Per Nørgård - String quartet no.1 - Quartetto Breve (1952) скачать в хорошем качестве

Per Nørgård - String quartet no.1 - Quartetto Breve (1952)

The spectrum of sound, the gesticulation -- in short, the very nature of the strings -- has always had a central place in my output, demonstrated by the numbers of string quartets, concertos with string soloist, chamber and solo works. The interest dates back to my school years, when I was fortunate to be able to compose for a cello-playing schoolmate and to accompany him on the piano. I discovered then the innumerable nuances of sound and playing varieties offered by just one bow, four strings and five fingers.. My first string quartet -- Quartetto Breve -- has a firm root in the Nordic tradition and is strongly inspired by Jean Sibelius (1865-1957) and my teacher Vagn Holmboe (1909-96). Per Nørgård (1998) When Per Nørgård began his work as a composer, the musical scene in Denmark was permeated with aesthetic musical norms which had originated at the beginning of the 20th century with Carl Nielsen and his circle. The person of Carl Nielsen was surrounded with such an aura of veneration that his attitudes to questions of musical aesthetics totally dominated the field, excluding practically all other alternatives. This was no less true after his death, when something close to a Carl Nielsen myth developed, establishing the norms for what was 'right and proper' in Danish music. Jan Maegaard, a composer, looks back as follows: To put it bluntly, when I was admitted to the Academy in 1945, fourteen years after the maestro's death, every nook and cranny of the place positively reeked of Carl Nielsen. One concentrated on those composers Carl Nielsen had approved of, mostly Mozart and Brahms. Those he had not approved of were hardly dealt with at all, or might simply not have existed. The instruction in composition which I received was mostly limited to admonitions about sticking to the straight and narrow path of good, sound Danish diatonic principles. The central element in this approach to the aesthetics of music was a 'healthy' reaction against Romanticism and over-expressive music, as represented by the expressionism of the Vienna school. Moderation was the order of the day, and a cool, 'Nordic' approach was encouraged as a counterweight to the 'overheated' music coming from the South. More than any other, Vagn Holmboe was the single strong personality who influenced the generation of composers that appeared on the scene at the beginning of the 1950s. He emphasised the importance of finding a balance between what he called the Apollonian and the Dionysiac, between a cold, calculating approach and a spontaneous, sensual one. In terms of the technical side of music, the conventional wisdom went in for some kind of tonal, diatonic music, and metamorphosis was the dominant technique as regards form.