Nabokov, Nicolas [Nikolay]
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Nordgren, Pehr Henrik(b Saltvik, 19 Jan 1944). Finnish composer. He graduated in musicology from the University of Helsinki in 1967, continuing as a research assistant (1965–70). He studied composition privately with Kokkonen (1965–9) and at Tokyo University of the Arts with Yoshio Hasegawa (1970–73). Since then he has been active at Kaustinen, composing his chief works for the Ostrobothnian Chamber Orchestra. Despite sporadic use of 12-note technique, Nordgren is strongly pluralistic in style. In his earliest works (Agnus Dei, 1970, The Turning Point, 1972) he claims he used ‘a melodic-polyphonic cluster technique’ akin to Ligeti’s, but in later works, too, he has reverted to a texture made up of many strands (Cello Concerto no.1, TRANSE-CHORAL, Symphony no.2). This texture is a contrast to the allusions he creates of, for example, ‘pure’ triads and folk music elements. His ‘kaleidoscopic’ art of combining styles is strongest in the First Symphony. A Japanese element can be sensed in Kymmenen ballaadia japanilaisiin kauhutarinoihin (‘10 Ballads to Japanese Ghost Stories’) and the works for traditional Japanese instruments (Autumnal Concerto, 2 quartets). In them Nordgren does not, however, use Asian melodic motifs, since he does not tend to borrow timbres (i.e. instruments) and constructions at the same time. Nor is folk melody quoted in Taivaanvalot (‘The Lights of Heaven’), scored for ethnic instruments ranging from a kantele to goat’s horns. By contrast, the piano concerto, in connection with which Nordgren began to speak of the ‘Deus ex machina effect’ of pure triads, imitates both the kantele and the Oriental pentatonic. In addition to the cantata Beavi, áhçázan (‘The Sun, My Father’) on Sami themes, the opera Den svarta munken (‘The Black Monk’) and the TV opera Alex are among Nordgren’s main works. The texture in Pelimannimuotokuvia (‘Portraits of Country Fiddlers’) and the Symphony for Strings grows thinner and polyphonic, the fiddlers’ themes becoming less prominent and the style eventually becoming more uniform. In the 1980s folk music appears in Nordgren’s compositions again and again, this time in weighty chorales woven to form a dense texture (Violin Concerto no.3, Concerto for Strings, Cello Concerto no.2). New music techniques hold little appeal for Nordgren, the overall impression of whose music is intensive and intimate and, especially in the later works of repetitive texture (String Quartets nos.4 and 5), elegiac and melancholy. WORKS(selective list)
BIBLIOGRAPHYE. Wahlström: ‘Kaksi kamarikonserttoa’ [2 chamber concertos], Musiikki (1971), no.2, pp.38–43 E. Salmenhaara: ‘Über die Anwendung der Volksmusik in der neuern finnischen Kunstmusik’, Hamburger Jb für Musikwissenschaft, iv (1980), 215–24 K. Aho: Suomalainen musiiki ja Kalevala [Finnish music and the Kalevala] (Helsinki, 1985) R. Nieminen, ed.: Pehr Henrik Nordgren lähikuvassa radio-ohjelmissa 1986–87 [Pehr Henrik Nordgren in close-up in radio programmes 1986–87] (Yleisradio, 1986) E. Salmenhaara, ed.: Suomalaisia säveltäjiä [Finnish composers] (Helsinki, 1994) M. Heinio: Aikamme musiikki [Contemporary music], Suomen musiikin historia [The History of Finnish Music], iv (Helsinki, 1995) K. Korhonen: Finnish Concertos (Jyväskylä, 1995) MIKKO HEINIÖ Yüklə 10,2 Mb. Dostları ilə paylaş:
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