Nordic Music Days 2019 (Part 2)

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Being the host nation, music from Norway was especially well-represented at this year’s Nordic Music Days in Bodø. Harnessing the large and impressive organ of Bodø Cathedral, Trond Kverno‘s Triptychon 2 was one of the fieriest things i heard at the festival. We tend to think of toccatas as fast-flowing, though the ones that appeared here were often crushingly strong, to the point that it sounded as if their notes were audibly fusing into dense clusters. Its more ruminative middle movement only made the powerful outer sections sound more assertive, the final movement managing to turn a pedal point into an aggressive surge before letting high notes hang while the pedals became pushy in the depths. And just when it seemed the work couldn’t get any more forceful, organist Gro Bergrabb’s rendition of the final climax was so crashing it practically threatened the integrity of the building. Read more

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Nordic Music Days 2019 (Part 1)

Posted on by 5:4 in Festivals, Premières | Leave a comment

Founded in 1888, the annual Nordic Music Days is one of the oldest contemporary music festivals in the world. It’s a peripatetic festival, moving from place to place each year, and for 2019 – surprisingly, for the first time – it moved north of the Arctic Circle, to the small town of Bodø (‘boo-duh’) in the north of Norway. As its name suggests, the festival is an opportunity for composers and performers from throughout the Nordic region to meet, collaborate and showcase to the wider world the range and diversity of their music-making.

The country that unfortunately came off worst this year – with disappointing consistency – was Denmark. Niels Lyhne Løkkegaard took no fewer than 50 triangles for his Triangular Mass – and then gave them little more than a continual, barely-changing tremolando for ten minutes. That was boring enough, but the fact that the work was conceived to be performable by any group of people, irrespective of musical training, only made such basic material seem not merely deficient but patronising; non-musicians are capable of a great deal more than just that. Loïc Destremau‘s string quartet Spoken Music had more going for it, but it was one of a number of pieces at NMD 2019 that became so interested in either technical or extra-musical elements that their actual musical interest was greatly reduced. In this case, while Destremau’s exploration of how speech can modulate conventionally-performed materials by the quartet was an interesting idea, the actual resulting music was extremely dull. Read more

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