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Composer: Sørensen, Bent (b. 1958)

Fact file
Year of birth1958
March 2019
Evening performance
Matinee performance
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TokyoThe 38th Toshiba Grand Concert – Fabio Luisi Conducts Danish National Symphony Orchestra

Sørensen, Bruch, Beethoven
Danish National Symphony Orchestra; Fabio Luisi; Arabella Steinbacher

Los AngelesBjarnason & Ólafsson

Takemitsu, Jónsdóttir, Sørensen, Saariaho, Bjarnason
LA Phil New Music Group; Daníel Bjarnason; Unknown; Víkingur Ólafsson; István Várdai
Latest reviewsSee more...

A world première and standard repertoire

Edo de Waart © Jesse Willems
An able interpreter of the Romantic repertoire, Emanuel Ax has an innate elegance of tone and gesture that make him an ideal interpreter of Mozart's D minor Concerto.
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A Danish Swansong

The Danish National Chamber Orchestra played music by three leading Scandinavian composers in what was to be an unexpectedly emotional concert.
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You can read our October 2013 interview with Bent Sørensen here.

“It reminds me of something I’ve never heard!”

Such was the spontaneous reaction of the Norwegian composer Arne Nordheim upon hearing a work by Bent Sørensen. And it is not easy to imagine a more strangely to-the-point description of the ambiguous, almost paradoxical expressive idiom of this unique composer, who is without doubt the leading Danish composer of his generation.

Sørensen’s music is not recycled; in no way does it rely on the yellowing pages of history for its musical nourishment. His musical language is undeniably of the present day, both aesthetically and technically. The music does, however, appear to be pervaded with memories, wisdom of experience and old dreams, of the inevitability of transitoriness and parting. It is a flickering, glittering world where things seem to disappear at the slightest touch.

The moment something becomes tangible and recognizable, it dissolves, becomes obscured, or disappears. But this ghost-like indistinctness is nevertheless the work of an experienced illusionist: Perhaps Sørensen’s most singular talent is his ability to give voice to this indistinctness, to render it distinct and clear. Often he places very simple musical material inside an ingenious musical “hall of mirrors” in which echoes, and echoes of echoes, spread like ripples in water; the quiet, smudged contours, which sound as though heard through falling rain or misted windows, are always drawn in minute, calligraphic detail.

© Karl Aage Rasmussen