Galaxy Anders Brødsgaard

Odense Symphony Orchestra, Christopher Austin hectic months. Galaxy is Brødsgaard’s most Anders Brødsgaard volumi­nous orchestral work to date with a (b. 1955) Anders Brødsgaard duration of 42 minutes. In it he wanted to Anders Brødsgaard was born on the challenge the audience to try to span a huge Galaxy island of Funen in the mid-1950s, when amount of information without pauses for musical modernism was all the rage south breath. It should therefore be added that a of the Danish border. It was as if this distant CD recording may be the ideal medium for Odense Symphony Orchestra thunder brought him his birthright, for in such a demanding work, as you can choose Christopher Austin his young, formative years he was totally ab- the time and place for listening to suit your- sorbed in modernism. Brødsgaard began as self. The orchestral ensemble is as ample a piano student, and his teachers included as in a Mahler symphony: it prescribes two two female champions of twentieth-century percussion groups with among other things music: Rosalind Bevan and Elisabeth Klein. two pianos, a harpsichord, two bass drums But soon his own creativity made its debut, and one tam-tam placed on each side of the 1 Galaxy (1990-93/1999) 42:38 and for some years pianist and composer platform. The strings often play divisi and at went hand in hand. In the work on music certain points have 25 different parts. Monk’s Mixtures (2009) 27:05 paper, too, he had outstanding mentors: Per Galaxy was composed as an attempt 2 1 Moving 8:41 Nørgård, Hans Abrahamsen and not least to challenge the ideologically entrenched 3 2 Walking (Passacaglia) 9:35 Karl Aage Rasmussen. These and many other thinking in con­tem­porary music, the 4 3 Flying 8:49 names have contributed to the blossoming ­struggle between the speculatively technical of a rare talent, a strong, richly faceted voice and the spiritually sensual. On one front, Total: 69:42 in Danish musical life who draws on his in symbolic form, you have the whole heritage but at the same time is constantly Darmstadt School and all it implies, and on his way towards new horizons. on the other mentors like Per Nørgård and Karlheinz Stockhausen. Why not bring these Galaxy two basic techniques toge­ther and let the Anders Brødsgaard worked on this major work move between the two poles, alternate one-movement galactic work for two peri- between the introverted, passive and explo­ ods. The first half was created in the years ratory processes like the harmony and the 1990-93, then it lay idle for a while. With a harmonic series, and the extroverted, active view to a first performance in 1999 the sec- and inventive processes like melody and Dacapo is supported by the Danish Arts Council Committee for Music ond part was finished in the course of three polyphony? In other words, an integration

3 of tonal and atonal music, triads and cluster and so on. Quickly added to the process is a Monk’s Mixtures Monk’s Mixtures emerges as an extremely chords, diatonic scales and twelve-tone rows. rising twelve-tone row in the double-basses, The jazz luminary Thelonious Monk, one of diverting work. One is tempted to add that it It became important in this process that as a theme that comes to proliferate in the first protagonists of bebop and a quite is ‘neo­classical’, because it evokes associa- there had to be no ruptures – the music had what follows. For after a good 13 minutes unique piano artist, more or less consciously tions with the rhythmic magicians of the last to develop coherently, imperceptibly grow the double helix has moved forward to haunts Monk’s Mixtures (2009). Since his century: the play of shifting time signatures, and contract, smoothly change tempo, move twelve overlapping notes, each with its own youth Brødsgaard has been inspired by the the displacements of the stress and the met- from the simply grasped to the overwhelm- overtone harmonies. All the events appear more progressive harmonies of jazz and the rical counterpoint that also came to influ- ingly complicated, finally arriving at a to take place in a zone of weightlessness, in instrumentation of the big band, especially ence the great jazz musicians. The orchestral synthesis on the highest plane. unpredictable patterns and soft collisions. the phenomenon called the ‘thickened line’ configuration is in principle that of Vienna As the bearing principle in the composi- The tempo mark­ings vary, but you do not – the block harmonies that arise