Dietrich Buxtehude's organ works are today in the standard repertoire for organists all over the world, but this is the first time an organist has engaged so intimately with Buxtehude by using the very instrument on which the works were composed. Dacapo Records' new Buxtehude series will consist of a total of six CDs, and besides the St. Mary's Church in Elsinore they will be recorded in the other two churches where the composer was employed, the S:ta Maria Church in Helsingborg and the Marienkirche in Lübeck.
As all four of the discs in this set have been reviewed in these pages before, this notice accordingly provides only a brief summary. J. F. Weber discussed the Read more in Fanfare 33:2, the Weihnachtshistorie and Auferstehungshistorie (the Nativity and Resurrection narratives) in 33:5, and the Matthäus-Passion in 35:1, while Ronald E. Grames and I both covered Die sieben Worte and the Johannes-Passion in 34:2. In all instances the reviews were enthusiastic and offered unqualified endorsements of these performances as the recordings of choice for these works; now having the opportunity to hear them all, I heartily re-affirm that collective judgment.
A year in six hours - or twelve months in electronic music, as its composer calls it. This Wagnerian undertaking by Gunner Moller Pedersen is nothing less than the depiction, in electronic music, month by month, of the passage of a whole year. In practical terms the piece is in quadraphonic sound. Pedersen calls his music "spatial" - multi-channel music with preferably four speakers, utilising reverberation and phasing to intensify the sense of space. Optimum listening conditions are therefore larger spaces - unsurprisingly A Sound Year has been performed in galleries and in concert halls and also shown on films and television.
“I feel each of my symphonies is a whole continent in itself,” the Danish composer Per Nørgård (b. 1932) has said. His music stems from an insatiable urge to explore the phe no mena of the world and the possibilities of music, and his eight symphonies stand as milestones along the course of six decades. This recording with the Oslo Philharmonic conducted by John Storgårds presents Per Nørgård’s Second Symphony, in which the composer unfolds his famous ‘infinity principle’ euphorically and almost psychedelically, and his Sixth Symphony, in which the mature composer proves more exploratory and playful than ever.
SHAPE OF TWELVE consists of 8 compositions by saxophonist Lotte Anker (who, along with trombonist Ture Larsen, is one of the artistic directors of the Copenhagen Art Ensemble). The works were composed during 1988-1997 and are mostly of medium length (five tracks clock in between 6 and 7 minutes). The Copenhagen Art Ensemble is described in the liner notes as a “’jazz sinfonietta’ – that is, a group of about a dozen musicians combining the complexity of the traditional big band with the mobility of the small combo.” (Jakob Levinsen) This is a very accurate assessment of the music on this disc and is a capsule review in itself. The instrumentation of the Copenhagen Art Ensemble is essentially 3 trumpets, 4 saxophones, 3 trombones, piano (acoustic and electric), acoustic bass, and drums (with the winds players doubling on flugelhorn, clarinet, flute, and tuba).
The folks who comprise the “Copenhagen Art Ensemble” are among the top modern jazz players in Denmark these days. And while many of the members veer off into splinter groups, such as “The Crossover Ensemble”, “When Granny Sleeps” and others, these musicians consistently turn in above par efforts regardless of the format or genre. With their latest release titled, Angels’ Share the band utilizes a phrase derived from the maturation process of Scotch whiskey, as the music and overall concept is befitting of an unfolding saga that persists within the often enterprising Danish jazz scene.
Born in New York yet reared in Denmark, percussionist Marilyn Mazur has performed with a who’s who of modern jazz artists, which includes a stint with the late Miles Davis. Basically, Ms. Mazur is recognized as a percussionist who melds supple rhythms and multihued patterns into lyrically rich frameworks while adhering to compositional structure, nuance and subtly via her variegated array of instruments. These days, Ms. Mazur has been recording and touring with Norwegian saxophonist Jan Garbarek while also performing with Denmark’s highly esteemed “Copenhagen Art Ensemble” who along with the vocal group “Ars Nova” provide the percussionist with exemplary support on her new solo release titled, Jordsange (Earth Songs).
The music contained on this recording ranges from the earliest known - regrettably unflattering - mention of Danes in music in the 9th century to Danish songs from the 15th century. It includes 13th century Parisian polyphony found in a remarkable Danish source and Danish versions of songs from the international repertory and thus illustrates both a Danish contribution to European music and the musical contacts that Denmark enjoyed with the rest of Europe in the Middle Ages.