(http://www.snyk.dk/sites/default/files/imagecache/node-header-image/nyhedsbilleder/Poul%20Ruders_0.jpg)
Poul Ruders is generally considered the foremost Danish composer of the postwar generation, having forged a solid reputation as an eclectic willing to use a variety of techniques and styles. In his works he has incorporated features of minimalism, Medieval and Renaissance-era styles, popular music sources, various tonal and atonal elements, and has even developed a system of shaping and organizing pitch.
Ruders sang in the Copenhagen Boys' Choir as a child and later enrolled at the Odense Conservatory where he studied keyboard. He was awarded a degree in 1975 from the Royal Danish Conservatory in organ and had limited private studies in composition with Ib Nørholm and Kar Rasmussen. Ruders himself has asserted that he is largely self-taught in the area of composition and his claim appears largely justified. His earliest surviving works (he has withdrawn several from his early years) are Three Letters from the Unknown Soldier, for solo piano, dating to 1967, and Requiem, for solo organ, from 1968.
In the mid-1970s Ruders began to draw on earlier music styles for some of his compositions: Medieval Variations (1974), for chamber ensemble, and the Violin Concerto No. 1 (1981), which incorporates quotations from Vivaldi and Schubert, exhibit this trait. Though Ruders served as an organist at churches in the 1970s and did freelance work as a pianist and organist as well, he has relied chiefly on composition as his source of income for most of his career. Indeed--he had begun receiving substantial commissions for large works like his 1982 ballet, Manhattan Abstraction, and his first opera, Tycho (1986).
In 1991 Ruders relocated to London, where he lived for the next three years. During this time he accepted a guest professorship at Yale University and turned out most of the three parts to one of his most popular and highly praised orchestral works, Solar Triology (1992-95). He returned to Copenhagen in 1994, where he completed the final panel of this work, Corona.
His Symphony No. 2 (1995-96) dates to this period, and his second opera followed shortly afterward, The Handmaid's Tale (1997-98), which was premiered in Copenhagen in 2000. In the new century Ruders continues to turn out music in various genres. His third opera, Kafka's Trial, was premiered in March, 2005, at the Royal Danish Opera's new opera house in Copenhagen.
[Article taken from All Music Guide]
I saw no thread dedicated to Ruders so I figured it was high time I started one. What do you guys think about his music? Any particular favorites? I was mesmerized this morning when listening to Gong from his Solar Trilogy. What an angry Xenakis meets solar explosion! 8) If anybody can think of a better thread title then let me know. I'm open to suggestions. :)
The Solar Trilogy, particularly Gong and Zenith, and the Concerto in Pieces are my favorite pieces by Ruders. Gong is just an all out sonic explosion that pulls you in and doesn't let you go. I think the dedicatée, who was Messiaen, would have been proud to hear the work. Zenith is perhaps one of the best slow movements in modern music, and the expansiveness and strange timbres remind me of the vastness of outer space. There's a passage for tubular bells dipped in water that sends chills down your spine. The Concerto in Pieces was composed as a sort of 'updated version' of Britten's Young Person's Guide to the Orchestra, and it does a good job of showing off the 'modernist' orchestra. It's a lot of fun and is a perfect piece for anyone who is new to Ruders' music.
Quote from: lescamil on May 28, 2012, 10:53:29 AM
The Solar Trilogy, particularly Gong and Zenith, and the Concerto in Pieces are my favorite pieces by Ruders. Gong is just an all out sonic explosion that pulls you in and doesn't let you go. I think the dedicatée, who was Messiaen, would have been proud to hear the work. Zenith is perhaps one of the best slow movements in modern music, and the expansiveness and strange timbres remind me of the vastness of outer space. There's a passage for tubular bells dipped in water that sends chills down your spine. The Concerto in Pieces was composed as a sort of 'updated version' of Britten's Young Person's Guide to the Orchestra, and it does a good job of showing off the 'modernist' orchestra. It's a lot of fun and is a perfect piece for anyone who is new to Ruders' music.