when you Classi­cism, with winds in pairs and two tion Brødsgaard chose the spiral form. In notice this. build up a melody line in several parallel score of strings, but extended with a rich, mathematics a spiral is defined by a plane There are four of these overtone-harmo- parts. However, you also find this sonority often resonant percussion battery. Precisely curve coiling around a fixed point while ap- nized sections where the strings predomi- in the disposition of the organ stops. The with a view to the basic idea of the composi- proaching or receding from the same point; nate in a con­stantly varying sound spectrum. sound produced by the ‘mixture’ stop comes tion – ‘mixture’ sounds – the shrill pic­colo is a circle in motion that returns to its point of Four times they are interrupted by the op- from not one, but several ranks of treble often used at the high pitches, while the ‘off- origin but at a different level from before. posite pole, the wild, rhythmic,­ complicated, pipes, as a rule at octave and fifth intervals, side’ winds, the bass clarinet and the contra- In nature we know the spiral form from the percussive and virtuoso music where the and the stop is normally supplemented with bassoon, operate in the depths in both solos galaxy, the DNA molecule, the tornado, the percussion of course predominates. The to- a given selec­tion of fundamentals to produce and parts moving in parallel. In this way, sunflower, the snail shell and even the water tal of eight sections gradually draw together, a unified strong and brilliant sound. contours strangely remini­scent of the Duke running out of the kitchen sink. Brødsgaard become shorter and shorter, and in time you Anders Brødsgaard says that Monk has Ellington and Gil Evans orchestras emerge also mentions two subli­mated spiral forms can grasp the 12-tone spiral that is built into influenced his own view of harmony. Monk from the mists of sound without leading you in world literature as models: Dante’s each section, and the poles then merge: the used dense, dissonant chords, indeed to believe that Brødsgaard intended to write encounter with the Ten Heavens of Paradise divisive (regular) string music and the addi- often clusters, and together with his jagged a true jazz score. But the inspiration is not in The Divine Comedy, and the final scene of tive (irregular) percussion music fuse into rhythms this playing style resulted in a to be denied, as indeed the movement titles Part Two of Goethe’s Faust. something new and integrated. The ninth unique personal idiom that left most listen- express: Moving, Walking and Flying. The spiral motion runs through Galaxy in section is the turning-point. And look, says ers fairly mystified. Monk had none of the Woodwind, brass and strings. These are two parts, that is, it forms a double helix. At Brødsgaard: the acceleration that has just horror vacui of the other beboppers. The the three sections that leap forth in blocks in first you hear the note D in one apparently ended is reversed, and the whole work turns pause played a quite crucial role in his com- the neoclassical game of the first minutes of unending breath, while at an underlying out simply to be a semicircular motion in an position – he was extraordinarily economical Moving. Forward in shifting time signatures, level the note is harmo­nized ‘spectrally’ even larger spiral. Galaxy is dedicated to Karl with his material and left it to the listener first in the woodwinds: nine, six, five quavers with the natural harmonics. A little later Aage Rasmussen. to fill out the spaces, for example in his own in the three-part legato melody of the wood- you hear the twin spiral on the note E flat, versions of the classic ‘Round Midnight. winds, with the pizzicati of the strings and

4 5 harp as reinforcers of the sound of the pulse. the depths with cello and double-bass, but The Performers One of the UK’s foremost conductors special- It may not be intentional, but now comes a gradually ramifies quite wildly into the rest With two internationally recognized ising in contemporary repertoire, Christo- flashback to Stravinsky’s neoclassical Psalm of the orchestra. One soloist after another conductors in the forefront, 73 outstanding pher Austin has given more than 80 world Symphony, launched into the lake of sound is manifested across this straying bass-line musicians from 17 different nations, and an and local premieres in the last decade, in- with a similar vision of sonority: the beat on