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The ‘great friends' referred to in the title are, incidentally, violinist Rebecca Hirsch and pianist Rolf Hind, who performed the world premiere of the piece in 1999. This sentiment is echoed by the piano from which delicate musical tropes emanate. However, in ‘Aria', which is coloured by sunset mood, the violin drains the melodies of their momentum. The piano, on the other hand, offers commentary on the fiddler's act: short, abrupt interpolations before leaping into the ‘Passione' with aggressive, full-blown chords. ‘Three Tiny Pieces for Great Friends' consists of three two-minute pieces with the evocative subtitles ‘Romanza', ‘Passione' and ‘Aria' in which the violin appears as the constant source of enticing phrases that come in waves, much akin to the performance of a violinist in a southern European restaurant who goes from table to table to entertain one romantic date after another. The two works by Poul Ruders were both composed around the millennium year - one on either side of it - and in both compositions the violin appears as the instrument of romance.
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How am I to hold my soul so that it does not touch yours?\ - Nørgård has these words from Rainer Maria Rilke's impassioned Liebes-Lied printed above the notes of the violin, as it sets out to meander through a musical landscape of sombre, beautiful and deeply original melodies set against a delicate tapestry of piano play. Around 1800, German romanticists saw fragmentation as a genre that opened the door to abbreviated visions of universal truths.
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Fragmentation, however, is no modern invention. As the title implies, music can no longer be seen as integrated entities, rather it is defined with a modern approach as small pieces and fractions that offer a glimpse of reality, which is itself fragmented. In ‘Fragment V', Nørgård has now reached a new understanding. In the second section - that is, before the conclusion sees the two worlds coalesce - everything is transformed into individual musical points and distinct musical figures presented with vigorous intensity. In the first section the notes (including delicate harmonics) are strung together to create lengthy melodies. It is as if Nørgård wanted to accentuate his musical idiom by shaping two diametrically different objects from the same material. Indeed, the composition reflects the two-panel altarpiece to which the title refers. In all its simplicity ‘Diptychon' displays two fundamentally different tableaux: the first coloured by meandering poetry, the second empowered by energised rhythm. ‘Diptychon' (Diptych) from 1954 is one of his very first works, and ‘Fragment V' from 1961 marks the first composition in which he unfolds his celebrated infinity row within a regular and easily comprehended semitone scale. The two short pieces by Per Nørgård offer rare insight into the now 77-year-old composer's early career. For the composer, ‘E Rigidis' marks a personal departure from a mechanical ‘New Simplicity' to a more fragmented kind of modernism - a theoretical journey that is embodied in the music. The music develops in a way that evokes an image of the then 27-year-old composer placing a handful or two of toy building bricks at the beginning of his score - a deep eruption, a persistent note on the piano, etc - in order to create a sweep through a totality of notes and allow the austere architecture to dissolve into fluid musical form over the course of 15 minutes. The musical idiom is simple and direct and notably employs a succession of mechanical figures that slowly evolve, retrace their steps and engage in mirror reflection. Niels Rosing-Schow's ‘E Rigidis' from 1 is, as implied by the title (‘Out of -Rigidity'), a journey away from rigid rules to a place of intuitive insight. Their music seems in constant search of new avenues of expression and you clearly sense the composers' curiosity and liberating openness towards tradition and the ruling spirit of the day. And what unites the composers is their courage to execute idiosyncrasies with conviction, even embracing the vulnerability inherent in simplicity. Furthermore, Koppel and Rosing-Schow are strikingly similar in their projection of a kind of elegant, cool distance. Although their approaches vary greatly, Niels Rosing-Schow, Anders Nordentoft and Per Nørgård are closely related in their fusion of formal pulse and vibrant poetry. Koppel's stringent composition is a profound and elegant expression of rhythmically framed music, recalling the musical world of the young Per Nørgård, who endeavoured in the 1950s to define a unique Nordic tone to succeed that of Sibelius.
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And although their personal musical projects are, indeed, individually original they nonetheless exhibit some conspicuous similarities and cross-references. The five composers selected for this CD release represent very individual musical -languages.