Per Norgard’s music has much in common with that of Charles Ives: multiple planes of rhythmic activity commingle and produce a sensation of controlled chaos. Though we are assured that a strong structural principle is at work, there’s no point in trying to discern it even on repeated listening. This is music with a strong tactile presence that makes its best impression when viewed as a stream-of-consciousness experience. On that basis, there’s much to enjoy here even if the almost bewildering variety of sounds and musical shapes on offer will not be to all tastes.
Symphony No. 6 employs an orchestra that’s rich in “low” instruments within each family–bass clarinets, contrabass clarinet, English horns, bass trumpet, bass trombone–but the composer uses these dark colors to set up a vivid contrast with the high and bright sounds with which the work opens. Although the idiom is basically atonal, there’s a strong sense of traditional harmonic underpinning resulting from chorale passages that accompany much of the discourse.
Terrains Vagues offers more of the same, a musical dreamscape of constantly shifting images, with an interesting rhythmic continuity provided by the sound of three metronomes. The performances of both works undoubtedly reflect the composer’s wishes (Terrains Vagues is dedicated to conductor Thomas Dausgaard), and the engineers allow you to hear down through the most complex textures with admirable clarity. If the idiom sounds appealing to you, then don’t hesitate to acquire this adventurous and intriguing disc.
