Format : Score
SKU: HL.14023387
ISBN 9788759860762. 12.0x16.5x0.52 inches.
Indischer Roosengaarten und Chineesischer Hexensee. Work for Orchestra dating from 1981.
SKU: HL.14023383
ISBN 9788759808221. English.
Norgard's Symphony No.1 Op.13 - revised 1956 edition in full score.
SKU: HL.14025353
ISBN 9788759870761. 8.25x11.75x0.08 inches. English.
Per Nørgård Third Symphony - A Short Introduction by Jørgen I. Jensen.
Analyse of Per Nørgård 3. SymphonyTranslation into English: John Bergsagel
SKU: HL.14023384
ISBN 9788759850466. UPC: 884088435851. 12.0x16.5x0.582 inches. English.
Work for Orchestra dating from 1970.
SKU: HL.14023330
ISBN 9788759811085. International (more than one language).
Work for 14 Instruments dating from 1991.
SKU: HL.14032192
ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).
Symphony No. 6 for orchestra, 1997-99. Preface / Program 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 Gteborg 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 Norgard.
SKU: HL.288106
Symphony No. 8 for Orchestra (2011) by Per Norgard. Premiered on September 19, 2013 by the Helsinki Philharmonic Orchestra and John Storgards. Programme note: The first movement opens with sculptural rising and falling scales. Visually the sound may call to mind, say, spirals or ziggurats (temple towers). Brisk music leads to the climax of the movement.The second movement is slow and sensually melodious and has three interludes of greater timbral melodic action. The third movement begins very restlessly but towards the climax the tempo gradually begins to accelerate. An oscillating pianissimomurmur ends the movement - and the symphony. Symphony no. 8 is commissioned by Helsinki Philharmonic Orchestra and is besides the Orchestra dedicated to the conductor John Storgards. Per Norgard (2012).
SKU: HL.14019091
ISBN 9788759856420. Danish.
Norgard writes of his work: Lila is a Sanskrit word for playing with the elements, and I chose it as the title of the chamber work I composed in 1972 because its coolly systematic play (with overtones and undertones in the infinity sequences and a spectrum of Golden Sections in the rhythms) is characteristic of the period just before I wrote my Third Symphony (1973-75).The work was given its first performance in Venice, in the Teatro La Fenice on 9th September 1972, alongside Kagel's Anagram, from which Lila borrowed its instrumentation, since it was commissioned for a first performance by the Prisma Ensemble along with Anagram, with Tamas Veto, to whom it is dedicated, conducting. Ensemble: 4 percussionists (gong, 3 tam-tams, crotales, glockenspiel, tubular bells, celesta, vibraphone, xylophone), 2 pianos, 2 harps, flute (as well as flute in G and piccolo), B flat clarinet (and bass clarinet).
SKU: HL.14035061
ISBN 9788759862353. English-Danish.
Winter Cantata / Vinterkantate (1976) by Per Norgard for a variable ensemble of soloist, mixed choir and instruments (minimum: vocalist and organ). Programme Note: When in 1975 I had finished composing my 3rd Symphony (begun in 1973), I wrote three simple melodies for two psalm texts by Ole Sarvig: The Year and Choral Hymn. These three tunes were derived from the same material as the second movement of the 3rd Symphony and could be harmonized together in several different tempo relationships at the same time - like fractals - which inspired me to write several choral and instrumental works in the following decade based on these melodies: Frost Psalm, Winter Cantata, Winter Hymn, Cantica and others. One of these 'Sarvig melodies' is now included in the new Danish Hymnbook, under the title Aret(The Year). Ole Sarvig's poem Aret (The Year) is Danish, perhaps Scandinavian in character, but its symbolic atmosphere is global (now snow is covering the whole earth). The basic composition of this cantata - based on Sarvig's many verses - was done by letting soloist, choir and instruments change in feelings and moods: from the almost silent, inward-looking beginning (I: Chorale dolorosa) to a dancelike and happy optimism (II: A heaven germ on winged foot thrust deep into the earth its root), followed by nightmarish tone rows as the year-wheel of fortune is turning (III: Sacrifice - The Year) and the temptations of the snake (IV: In Paradiso) - to the allegorical fights between egoism and altruism (V:The Cycle - Autumn. Purgatory) before the waiting for a disaster- atmosphere at the end of this choral Odysse. Winter Cantata was from the beginning (1976) designed as an open work, to be arranged by different combinations of soloists, choir and (different) instruments. The printed version by Per Norgard and Ivan hansen for soloist, mixed choir and instruments (obo, violin, trombone, vibraphone/percussion and organ) is from 1990. The work is available in both the (original) Danish version (Vinterkantate) and an English version (Winter Cantata), translated by Helen and Ole Sarvig. (Per Norgard).