Agree with you about
Gong. What an aural assault! I listened to
Nightshade earlier this morning as well. What a cool, textural work. What recordings do you own? These are the ones I bought today:
(http://www.dacapo-records.dk/img/hires/8.224054.jpg)
(http://www.dacapo-records.dk/img/album/x385/DCCD-9308.jpg)
(http://www.dacapo-records.dk/img/hires/8.224125.jpg)
(http://www.theclassicalshop.net/HiResArt/smart/CHAN%209179.jpeg)
(http://www.naxos.com/sharedfiles/images/cds/hires/8.226028.jpg)
(http://ml.naxos.jp/sharedfiles/images/cds/hires/8.226034.jpg)
I have all of those recordings, plus the 7 volumes of the Bridge series, plus some other odds and ends. A particular favorite is that Concertos disk on Dacapo. I mentioned the Concerto in Pieces, but I also love Monodrama. The First Violin Concerto is great, too.
The 'Tranquillo molto' from the Symphony is beautiful.
Poul Ruders has 4 symphonies now. The strongest one to me is the 4th symphony, which has a significant organ part (not quite an organ concerto). I haven't quite figured out the first two symphonies yet. I also haven't heard the 3rd symphony enough times to judge. The 4th symphony is similar to the Concerto in Pieces, in that it shows off just how variable his style is, which I really enjoy.
Quote from: lescamil on May 28, 2012, 11:40:57 AM
I have all of those recordings, plus the 7 volumes of the Bridge series, plus some other odds and ends. A particular favorite is that Concertos disk on Dacapo. I mentioned the Concerto in Pieces, but I also love Monodrama. The First Violin Concerto is great, too.
I'm just really anxious to hear all of the recordings I bought. It will be nice to have two performances of
Gong. :) I've already listened to some of the
Solar Trilogy from NML and I'm impressed with
Zenith. I didn't get to listen to
Corona. My time ran out. :P I'm hoping I found a Danish Modernist I can stand behind.
Corona is the least satisfying of Solar Trilogy, but the ending makes it all worth it. Gong and Zenith set the bar extremely high, unfortunately, though.
I have just placed my order for Volume 8 of the Bridge series. It contains the Offred Suite (taken from the opera The Handmaid's Tale), Tundra, and the Symphony No. 3. Really looking forward to the Offred Suite.
Quote from: lescamil on May 28, 2012, 06:10:15 PM
Corona is the least satisfying of Solar Trilogy, but the ending makes it all worth it. Gong and Zenith set the bar extremely high, unfortunately, though.
I have just placed my order for Volume 8 of the Bridge series. It contains the Offred Suite (taken from the opera The Handmaid's Tale), Tundra, and the Symphony No. 3. Really looking forward to the Offred Suite.
If you could do any comparisons with other composers, what composers would you say Ruders sounds similar to?
That's one of the neat things about Ruders. He sounds like no one. I would say that in large part comes from him being a primarily self-taught composer. From what I've read, all he has had were some orchestration lessons. Yeah, you can hear things like Xenakis in Gong, but, really, he is his own man.
Quote from: lescamil on May 28, 2012, 07:44:25 PM
That's one of the neat things about Ruders. He sounds like no one. I would say that in large part comes from him being a primarily self-taught composer. From what I've read, all he has had were some orchestration lessons. Yeah, you can hear things like Xenakis in Gong, but, really, he is his own man.
He's certainly a fascinating composer that I look forward to exploring.
Quote from: Mirror Image on May 28, 2012, 02:58:14 PM
I'm hoping I found a Danish Modernist I can stand behind.
So
that's why he keeps looking over his shoulder....
Quote from: some guy on May 28, 2012, 09:17:01 PM
So that's why he keeps looking over his shoulder....
::) :P
Tee hee.
But seriously, everyone who's listened to both recordings of Gong, which do you prefer?
