But then there is still “something” a small motive (first heard in the initial sound-waves) which reappears hesitant but persistent and this embryo is what leads on the musical progression. This symphony appears to end only a few minutes into the first movement the first passage as the music fades away to almost-silence after a start of flying colours.
However in my opinion nothing ever quite adds up there is always “something” missing any ending will be provisional.
The subtitle AT THE END OF THE DAY can be understood literally or it can mean “when all is added up”. 6 was commissioned by the Danish National Radio Symphony Orchestra the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra to be premiered at the millenium 2000. Programme note: ”… with the Lord a day is like a thousand years and a thousand years is like a day” (New Testament 2 Peter 3:8) My SYMPHONY NO. 6 'At The End Of Day' (1997-99) for Orchestra by Per Nørgård. As in much of my recent music I conceive of the entire piece The mix of 'live' and electronic sounds blurs the distinction between musical figure and ground. In Four Thousand Holes strong musical currents fall and rise again andagain as points and lines are juxtaposed with heavy hammered chords.
Finally I composed another multi-layered part for metallic Percussion sounds that I think of as sparks emanating from the Piano. Next I composed the Piano part articulating the peaks of all the electronic tracks simultaneously - a feat of coordination that demands considerable virtuosity from thepianist. The resulting waves of sound I layered intoten independent tracks to create the virtual 'orchestra'. I took these recordings time-stretched them reversed their envelopes and knit the reversed sounds together with their original decays. Steve recorded all ofthe individual chords that occur in the score. To begin I composed the score for the electronic tracks. Steve's extraordinary gifts inspired me to exploreexpansive forms and textures (similar to those of my orchestral music) with only one or two performers In essence Four Thousand Holes is a concerto. In recent years I've been fortunate enough to form a close musical partnership with Stephen Drury. Approaching these simple chords as found objects I've superimposed them in multiple streams oftempo to create darker harmonies and lush fields of sound. But I've tried to assimilate them fully into my own musical world. For the first time since my days as a rocker I've chosen to restrict myself to major and minor triads - thosemost basic elements of Western music (both pop and classical). Duration: 32 minutes 30 seconds.'Four Thousand Holes is my own effort to re-appropriate and reclaim for myself something of my own musical past. Composed in 2010 and dedicated to Stephen Drury. John Luther Adams' Four Thousand Holes for Piano Percussion (Vibraphone and Orchestra Bells) and Electronic Aura.