SKU: HL.14007563
ISBN 9788759867587. UPC: 888680753047. 10.5x14.0x0.033 inches.
Consolation - Like A Roselike Flower (Consolazione - Flos Ut Rosa) for Harp solo by Per Norgard (2002). Written for and dedicated to Tine Rehling. Programme note by the composer: The concept of Mary has a depth that transcends all religious persuasions. All over the earth symbols of the gentle and maternal are known. But the word 'Maria' is also associated - in sound - with the Latin word for the sea, mare, and she thus become the Star of the Sea, Maris Stella. In my 3rd Symphony the Maria motif is used in a hymn section in the second, and last, part of the work. The choral song “Flos ut rosa floruit” was composed directly in the context of the symphony, and themelody had a 'stamina' that carried it over into many later vocal and choral compositions, for instance the “Concerto for Harp No. 2 - through thorns” (2003) and the present Consolazione for harp solo , both works dedicated to Tine Rehling. .
SKU: HL.14006097
ISBN 9788759872222. Danish.
Programme Note CANTICA for cello and piano (1977)When in 1975 I had finished composing my Symphony no. 3 (begun in 1973), I wrote three simple melodies for two psalm texts by Ole Sarvig: The Year and Choral Hymn. These three tunes were derived from the same material as the second movement of the symphony and could be harmonized together in several different tempo relationships, like proportional canons. For this reason they inspired me to write several choral and instrumental works in the following decade: Frost Psalm, Winter Cantata, the tuba octet Now all the earth is white with snow, Canticles (and others).Cantica, meaning song or singing, was composed (forthe Danish musicians Hans Erik Dechert og Kjeld Hansen) as a instrumental little brother the long, polyphonic choral pieces. As in these the canonical melodies in Cantica drift from foreground to background, from cello to piano. The melodies are simple, diatonic and in traditional rhythms and the surface of the music in a way traditional. The intention of the composer with this easily understood expression is to lead the listeners ears to the many internal, proportional developments. The story is in a way hidden between the lines. In the myriads of rhythmic and tempo relations the Golden Mean (near to 2:3:5:8: et cetera) plays an important role, like in nature. Among the experiences giving by this natural phenomenon are - perhaps - the musical points to be found (?).Per Norgard(1997).
SKU: HL.14007514
ISBN 9788759858370. International (more than one language).
Per Norgard PIANO CONCERTO 'Concerto in due Tempi' was composed 1994-95 and dedicated to Per Salo, the pianist who also gave the world premiere on May 5, 1996 with the Danish National Radio Symphony Orchestra conducted by Leif Segerstam.The work has a duration of appr. 30 minutes. It unfolds itself as an uninterrupted interplay between the piano and the orchestral instruments, often in soloistic or chamber music combinations. An alto saxophone separates itself from the rest of the instruments, but contributes in a dramatic way to the ensemble playing, as a kind of 'anti-soloist'. 'Due tempi' does not refer to the number of movements, of which there is only one. This movement, however, invites a three-part interpretation (downwards, solo cadenza in the bass register, upwards!). The 'two tempi' in fact exist simultaneously and are in the ratio 7:5 (approximately the square root of two).Per Norgard.
SKU: HL.14042888
ISBN 9788759867143. English.
Between - Cello Concerto No. 1 - 3 movements for Violoncello and Orchestra, composed by Per Norgard in 1984-85. Premiered by Frances-Marie Uitti and the Danish Radio Symphony Orchestra conducted by Michael Schonwandt, August 30th 1985. Programme note: 1. In Between 2. Turning point 3. Among The title of each movement suggests one aspect of the relationship between soloist and orchestra. In the first movement the solist is caught up in a conflict between the expression of inner feelings (solo) and influences from external sources (orchestra), the latter of which the soloist in a simple accompanying role, but after a turning point in the middle of the movement the soloist assumes adominating role. In the final movement a balance is finally achieved, with the soloist at last being on equal terms with the orchestra. Per Norgard.
SKU: HL.14033079
ISBN 9788759858332. Danish.