Quote from: lescamil on May 28, 2012, 07:44:25 PM
That's one of the neat things about Ruders. He sounds like no one. I would say that in large part comes from him being a primarily self-taught composer. From what I've read, all he has had were some orchestration lessons. Yeah, you can hear things like Xenakis in Gong, but, really, he is his own man.
Agreed very much; Ruders is one of those composers whose style can't be pinned down; and his sound changes quite a bit from work to work.
I think the most obvious point of stylistic reference is simply that a lot of Danish composers born in the '30s through the '50s seem to be breathing the same compositional air: I hear clear stylistic parallels at times to Abrahamsen and his orchestration teacher Rasmussen (and, most obviously, Norgard); on the other hand there seem to be much fewer to Gudmundsen-Holmgreen or to Sorensen. Beyond that, in Ruders' appropriation of minimalist tropes there are clear echoes of (in my opinion) Reich in particular, while there certainly are parallels to Xenakis in his more eruptive writing. (It might be an odd thing to say, but I think there's something of Robert Simpson in Ruders' more architectonic structures.)
I've often had a somewhat ambivalent reaction to Ruders' work, and haven't seen or heard any of his operas--obviously a very important part of his output--but the
Solar Trilogy is of course hugely impressive. I also very much like the Second Symphony (haven't heard the other three), which shares with the
Solar Trilogy the ability to pack a huge amount of change into a continuous structural arc.
... another composer I need to go back and spend more time with ... there's too many of them ...
Quote from: edward on May 29, 2012, 07:58:46 AM
Agreed very much; Ruders is one of those composers whose style can't be pinned down; and his sound changes quite a bit from work to work.
I think the most obvious point of stylistic reference is simply that a lot of Danish composers born in the '30s through the '50s seem to be breathing the same compositional air: I hear clear stylistic parallels at times to Abrahamsen and his orchestration teacher Rasmussen (and, most obviously, Norgard); on the other hand there seem to be much fewer to Gudmundsen-Holmgreen or to Sorensen. Beyond that, in Ruders' appropriation of minimalist tropes there are clear echoes of (in my opinion) Reich in particular, while there certainly are parallels to Xenakis in his more eruptive writing. (It might be an odd thing to say, but I think there's something of Robert Simpson in Ruders' more architectonic structures.)
I've often had a somewhat ambivalent reaction to Ruders' work, and haven't seen or heard any of his operas--obviously a very important part of his output--but the Solar Trilogy is of course hugely impressive. I also very much like the Second Symphony (haven't heard the other three), which shares with the Solar Trilogy the ability to pack a huge amount of change into a continuous structural arc.
... another composer I need to go back and spend more time with ... there's too many of them ...
Well you pretty much have summed up what has already been stated before: Ruders' music defies categorization.
Aw nuts, looks like I won't be getting Bridge Volume 8 for a while. Got this in my email this morning from Rob Starobin (who I assume is David's brother):
QuoteThank you for your order of BRIDGE 9382 - Music of Poul Ruders, Vol. 8. This disc was mistakenly not listed as pre-release, but will be available in early July. We will keep your order on file until it is available, and ship it immediately.
Looks like they jumped the gun and put the "add to cart" button there too early.
Quote from: lescamil on May 29, 2012, 12:16:03 PMLooks like they jumped the gun and put the "add to cart" button there too early.
When you say "they," who are you referring to?
Quote from: Mirror Image on May 29, 2012, 03:53:34 PM
When you say "they," who are you referring to?
The Bridge Records website, who I tried to order the disk directly from, since it isn't on Amazon or any of the other usual suspects.
Quote from: lescamil on May 29, 2012, 08:09:06 PM
The Bridge Records website, who I tried to order the disk directly from, since it isn't on Amazon or any of the other usual suspects.