where one is particularly fascinated by the International Carl Nielsen Competition and cluding works by Hans Abrahamsen, Simon the bass drum and timpani as an initiatory contra-bassoon’s Fafner-like exclamations Festival, the Odense Symphony Orchestra is Bainbridge, Michael Finnissy, Elisabeth Luty- trampoline bound. The brass takes over as a and the bassoon’s affinities with Dexter a cultural dynamo that plays a crucial role ens, Peter Maxwell Davies, Olivier Messiaen, four-part block in shifting duple metres, the Gordon’s unruly tenor sax. on the classical music scene in Denmark. Steve Reich, Poul Ruders and Bent Sørensen. woodwind and brass join voices, and gradu- Flying might be a nod to Benny Good- With the engagement of Principal Conduc- More than 40 of those premieres were given ally the string front grows to a power factor man’s Flying Home, and the speeded-up tor Alexander Vedernikov, the Odense by the Brunel Ensemble of which Austin was with a striking duple rhythm in opposition finale starts with a scene of jubilation in the Symphony Orchestra has put Denmark firmly Artistic Director throughout its existence. to the triple rhythm of the winds. This is the now-conquered and truly flying 3/4 time. on the symphonic world map. The Odense Recent work includes engagements with first wave, which is thinned out with a small These 36 bars are in fact just an intro to an Symphony Orchestra – one of Denmark’s five London Sinfonietta, City of London Sinfonia, parade of more soloist activity, and the next extended collective improvisation, with the regional orchestras – was founded in 1946, Odense Symfoniorkester, Esbjerg Ensemble, wave sets in with an unequivocally duple solo violin as pilot. The woodwinds succeed but its roots go as far back as around 1800. Orchestre National de Lille, Orchestra della basic measure. This is where the unison ‘big one another in undulating rhythmic perpetu- The orchestra, which is based in the Odense Teatro Regio Parma and at the Aldeburgh tune’ unfolds in the spacious breathing of al motion, and the brasses and strings cut in Concert Hall, has an annual audience of a Festival. Other work includes the Composers’ the winds; the cool jazz phrasing is present, momentarily with edgy fourth-based chords good 95,000 people. The core of the Odense Ensemble, The Philharmonia, BBC Sym- but more and more friction is coming from like a blow-up of Monk’s left-hand work. All Symphony Orchestra’s activity is symphonic phony, Royal Philharmonic, and Hallé or- elsewhere with the usurping semiquaver this leads on to dizzying melodic concourses concerts. In addition they play in school chestras, Present Music, Athelas Sinfonietta rhythms of the strings. The culmination in the three blocks of the orchestra, each laid and family concerts, church and chamber Copenhagen, the Danish National Chamber resembles the big band’s chaotic tutti explo- out in its own ‘thickened line’. In time the concerts, opera performances and CD re- Orchestra, Scottish Chamber Orchestra and sions, raw and tight, a long juicy confronta- differences are evened out, the instrumenta- cordings. Their discography is extensive and Hungarian Radio Symphony Orchestra. In tion between duple and triple metre. tion becomes brighter, the strings take over comprises over 60 releases, including several 2011 Austin will have his debut at the Opéra Walking is a slow passacaglia, and the the stage – until the low-key luminous coda. award-winners – and more are on the way. de Rouen. Austin teaches composition, title refers to the ‘walking bass’ of swing A new version of ‘the big tune’ swings its way Read more at odensesymphony.dk orchestration and conducting at the Royal music, but by no means with the four heavy up into the woodwinds, and after several Academy of Music in London. In 2009, his beats to the bar – on the contrary, it is in intermediate phases the work ends with a work there with the British music critic Paul the spirit of Monk with many pauses and simmering, ever-fainter fade-out. Morley, was the subject of a two-part BBC shifting times. It begins quite as expected in Valdemar Lønsted, 2010 documentary called How to Be a Composer.

