Olaf Elts

Symphony No. 5

Price: € 19.95
Format: CD
Label: Bridge
UPC: 0090404947520
Catnr: BRIDG 9475
Release date: 25 November 2016
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Label
Bridge
UPC
0090404947520
Catalogue number
BRIDG 9475
Release date
25 November 2016
Album
Artist(s)
Composer(s)
EN
DE

About the album

This disc presents the world premiere recording of Poul Ruders's latest symphony, completed in 2013. The symphony, composed in three movements, is in some ways, the great Danish composer's most traditional symphony- an explosive, quick-paced first movement followed by an hypnotically inward-looking slow movement, followed by a bristling dance finale. Aside from its outer-trappings, Ruders 5 inhabits a sound world all its own. The first movement's opening brass fanfare is followed immediately by startling police whistles and pounding drums- music of volcanic power and intensity. The slow movement employs a huge registral span, and the third movement's funky dance rhythms collide with dense harmonic underpinnings. The work is given a brilliant reading by the Danish National Symphony Orchestra, led by the Estonian maestro, Olari Elts. The recording was made in the Danish Radio's new concert hall, named by Gramophone, as one of the "10 best concert halls in the world".
Diese CD präsentiert die Weltpremiere von Poul Ruders' letzter Symphonie, 2013 fertig gestellt.
Die Symphonie besteht aus drei Sätzen und ist in gewisser Weise die traditionsreichste Symphonie des großen dänischen Komponisten - ein explosiver, rasanter erster Satz, gefolgt von einer hypnotisch nach innen gerichteten langsamen Bewegung, abgelöst von einem stürmischen Tanz Finale.
Die Arbeit wird vom dänischen National Symphony Orchestra - unter der Leitung des estnischen Maestro Olari Elts - genial aufgeführt. Die Aufnahme entstand im neuen Konzertsaal des Dänischen Rundfunks, laut ‘‘Gramophone‘‘einer der "10 besten Konzerthallen der Welt".

Artist(s)

How does one describe a phenomenon like Poul Ruders? No sooner have you found the mot juste than something in the music clamours to contradict it. He can be gloriously, explosively extrovert one minute - withdrawn, haunted, intently inward looking the next. Super-abundant high spirits alternate with pained, almost expressionistic lyricism; simplicity and directness with astringent irony.
Try and restrict the language to technical matters and the paradoxes continue: few composers on the contemporary scene are so versatile, so accomplished, so obviously in command of their tools and materials, and yet the music can give the impression of dancing on the edge of a precipice. It is a language of extremes, commandingly integrated - and perhaps all the more startling for that.
Finding his voice has taken him longer than many other composers, he admits, but it has also been an adventure - a period of experimentation and discovery which has led him in all manner of directions, metaphorically and literally; confronting American minimalism in the early eighties and developing his own perspective; making London his spiritual home later in that decade and employing the peculiar English technique of ‘change-ringing’; exploring – in his own words – female values in the nineties as a vital counterbalance to the world of violence and desolation he had opened up in his previous works.
In the opera The Handmaid‘s Tale (1996-98) - more than in any of his other works - Ruders draws together the themes which have preoccupied him for so long: The apocalyptic, the elemental and the human, aching tenderness, grotesque irony, despair – however, also, as in the closing pages of the First Symphony (1989), a flicker of hope. For Ruders, perhaps, ‘The One True Path’ is that there is no path at all. And thus the adventure continues.

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