Ah, oh well, you've got plenty of Ruders to listen to for now. :)
Quote from: vandermolen on May 28, 2012, 11:58:03 AM
The 'Tranquillo molto' from the Symphony is beautiful.
I meant from the Symphony on Chandos.
Quote from: vandermolen on May 30, 2012, 02:00:11 AM
I meant from the Symphony on Chandos.
Which would be
Symphony No. 1 for those of you viewing at home. :)
Reviving this thread because Ruders's Solar Trilogy was just performed in Amsterdam and you can listen to it on radio4.nl (I would highly suggest it).
http://www.radio4.nl/gids/2016-06-25/420022/holland-festival-prom
It's a much better performance than the one on Da Capo (which is about as flaccid as a man in a cold shower), but it doesn't quite match the intensity of Segerstam on Chandos. Stenz still gives such an exciting and dense piece a great reading. Shame that some people ruined the beautiful second movement Zenith with coughing in the super quiet moments.
Could somebody say a bit more about the 2nd Symphony? I heard bits & pieces of it some time ago, and it sounded interesting.
Quote from: Archaic Torso of Apollo on June 26, 2016, 09:01:23 AM
Could somebody say a bit more about the 2nd Symphony? I heard bits & pieces of it some time ago, and it sounded interesting.
If I remember correctly, it's in the composer's more austere style, which is in direct contrast to the crash and bang sound of his first symphony, Solar Trilogy, etc. Long and melodic lines, pared down orchestration, and single movements are common for this style. I don't remember this symphony too well but I remember enjoying it when I heard it. The piano concerto that it was paired with on that Da Capo CD was also worth hearing, though not as strong as his more recent Piano Concerto No. 2.
Quote from: lescamil on June 26, 2016, 12:27:22 PM
If I remember correctly, it's in the composer's more austere style, which is in direct contrast to the crash and bang sound of his first symphony, Solar Trilogy, etc. Long and melodic lines, pared down orchestration, and single movements are common for this style. I don't remember this symphony too well but I remember enjoying it when I heard it. The piano concerto that it was paired with on that Da Capo CD was also worth hearing, though not as strong as his more recent Piano Concerto No. 2.
I'd largely second this, though again, it's been a while since I heard it. I thought the smaller forces suited the material very well, and the whole disc was a thoroughly satisfying experience.
My ramblings-on about this composer's Nightshade Trilogy can be found here: https://leggierosite.wordpress.com/2016/03/31/nightshades-and-new-tonality/ (https://leggierosite.wordpress.com/2016/03/31/nightshades-and-new-tonality/)
[For anyone who may have happened across a near-identical post to this on another forum, yes, I'm shamelessly repeating myself in the hope of generating further discussion!]
The main items in my small Ruders collection. So far, I vastly prefer the 1st Piano Concerto on Dacapo and the 1st Symphony on Chandos among his works - The Solar Trilogy seems to repeat traits of the 1st Symphony too much, I think. The 1st Violin Concerto on Unicorn is very different in style and quite conservatively lyrical. The Clarinet Concerto at times reminds me of an updated Nielsen one. Among the piano works, I´ve noticed the rather Gothic Sonata 1, Dante Sonata. But there´s still some of the material I´m not very acquainted with.
Personally I don´t plan to buy more within the foreseable future, but quite a lot of new Ruders discs have appeared in recent years, including now his 5th Symphony: https://bridgerecords.com/products/9475
(https://images.shazam.com/coverart/t128958799_s400.jpg)
So many remarkable discoveries and rediscoveries these last days, among them the Symphony No. 1 by this composer. Two relentless and chaotic outer movements of imposing belligerance with a contrasting middle movement (I'm joining the short 3rd movement Scherzando prestissimo with Maschera funerale for better understanding). That 2nd movement has a unique beauty. It's like a cosmic portrait, suggesting the magnificence and the apparent quietness of the sidereal space. That was something else. There is a repetitive pattern that enhances the strength of the ideas, almost like minimalism. I liked this symphony more than Solar Trilogy.