6 7 med en varighed på 42 minutter. Han har her være brudflader, musikken skulle udvikle kommer til at brede sig ud i det følgende. For Anders Brødsgaard ønsket at udfordre publikum til at forsøge sig sammen­hængende, umærkeligt vokse og efter godt 13 minutter har dobbeltspiralen at få et overblik over en enorm mængde in- trække sig sammen, glidende skifte tempo, bevæget sig frem til 12 overlappende toner Anders Brødsgaard er født på Fyn midt i formation uden hvilepauser. Det skal derfor gå fra det overskueligt enkle til det overvæl- med hver deres overtoneharmonisering. Alle 1950’erne, hvor den musikalske modernis- indskydes, at en cd-indspilning kunne være dende komplicerede, for til sidst at komme hændelser forekommer at passere i et vægt- me rasede syd for Danmarks grænser. Det var det ideelle medium for et sådant krævende frem til en syntese, det højeste niveau. løst rum, i uforudsigelige mønstre og bløde som om denne buldrende torden i det fjerne møde, hvor man efter forgodtbefindende Som bærende princip i kompositionen sammenstød. Tempoangivelserne varierer, skulle blive hans vuggegave, for i de unge for- vælger tid og sted. Orkesterbesætningen er valgte Brødsgaard spiralformen. I matema- men man bemærker det ikke. mative år var han opslugt af modernismen. velvoksen som i en Mahler-symfoni, og der tikken defineres en spiral ved en plan kurve, Der kommer fire af disse overtoneharmo- Brødsgaard begyndte som pianiststuderen- foreskrives to slagtøjsgrupper med bl.a. to der vinder sig om et fast punkt samtidig niserede afsnit, hvor strygerne dominerer i de, og som lærere fik han bl.a. to kvindelige klaverer, cembalo, to stortrommer og en med, at den nærmer sig eller fjerner sig fra et bestandigt afvekslende klangspektrum. forkæmpere for det 20. århundredes musik: tam-tam placeret på hver sin side af podiet. samme punkt. En cirkel i bevægelse, hvor Fire gange afbrydes de af den modsatte pol, Rosalind Bevan og Elisabeth Klein. Men Strygekorpset spiller ofte divisi og tæller man vender tilbage til udgangspunktet, men den vilde, rytmisk komplicerede, perkussive snart meldte den skabende kreativitet sig, visse steder 25 forskellige stemmer. på et andet trin end før. I naturen kender vi og virtuose musik, hvor slagtøjet selvsagt og pianist og komponist gik i nogle år hånd i Galaxy er komponeret som et forsøg på spiralformen fra galaksen, DNA-molekylet, dominerer. De i alt otte afsnit trækker sig hånd. Også på nodepapiret fik han markante at gøre op med den ideologiske skyttegravs­ skypumpen, solsikken, sneglehuset og gradvis sammen, bliver kortere og kortere, og vejledere: Per Nørgård, Hans Abrahamsen og tænkning i samtidsmusikken, kampen mel- såmænd vandets afløb i køkkenvasken. efterhånden kan man overskue den 12-tone- ikke mindst Karl Aage Rasmussen. Disse og lem det spekulativt tekniske og det spirituelt Brødsgaard nævner desuden to sublime- spiral, der er indbygget i hvert afsnit, og po- mange flere navne har bidraget til at folde et sanselige. På den ene front står helt ­symbolsk rede spiralformer i verdenslitteraturen som lerne smelter herefter sammen: den divisive sjældent talent ud, en stærk og rigt facetteret Darmstadt-skolen og al dens væsen, og på forbilleder: Dantes møde med Paradisets (regulære) strygermusik og den additive (ir- stemme i dansk musikliv, som øser af sin den anden forbilleder som Per Nørgård og ti himle i Den Guddommelige Komedie og regulære) slagtøjsmusik fusionerer til noget arv, men samtidig er han bestandigt på vej Karlheinz Stockhausen. Hvorfor ikke bringe slutscenen fra 2. del af Goethes Faust. nyt og sammenhængende. Det niende afsnit mod nye horisonter. de to grundteknikker sammen og lade værket Spiralbevægelsen løber gennem Galaxy er vendepunktet. Og se, siger Brødsgaard: bevæge sig mellem de to poler, veksle ­mellem i to stemmer, dvs. som en dobbeltspiral. I den netop overståede acceleration vender, og Galaxy det indadvendte, passive og opdagende for- begyndelsen hører man tonen D i et tilsy- hele værket viser sig blot at være en halv cir- Anders Brødsgaard arbejdede på dette ensat- løb som harmonikken og ­overtonerækken, neladende uendeligt åndedrag, men på et kelbevægelse i en endnu større spiral. Galaxy sede galaktiske storværk i to perioder. Den og det udadvendte, aktive og opfindende bagvedliggende niveau harmoniseres tonen er tilegnet Karl Aage Rasmussen. første halvdel blev til i årene 1990-93, hvoref- forløb som melodikken og polyfonien. spektralt med de naturlige overtoner. Lidt ter det lå stille, og med udsigt til en uropfø- Sagt med andre ord: integration af tonal og senere høres tvillingespiralen på tonen Es, Monk’s Mixtures relse i 1999 blev anden del færdiggjort i løbet atonal musik, treklange og clusterakkorder, og så fremdeles. Hurtigt inde i forløbet er Jazz-koryfæet Thelonious Monk, en af af tre hektiske måneder. Galaxy er til dato diatoniske skalaer og tolvtonerækker. Det der blevet introduceret en stigende 12-to- beboppens første protagonister og en helt Brødsgaards mest omfangsrige orkesterværk blev vigtigt i denne proces, at der ikke måtte nerække i kontrabasserne, som et tema der egenartet klaverkunstner, spøger mere eller

