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Symphony No.8 - Per Nørgård

Wiener Philharmoniker conducted by Sakari Oramo I - Tempo giusto - Allegretto - Poco allegro, molto distinto - A tempo: 0:00 II - Adagio molto - Più mosso - Tempo I - Adagio: 11:43 III - Tempo primo - Più mosso - Tempo I - Più mosso, molto distinto - Lento visionario: 18:46 The leap from Per Nørgård’s First Symphony to the Eighth Symphony seems enormous, but it is not solely a matter of chronology. “Each of my symphonies has its own personality, which cannot be repeated,” he says himself, and this is very much the case with Sym­phony no. 8, whose character does not have much in common either with its closest pre­decessor, the aggressive Seventh Symphony from 2006. Symphony no. 8 is bright and playful, more transparent and airy than any other Nørgård has written. At the same time it is a highly Classical symphony. Its three separate move­ments are archetypes from the Classical tradition: a full, active first movement, a slow second movement and a fast final movement. “The three possible states,” Nørgård calls them. The first movement is the longest, and has a content that develops luxuriantly. Glittering scales run both up and down – Nørgård compares this to spiral patterns or to the stepped pyramids of Mesopotamia – the ziggurats – while a horizon is maintained as a ‘floor’ in the midst of the music. The motions shift in lively fashion in many simul­taneous layers without any sense of strict regularity. The process seems to take place all by itself. The canvas of sonorities is stretched tautly from top to bottom, and Nørgård paints on it with wonderfully light, transparent brush strokes. Out of the growing mass of the orchestra individual masses are drawn in surprisingly concertante elements: four flutes are give a prominent role as the movement changes to a siciliano rhythm in 6/8, and towards the end a group of celesta, piano, vibraphone and glockenspiel emerges with something that recalls a solo cadenza. After the thematic activity and drive of the first movement the slow second movement is pure being, where the reflections have the same point of origin. In Nørgård’s own words, the music is “sensually melodic,” but with innumerable facets added: not only orchestral layers, but also the way the main subject of the movement appears in three different variants. “Three revolving stages, each with its own mobile expression,” Nør­gård calls it. In this way the movement takes the form of a rondo, where the presen­tations of the theme are separated by quick, dynamic interludes. The last movement presents a third state: “The state where you have nothing to hold on to,” Nørgård has explained. The movement begins restlessly and with no fixed groun­ding, and the ascending scales from the first movement haunt it in hyperactive, restless form. In time the orchestra rallies round the previous material, and the instruments unite in an ecstatic, glittering climax marked Lento visionario. It is a transitory apotheosis where the music vanishes magically into higher spheres, as if it will continue there beyond our understanding. It is not unreasonable to compare Nørgård’s Eighth Symphony with works from the same life-phase of the two great Nordic predecessors, Sibelius and Carl Nielsen. The lightness and playfulness typify Carl Nielsen’s last symphony, no. 6, whose deceptive title Sinfonia semplice covers a complex enigma. And for Nørgård writing an Eighth Symphony must also have been a pat on the shoulder to Sibelius, who had himself tried for years to write a Symphony no. 8, but only found peace when he threw the drafts on the fire. Nørgård’s creativity took a much more fortunate form: he has written over 400 works, wonderfully represented here by the span from the dark Sinfonia austera to the Eighth Symphony’s sparkling, dizzying spots in the air. Picture: A painting by Cesar F. Balagot. Sources: https://www.dacapo-records.dk/en/reco...