Quote from: SymphonicAddict on August 21, 2019, 04:23:52 PM
(https://images.shazam.com/coverart/t128958799_s400.jpg)
So many remarkable discoveries and rediscoveries these last days, among them the Symphony No. 1 by this composer. Two relentless and chaotic outer movements of imposing belligerance with a contrasting middle movement (I'm joining the short 3rd movement Scherzando prestissimo with Maschera funerale for better understanding). That 2nd movement has a unique beauty. It's like a cosmic portrait, suggesting the magnificence and the apparent quietness of the sidereal space. That was something else. There is a repetitive pattern that enhances the strength of the ideas, almost like minimalism. I liked this symphony more than Solar Trilogy.
Thought I would pick this up and also repost from the WAYLT thread. Symphony #1 is excellent, as are all of the Ruders works that I've revisited this week. I've particularly enjoyed Nightshade Trilogy and Symphony #5, but all have been very worthwhile. Spending so much time with Nørgård recently makes Ruders an inevitable corollary, I guess, as both tick similar boxes for me.
Quote from: foxandpeng on November 05, 2021, 03:35:38 AM
PoulRuders
Dreamcatcher
Sound and Simplicity
Symphony #3 'Dreamcatcher'
Odense Symfoniorkester
Bridge
This disc is great. Sound and Simplicity is a great aural prep for #3. Notes from Ruders, below!
The subtitle of my Symphony no. 3 is taken from one of the slow movements of my Serenade (for Accordion and String Quartet, 2004). A Dream Catcher belongs to Native American lore, it is a small loop with a feather attached, a device supposedly trapping the good dreams, letting them filter down to the sleeper.
In my symphony, however, things evolve in a far less benign way.
After a fast-paced "wake-up call", scored for full orchestra, I introduce the "Dream Catcher"-tune from the Serenade, letting it creep up on the listener from behind, played entirely by the strings. Then the tune undergoes a full symphonic transformation, before it "disappears" seamlessly into the second (and last) movement, a Scherzo of extreme velocity and savagery.
One could claim, that what really happens "behind the scenes" in the symphony is the tale of Beauty being devoured by the Beast, a symphonic journey with a less-than happy ending, open to all sorts of individual, metaphorical interpretations.
- Poul Ruders, September 2006
The Symphony no. 2 is a very important work for me, both creatively and emotionally. There is nothing else by him that has so far approached either threshold for me but everything I have heard has been at least interesting.
Quote from: amw on November 05, 2021, 05:22:28 AM
The Symphony no. 2 is a very important work for me, both creatively and emotionally. There is nothing else by him that has so far approached either threshold for me but everything I have heard has been at least interesting.
I'm more familiar with #2 from the symphonies, but #3 and #5 have got their claws in me at the moment. Ibthink Nightshade Trilogy is currently my favourite piece, though.
What a great sound world.
Quote from: foxandpeng on November 05, 2021, 03:46:08 AM
Thought I would pick this up and also repost from the WAYLT thread. Symphony #1 is excellent, as are all of the Ruders works that I've revisited this week. I've particularly enjoyed Nightshade Trilogy and Symphony #5, but all have been very worthwhile. Spending so much time with Nørgård recently makes Ruders an inevitable corollary, I guess, as both tick similar boxes for me.
I've heard all of his symphonies and the ones that struck me like very impressive were the first two. I found the others less engaging. I should revisit them to see if my opinion has changed, though.
Quote from: Symphonic Addict on November 05, 2021, 05:53:54 PM
I've heard all of his symphonies and the ones that struck me like very impressive were the first two. I found the others less engaging. I should revisit them to see if my opinion has changed, though.
Here's hoping they make more of an impression this time round! I have been listening to just about everything I can get my hands on, particularly the works I've mentioned, with immense pleasure all week, and find him only marginally behind Nørgård for inventiveness. He isn't Holmboe, but he has real depths, IMO.