# 20th Century Symphonic Masterpieces: Part Nineteen - Nørgård's Symphony No. 3



## Neo Romanza (May 7, 2013)

20th Century Symphonic Masterpieces: Part Nineteen - Nørgård's _Symphony No. 3_



















Two developments in Nørgård's style gave rise to his Third Symphony: one was his adoption in the 1960s of a style of writing often called "orchestral polyphony," in which many voices of orchestral sound create a shimmering effect reminiscent of late Medieval and Renaissance vocal polyphony. Another was Nørgård's development of what he called the "infinite row," in which a single interval creates a series of new intervals, lining up pitches in a potentially endless stream. The row fits into itself like a set of Russian dolls. It can be written as a pattern spiraling outward, and as is the case with fractals, each new note can generate repeated patterns of the original.

The score was commissioned by Radio Denmark, which permitted him, during composition, to try out his orchestral effects using its house ensemble. The resulting symphony is long, comprising two movements of 20 minutes and a half hour, respectively. The first movement creates itself in stages: first the harmony by itself, then melody, then rhythm. The second movement is more complex, and opens up the first movement's contemplation of the complexities of nature on earth to a sense of cosmic space. Through a masterly manipulation of the "infinite row," Nørgård "discovers" the tune of a Schubert song within the texture. Toward the end a chorus is added, with a hymn praising the Virgin, and then Rilke's sonnet to Orpheus, "Singe die Grten, mein Herz, die du nicht kennst."

[Article taken from All Music Guide]

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An incredible symphony. What do you guys think about it?


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## starthrower (Dec 11, 2010)

His music is not the easiest to follow and get a handle on but the Chandos CDs with symphonies 3 & 6 are the ones I enjoy the most. Probably because I also like the accompanying pieces on each disc.


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## Manxfeeder (Oct 19, 2010)

Norgard's 3rd is one of the most exciting discoveries I've made in the past ten years, the way he structured the piece outside the major-minor system while also breaking out of the 12-tone system, doing it in a way that is not only structually but also sonically compelling.


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