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This title is the first monograph on Norgard in English. With contributions from composers and scholars, the book is meant for the use of specialists, and those people with a general interest in contemporary music. ... Read more

Customer Reviews (2)

A varied set of topics and perspectives that greatly increases appreciation of his music
THE MUSIC OF PER NORGARD: Fourteen Interpretative Essays, edited by Anders Beyer, contains various perspectives on the great Danish composer and his work by Danish and English scholars. Released in 1996, it covers his early work, the "infinity series" music, the Wolfli period, though regrettably it came too early to examine his recent and exciting works as the sixth symphony and the second violin concerto.

The volume contains several highly enlightening musicological essays. "Beyond Infinity" by Erling Kullberg, by far the most useful essay here, is an exhaustive introduction to the melodic, harmonic, and rhythmic infinity series and how they are tied together in Norgard's work. Having read this, I'm finally able to appreciate the third symphony not only as pure glorious sound but also ingenious process. Ivan Hansen's "Waves, Hierarchies, Interferences" explores Norgard's percussion music, including its use of the infinity series, "Sun and Moon" music, and the "multidimensional music" that Norgard embarked upon in around 1985. There are also essays about Norgard's organ music (written by organist Jens E. Christensen), operas (Jens Brincker), and choral works (Jean Christensen).

Other essays are about Norgard's general aesthetic. The first of these is Jorgen I. Jensen's "The Great Change: Per Norgard and Adolf Wolfli" which recounts Norgard's turn from the infinity series to a schizoid style inspired by the mad Swiss artist who composed his works in a Bern asylum. Jensen was with Norgard on October 9, 1979 when the composer encountered Wolfli's art for the first time at a Danish exhibit, and offers an intimate portrayal of how Norgard's entire approach changed, along with a short biography of Wolfli. Regrettably, there is no musicological analysis of the major Wolfli-period works here (the fourth symphony, "Wie ein Kind", and "The Divine Circus"), just general musings. "Connections and Interspaces" by Karl Aage Rasmussen and "Art and Truth: Per Norgard and Martin Heidegger" by Svend Hvidtfelt Nielsen concern some of the metaphysical concerns of his music, as does "In Search of the Spirit", Stephen Johnson's dialogue with Norgard.

Poul Ruder's "Mind the Gap!" is a "colleague's personal view" of Norgard's work, with some interesting points on the spirituality of his music. The last essay is a contribution from Norgard himself. "Early Worlds" is a series of touch reminisces on his childhood and the formative experiences that led to his career in composition.

The typesetting is excellent, and all musical notation is properly engraved, so one doesn't have to fear undecipherable hand-written scores. While quite a lot has been written about Norgard's work--the composer himself has been quite prolific in explaining his philosophy--most of this has been in Danish and there were few resources for the English-language audience. This collection is really an essential purchase for the English-speaking fan of Norgard.

A varied set of topics and perspectives that greatly increases appreciation of his music
THE MUSIC OF PER NORGARD: Fourteen Interpretative Essays, edited by Anders Beyer, contains various perspectives on the great Danish composer and his work by Danish and English scholars. Released in 1996, it covers his early work, the "infinity series" music, the Wolfli period, though regrettably it came to early to examine his recent and exciting works as the sixth symphony and the second violin concerto.

The volume contains several highly enlightening musicological essays. "Beyond Infinity" by Erling Kullberg, by far the most useful essay here, is an exhaustive introduction to the melodic, harmonic, and rhythmic infinity series and how they are tied together in Norgard's work. Having read this, I'm finally able to appreciate the third symphony. Ivan Hansen's "Waves, Hierarchies, Interferences" explores Norgard's percussion music, including its use of the infinity series, "Sun and Moon" music, and the "music of interference" that Norgard embarked upon in around 1985. There are also essays about Norgard's organ music (written by organist Jens E. Christensen), operas (Jens Brincker), and choral works (Jean Christensen).

Other essays are about Norgard's general aesthetic. The first of these is Jorgen I. Jensen's "The Great Change: Per Norgard and Adolf Wolfli" which recounts Norgard's turn from the infinity series to a schizoid style inspired by the mad Swiss artist who composed his works in a Bern asylum. Jensen was with Norgard on October 9, 1979 when the composer encountered Wolfli's art for the first time at a Danish exhibit, and offers an intimate portrayal of how Norgard's entire approach changed, along with a short biography of Wolfli. Regrettably, there is no musicological analysis of the major Wolfli-period works here (the fourth symphony, "Wie ein Kind", and "The Divine Circus"), just general musings. "Connections and Interspaces" by Karl Aage Rasmussen and "Art and Truth: Per Norgard and Martin Heidegger" by Svend Hvidtfelt Nielsen concern some of the metaphysical concerns of his music, as does "In Search of the Spirit", Stephen Johnson's dialogue with Norgard.