8 9 mindre bevidst i Monk’s Mixtures (2009). vekslende taktarter, betoningens forskyd- sing overtager som en firestemmig blok i over denne baslinje på afveje, hvor man især Brødsgaard har fra ungdomstiden været ning og det metriske kontrapunkt, som jo vekslende todelt metrum, træ og messing går fascineres af kontrafagottens Fafneragtige inspireret af jazzens mere progressive har- også kom til at påvirke de store jazzmusi- sammen, og gradvis vokser strygerfronten sig nødråb og fagottens slægtskab med Dexter monik og bigbandets instrumentation, især kere. Orkesterbesætningen er i princippet til en magtfaktor med en markant todelt ryt- Gordons balstyrige tenorsax. det fænomen som kaldes thickened line eller wienerklassisk med parvise blæsere og to mik i opposition til blæsernes tredelte. Dette Flying kunne være en hilsen til Benny blokharmonisering, som opstår, når man snese strygere, men udvidet med et rigt og er den første bølge, der tyndes ud med en lille Goodmans Flying Home, og den speedede udbygger en melodilinje i flere parallelførte ofte resonerende slagtøjsbatteri. Netop parade af mere solistisk aktivitet, og næste finale lægger ud med en jubelscene i den stemmer. Denne klangvirkning finder man med henblik på kompositionens grundidé bølge sætter ind i entydigt todelt grundtakt. erobrede og i sandhed flyvske ¾-takt. Disse imidlertid også i orglets disposition. Mixtur- – mixturklange – anvendes ofte i højden den Det er her, den unisone big tune folder sig 36 takter er nu blot en intro til en længere registret består ikke kun af én række, men af skingre piccolofløjte, mens offsiderne, bas- ud i blæsernes brede åndedrag, den coole kollektiv improvisation, med solovioli- adskillige rækker af diskantpiber, som regel i klarinetten og kontrafagotten, opererer dybt jazzfrasering er nærværende, men der skabes nen som primarius. Træblæsere afløser oktav- og kvint-afstand, og registret tilsættes i både soli og parallelførte stemmeforløb. På mere og mere friktion andetstedsfra i kraft hinanden i et bølgende rytmisk perpetuum normalt et givet valg af grundstemmer for at den måde dukker på forunderlig vis konturer af strygernes usurperende sekstendedelsryt- mobile, og messingblæsere og strygere producere en samlet kraftig og brillant klang. af Duke Ellingtons og Gil Evans’ orkestre mik. Kulminationen minder om bigbandets skyder momentvis ind med skarpe kvart- Anders Brødsgaard siger, at Monk har frem af klangdisen, uden at man forledes til kaotiske tutti-eksplosioner, råt og tight, en baserede akkorder, som en opblæsning af præget hans eget harmoniske udsyn. Monk at tro, at Brødsgaard har tænkt sig at skrive lang og saftig konfrontation mellem to- og Monks venstrehåndsarbejde. Alt dette fører anvendte tætte, dissonerende akkorder, et egentligt jazzpartitur. Men inspirationen tredelt metrum. frem til svimlende melodiske sammenløb ofte ligefrem clusters, og sammen med den fornægter sig ikke, som satstitlerne også Walking er en slow passacaglia og hen- i orkestrets tre blokke, lagt ud i hver sin kantede rytmik resulterede denne spillestil giver udtryk for: Moving, Walking og Flying. tyder til den gående bas i swingmusikken, thickened line. Efterhånden jævnes forskel- i et enestående personligt udtryk, som efter- Træ, messing og strygere. Det er de tre men slet ikke med fire tunge slag i takten, lene ud, instrumentationen bliver lysere, lod de fleste lyttere ret mystificerede. Monk sektioner som springer blokvis frem i neo- derimod i Monks ånd med mange pauser og strygerne overtager scenen – indtil den havde ikke angst for det tomme rum som de klassisk leg i de første minutter af Moving. i vekslende taktarter. Det begynder ganske lavmælte luminøse coda. En ny version af andre beboppere. Pausen spillede en helt af- Fremad i vekslende taktarter, først i træet: forventeligt i dybden med cello og kontra- the big tune svinger sig op i træblæserne, og gørende rolle i hans kompositioner, han var ni, seks, fem ottendedele i træblæsernes bas, men strækker sig efterhånden helt vildt- efter flere mellemfaser slutter værket med en overordentlig økonomisk i sit materiale og trestemmige legato melodi, med strygernes voksende