Together, the notes become scenic bombardments of the senses that you can almost see in the air.īent Sørensen has written for symphony orchestra and chamber musicians, for choir and for individual instruments. He uses bowed strings so the bowing seems like whispering – and he makes human voices sound like the breath of wind. Bent Sørensen’s music is almost visual in itself and for that reason too it has a doubly impressive effect in a concert hall. He is a supreme master of the conventional forms of music, which is very probably why he plays with their dissolution. Bent Sørensen was born in 1958, but aesthetically he harks back to the music of Late Romanticism, as well as forward to the most soaring digital sounds. He can do it all, has done it all, and still wants to do it all – and much more. Like music of oblivion.Īs a composer Bent Sørensen is peaking right now. But the point is that as soon as you have caught the strains of the music, it vanishes again. It seems they can filter through fire and water – and the intellect. If you have the slightest trace of the romantic in your blood, you will be drawn in by Bent Sørensen’s notes of longing. Now and then the music comes from so far away that you have to attune your listening apparatus to remoteness and horizon, before you become aware that the sounds are gathering into notes.īent Sørensen’s music is a music of silence. What exactly is happening? Often you can’t actually ‘hear’ anything – your body just senses some sound on its way. The uneasiness comes immediately: as soon as your ear senses Bent Sørensen’s music your brow puckers. Anne Middelboe Christensen on Bent Sørensen and his vocal work ‘Snowbells’
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