Per Nørgård: Fugitive Summer (1992)
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- เผยแพร่เมื่อ 3 พ.ค. 2014
- Per Nørgård (*1932): Fugitive Summer, 3 Movimenti per Orchestra d'Archi. Dedicato a Juha Kangas e alla Ostrobothnian Chamber Orchestra (1992).
I. Soft Voiced
II. Listening [06:28]
III. Playful [11:11]
Ostrobothnian Chamber Orchestra diretta da Juha Kangas.
Cover image: texture.
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I love experimental composition where we can also hear and appreciate the natural beauty of the instruments. Apart from interesting dissonance, there are also movements of fine melody in this piece.
Very beautiful.
I am most familiar with his older works (from the 60's/70's) but I find his more recent pieces very compelling too!
Es ist meine erste Gelegenheit, dieses einzigartige Werk zu hören. Perfekt komponiert und wunderschön gespielt mit gut artikulierten Töne aller Streichinstrumente. Der intelligente Maestro dirigiert das kompakte und ausgezeichnete Orchester im gut phrasierten Tempo mit völlig effektiver Dynamik. Einfach atemberaubend!
I guess everyone else had heard this piece before watching your video, but this is my first time. That is so haunting. Thanks a lot for the upload.
Outstandingly mind-soothing work !
Man, I was really excited to see Per Norgrad pop in my feed. Thanks for the upload.
Perhaps this kind of music should be the way forward. It is accessible, haunting, and contemplative without being excruciatingly simple.
Everyone has their own sense of what is "forward". Music is not objective, nor linear
Marek Domanski well said
You put it perfectly. I'm amazed by how easy to on the ears Per Nørgård is. Has these moments of peaceful, almost cinematic harmony, interwoven with the atonal sections
Everybody has their own idea of "accessible," too. Accessible doesn't really describe any quality of any particular piece; it references the response of a listener. And any given listener can find any given piece "inaccessible" for any number of reasons.
@@newagetapes This is a very hard issue discussed by all philosiphers, at least from Kant to Haidegger. In addition, Larek wrote "rhis kind of music". I do not completely share his opinion, but he wrte his own in a very ciatious wat - and he is absolutely right.
your channel is just great :)
An interesting piece.
thank you!!!
masterpiece!
great
If we hear 'Fugitive summer' without prior analysis objectives, most of the Norgärd's reach their goal. They are hauntingly beautiful. But they borrow several features to different modern or more traditional styles (actually in a quite intricate way, but not patchwork - which is the signature of an authentic composer, ), This may cause like a light reticence to some listeners. This is also the case, for instance, for most of the great Henze (and in fact also for Schoenberg an Berg even in their serial period, while Webern escapes to such feelings); or in Finland Rautavaara - not even speaking of Schnittke, a virtuoso of 'polystylistic' technique.. And let us avoid speaking of Stravinsky (almost one "manner" by work!) !!!. We could conclude that in the so complex XX th Century, this kind of"stylistic oscillation", when musically, technically and architecturally mastered, do not prevent composers to be ranked among the greatest ones.💗💗💗💗💗
See also other different comments of Norgard's works.
sasha king crimson !
世の中には私が知らない本格派がかなりいるらしい
川口健太郎 ノアゴーにもいるのか。 いいよな
Bartokian enough to ignore the roots.
Absolutely no Bartok traces here, the man speaks his own voice and vocabulary
Quite boring.