Notre politique de confidentialité a été mise à jour pour la dernière fois le lundi 24 juin 2019Voir iciIgnorer
Se connecter
Bachtrack logo
Drapeau de Danemark

Compositeur: Sørensen, Bent (n. 1958)

Rechercher des événements de musique classique, opéra et ballet | Sørensen
Fichier de données
Année de naissance1958
janvier 2020
Spectacles à venirEn voir plus...

GlasgowHear and Now: Scottish Inspirations

Hear and Now: Scottish Inspirations
Richards, Sørensen
BBC Scottish Symphony Orchestra; Thomas Dausgaard; Lucy Schaufer

Los AngelesBjarnason & Ólafsson

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

OsloWorld premiere: St. Matthew Passion

World premiere: St. Matthew Passion
Sørensen: St Matthew Passion
Ensemble Allegria; Grete Pedersen; Det Norske Solistkor

LondresDanish National Vocal Ensemble

Danish National Vocal Ensemble
Bach, Pedersøn, Nielsen, Sørensen, Holten
Marcus Creed; Danish National Vocal Ensemble

Seattle[untitled] 3

Sørensen: Papillons trilogy: Pantomime and Mignon
Thomas Dausgaard; Cristina Valdés
Critiques récentesEn voir plus...

Adventurous outings in Prague at Contempuls festival

Trio Catch © Karel Šuster
The Contempuls festival celebrated its tenth birthday with a bold mix of international flavors, Czech premieres and energizing experimental sounds.

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.

Un chant du cygne danois

En programmant trois compositeurs scandinaves majeurs, le Danish National Chamber Orchestra a donné un concert des plus émouvants.

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