest, with Tamás Breitner. From 1982 to 1997 he was conductor of the Hungarian Central Army Wind Orchestra and recorded several works by Franz Liszt and contemporary Hungarian composers such as Kamilló Lendvay, Frigyes Hidas, László Dubrovay, Iván Patachich, János Decsényi, István Láng, and György Ránki.Following his professional career in Hungary, he earned a MM in conducting and a PhD in music education at Florida State University with James Croft and Philip Spurgeon. He frequently conducted the University Symphony Orchestra, including acclaimed performances of the music of Ellen Taaffe Zwilich and Shulamit Ran. As Visiting Professor, Dr. Marosi served as Associate Conductor of the FSU Wind Orchestra during the 2002/2003 academic year.