Poul Ruder's "Mind the Gap!" is a "colleague's personal view" of Norgard's work, with some interesting points on the spirituality of his music. The last essay is a contribution from Norgard himself. "Early Worlds" is a series of touch reminisces on his childhood and the formative experiences that led to his career in composition.

The typesetting is excellent, and all musical notation is properly engraved, so one doesn't have to fear undecipherable hand-written scores. While quite a lot has been written about Norgard's work--the composer himself has been quite prolific in explaining his philosophy--most of this has been in Danish and there were few resources for the English-language audience. This collection is really an essential purchase for the English-speaking fan of Norgard. ... Read more

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Work for Organ dating from 1988.

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This digital document is an article from Notes, published by Music Library Association, Inc. on June 1, 1997. The length of the article is 722 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: The Music of Per Norgard: Fourteen Interpretative Essays.
Author: Paul Rapoport
Publication: Notes (Refereed)
Date: June 1, 1997
Publisher: Music Library Association, Inc.
Volume: v53Issue: n4Page: p1170(2)

Article Type: Book Review

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A great collection of exercises and works for Percussion groups by Per Norgard.

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Les achats comprennent une adhésion à l'essai gratuite au club de livres de l'éditeur, dans lequel vous pouvez choisir parmi plus d'un million d'ouvrages, sans frais. Le livre consiste d'articles Wikipedia sur : Dietrich Buxtehude, Carl Nielsen, Rued Langgaard, Jan Tollius, Jannik Hastrup, Jens Fink-Jensen, Per Nørgård, Niels Wilhelm Gade, Friedrich Kuhlau, Ib Glindemann, Jørgen Vestergaard, Asger Hamerik, Henning Christiansen, Jacob Gade, Johann Peter Emilius Hartmann, Pelle Gudmundsen-Holmgreen, Ole Schmidt, Carl-Aage Eliasson. Non illustré. Mises à jour gratuites en ligne. Extrait : Dietrich Buxtehude/ˈdiːtʁɪç buksdǝˈhuːðǝ/ (Buxtehude (?), 1637 - Lübeck, 9 mai 1707, est un musicien, organiste et compositeur allemand (peut-être d'ascendance danoise). Établi à Lübeck, l'une des villes les plus actives sur le plan musical en son temps, il compose pour la liturgie, mais aussi pour des concerts spirituels ou profanes plaisant au public local, notamment les Abendmusiken, veillées musicales de l'Avent dont il fait une institution qui se perpétue jusqu'au siècle. L'un des musiciens les plus reconnus en son temps, il entretient de fructueuses amitiés musicales, comme avec Reinken, et attire de nombreux élèves parmi lesquels on compte Nicolaus Bruhns et sans doute Johann Sebastian Bach. Son œuvre, dont une partie importante nous est parvenue, compte parmi les plus riches d'Allemagne pour la génération située après Sweelinck et Schütz, et avant Bach, avec celles de Reinken et de Pachelbel. Cette œuvre, devenue un classique du répertoire d'orgue, n'a retrouvé la faveur des interprètes et du public que récemment en ce qui concerne les nombreuses pièces de musique vocale, grâce aux baroqueux. Les origines de Dietrich Buxtehude sont mal connues, même si différents témoignages permettent de privilégier la date de 1637 pour sa naissance. Il est également possible qu'il tienne son nom de la ville de Buxtehude, où il a pu naître, non loin de...http://booksllc.net/?l=fr ... Read more

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Concertino for Harp and Thirteen Instruments.

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Work for SATB Chorus or SA Chorus and Percussion ad lib.

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A slow and prolonged work for SATB Choir.

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Per Norgard's The Dunes<-i> and The Homecoming<-i> are two Short Piano Pieces from the Film Babette's Feast<-i> dating from 1987.

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Work for Solo Guitar dating from 1978.

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Work for Clarinet, Cello and Piano dating from 1973. ... Read more

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A set of pieces suitable for Liturgical use, either individually or as a whole. Arranged here for SSATB Chorus a cappella.

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Work for Percussion Solo dating from 1969.

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Work for Percussion Sextet dating from 1981.

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