ind i resten af orkestret. Den ene simrende, stadigt svagere udklang. overlod til lytteren selv at fylde rummet ud, og harpens pizzicati som klangforstær- solist efter den anden giver sig til kende hen Valdemar Lønsted, 2010 som fx i hans egne versioner af klassikeren kere af pulsens slag. Det er muligvis ikke ’Round Midnight. tilsigtet, men der kommer nu et flashbacktil Monk’s Mixtures fremstår som et højst di- Stravinskijs neoklassiske Salmesymfoni, som verterende værk. Og man fristes til at tilføje skubbes i søen med en lignende klangvision: neoklassisk, fordi det associerer til sidste med slaget på stortromme og pauker som århundredes rytmemagikere, legen med et igangsættende trampolinspring. Mes-

10 11 De medvirkende Christopher Austin er en af Storbritan- Med to internationalt anerkendte dirigenter niens førende dirigenter inden for den ny i forgrunden, 73 enestående musikere fra musik og har i det seneste årti stået bag mere 17 forskellige lande, og en international end 80 uropførelser af bl.a. Hans Abraham- Carl Nielsen Konkurrence og Festival, er sen, Simon Bainbridge, Michael Finnissy, Odense Symfoniorkester en kulturel Elisabeth Lutyens, Peter Maxwell Davies, dynamo, som spiller en vital rolle på den Olivier Messiaen, Steve Reich, Poul Ruders og klassiske musikscene i Danmark. Og med Bent Sørensen. Mere end halvdelen af disse ansættelsen af chefdirigent Alexander uropførelser blev opført af Brunel Ensemblet, Vedernikov har Odense Symfoniorkester sat som Austin selv var kunstnerisk leder for. Se- Danmark eftertrykkeligt på det symfoniske neste opgaver tæller engagementer hos Lon- verdenskort. Odense Symfoniorkester – et don Sinfonietta, Odense Symfoniorkester, af Danmarks fem landsdelsorkestre – blev Esbjerg Ensemble, Orchestre National de grundlagt i 1946, men dets rødder går helt Lille og ved Aldeburgh Festivalen. Derudover tilbage til omkring 1800. Orkestret, som har Austin arbejdet med Philharmonia, BBC holder til i Odense Koncerthus, tiltrækker et Symphony, Royal Philharmonic, Hallé orke- årligt publikum på godt 95.000 mennesker. strene, Present Music, Athelas Sinfonietta Odense Symfoniorkesters kerneaktivitet er Copenhagen, DR UnderholdningsOrkestret symfoniske koncerter. Derudover spiller or- og Scottish Chamber Orchestra. I 2011 har kestret til skole- og familiekoncerter, kirke- Austin sin debut på Opéra de Rouen. Austin og kammerkoncerter og operaforestillinger. underviser i komposition, instrumentation Orkestrets omfattende diskografi tæller over og direktion ved Royal Academy of Music i 60 cd-udgivelser, hvoraf mange har vundet London. I 2009 deltog Austin i en dokumen- priser – og flere er på vej. tarserie på BBC, How to Be a Composer, hvor Læs mere på på odensesymfoni.dk han skulle lære den britiske musikanmelder Paul Morley at komponere.

Anders Brødsgaard

12 13 Also available in the Open Space series d Recorded at Odense Concert Hall on 3-5 November 2008 (Galaxy) Jesper Koch and 27-29 April 2010 (Monk’s Mixtures) Orchestral Works Recording producers: Morten Mogensen (Galaxy) and Erik Kaltoft (Monk’s Mixtures) Odense Symphony Orchestra Sound engineer: Claus Byrith CD 8.226502 Mastering: Claus Byrith This whole program, from beginning to end, is very 2010 Dacapo Records, Copenhagen rewarding and highly recommended. © 2010 Dacapo Records, Copenhagen (Fanfare Magazine) Liner notes: Valdemar Lønsted English translation: James Manley Proofreader: Svend Ravnkilde Graphic design: elevator-design.dk Anders Brødsgaard Photo p. 13: © Erik Norsker in girum imus nocte et consumimur igni Publisher: Edition Wilhelm Hansen AS, www.ewh.dk Rolf Hind, Esbjerg Ensemble, Christopher Austin CD 8.226514 Dacapo Records acknowledge, with gratitude, the financial support of the Danish Composers’ Society’s Production Pool/KODA’s Fund for Social and Cultural Purposes, the Sonning-Fonden and Dansk Musik The performance is excellent; the recording is superb. Forlægger Forening (Limelight, Australia) 8.226551

Morten Olsen In a Silent Way Esbjerg Ensemble, Christopher Austin CD 8.226525 La qualité du label, comme d’habitude excellente, nous fait recommander aux curieux de prêter l’oreille. (La Scena Musicale) Dacapo Records, Denmark’s national record label, was founded in 1986 with the purpose of releasing the best of Danish music past and present. The majority of our recordings are world premieres, and we are dedicated to producing music of the highest international standards.

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