There were wild oatsAnd the soil was blackBut sparkledWhen the sun was outThe air sharp in the nostrilsHard to defineSomewhere between knife and coal andAcid and that special light and sweetWhiteness thornbushes exhaleIt was nothing specialBecause everything was special...Thus the opening line of the poem TERRAINS VAGUES by Klaus Rifbjerg, the Danish Poet. I chose to adopt this title for my orchestral work, because of its closeness in associations: an indeterminable, often polarized, state of rhythmic and tonal ambiguity.The expression seems created by the Franch author, Victor Hugo:And here lies the fascination: in the kinds of terrains vagues, which are simultaniously bizarre and ugly, as if created by two alien species of nature. To watch the suburb is like observing and amphibium: trees vanish, roofs appear, grass vanish, cobble stones appear, ploughing fields vanish, shops appear, beaten tracks vanish - passions appear; the murmur of Nature Divine ends, the noise of Mankind takes over. (Victor Hugo)Still, the atmosphere as well as the material of TERRAINS VAGUES have its origin, in my SYMPHONY NO. 6 (1999), the last minute of which, cut up rough, appears as the start of my new work. The music of TERRAINS VAGUES subdivides itself, without breaks, into three sections, or shades:I: TERRAINS - II: VAGUES (Waves) III: TERRAINS VAGUES.Per Norgard, March 2001.
SKU: HL.14011617
ISBN 9788759872031. Danish.
Per Norgard FOR A CHANGEThe title 'For a Change' refers to the Chinese 'Book of Changes' ('I Ching'), which has been consulted in situations of choice for millenia. In the I Ching, 64 states of being determine the full cycle of the phases of life. From these I selected four, the sequence of which progresses from a situation from which there is apparently no solution, to a (temporary) relief.In the first movement 'Thunder repeated, the Image of Shock', a vicious circle of claustrophobic, closed circuits is represented by the tom-tom part. This is followed by tam-tams and wood sounds, but returns full-circle to the tom-toms.The second movement 'The taming Power of the small' has its origins in the violence of the first movement, but this time lets it resolve in a long glide upwards which stars with voice sounds 'borrowed' from the Beatles' 'Revolution no 9' which are then transmitted to the other instruments.The third movement is 'The Gentle, The Penetrating' in which lyrical poetry dominates with gentle bell-like sounds and delicate tunes. Finally the sovereign, many-layered world of rhythm triumphs in the fourth movement: 'Towards Completion. Fire over Water', the main movement of the work.'For a Change' was premiered on 27.2. 1983 with the Sealand Symphony Orchestra conducted by Tamas Veto. Soloist was Gert Mortensen whom the work is dedicated.
SKU: HL.14023437
ISBN 9788759861141. German.
This is a fundamental introduction to Per Norgard's music and thinking until Symphony no. 6. The writer keeps his own valutations in the background but his engagement in the project is clear and he describes the music in simple metaphors and subjective experiences, everything with elegance which can best be characterized as taste.
SKU: HL.14042524
ISBN 9788759826928.
Vintersalme-Musik (1980) - Choral prelude for Organ. Orig. title: Vintersalme.
Programme note: When in 1975 I had finished composing my 3rd Symphony (begun in 1973), I wrote three simple melodies for two psalm texts by Ole Sarvig “The Year” and “Choral Hymn”. One of these was later included in the Danish Hymnbook under the title “Året – Som året går” (The Year). These three “Sarvig tunes” were derived from the same material as the second movement of the symphony and could be harmonized together in several different temporelationships at the same time - like fractals. This inspired me to write several choral and instrumental works in the following decade based on these melodies: for instance “Frost Psalm”, “Winter Cantata”, “Cycles”, “Cantica” and this piece for organ, all coloured by the Nordic and mythic poem by Sarvig, the beginning of which goes: The passing year will pass its deep So shall our mind reach winter´s sleep. And as the tree stands leafles, bare, Is winter´s realms: our minds aware. Per Nørgård
SKU: HL.14042519
ISBN 9788759826935.
Jordens Vej for SA Choir and Organ by Per Nørgård (1981). Text by Ole Sarvig.
Manuscript copy.
Programme note
When in 1975 I had finished composing my 3rd Symphony (begun in 1973), I wrote three simple melodies for two psalm texts by Ole Sarvig: “The Year” and “Choral Hymn”. These three tunes were derived from the same material as the second movement of the 3rd Symphony and could be harmonized together in several different tempo relationships at the same time - like fractals – which inspired me to write several choral and instrumental works in the following decade based onthese melodies: “Frost Psalm”, “Winter Cantata”, “Cantica” a.o. One of these ‘Sarvig melodies’ is now in the Danish Hymnbook, nr. 720, under the title 'Året'(The Year). Jordens vej for choir and organ was the basis of the work Korsalme (1982) for mixed choir and instruments (ad lib.). Per Nørgård
