Why is it that one can always recognize a lullaby? This musical archetype, circular and hushed, sung into us with mother’s milk. Composer Bent Sørensen’s solo piano cycle 12 Nocturnes is a tribute to the night’s musical cultural heritage. The nocturne – a nocturnal, lyrical composition – merges with, among other forms, lullabies and cantatas in a poetic narrative from sunset to sunrise about what is close at hand and yet unfathomable: that the sun rises, that children are born, that stars can be glimpsed through small windows on earth, that the piano can create worlds with twelve tones.
Bent Sørensen wrote the twelve short nocturnes between 2000 and 2014 for pianist (and wife) Katrine Gislinge. They have previously been released digitally. Now they appear as a studio recording paired with Piano Concerto No. 3, La sera estatica. The premiere of this “ecstatic evening” stands in contrast to the nocturnes’ simple, balanced forms. With a dramatic opening, multiple orchestral groups, and crackling storminess in the soundscapes, the dreamy nocturnal universe is ruptured by a surging ardor that unfolds in two parts, where purer melodic lines gradually take over the second – complete with a distinct (night?) bell.
Yet the piano concerto’s sovereign quality does not quite come into its own when presented as a postscript to the nocturnes’ rounded narrative. The two elements work best separately, so that the ecstatic evening for full orchestra does not puncture the magic of stars scattered blinking across the piano’s staccato attacks, or Sigrid’s nocturnal dances and lullabies. There is ample drama in the beautifully conveyed single night – for even the child Sigrid will one day no longer be sung to sleep.
