Uploaded February 2025 | Updated September 2026, 3 days ago
Intrada op. 149 (1993-94) for solo percussion
Borup-Jørgensen wrote prolifically and expressive for percussion from the beginning of his career (music for percussion and viola, op. 18 (1955-56)) and he had both a deep appreciation for the universe of sonorities possible with percussion instruments but more importantly, a respect and appreciation for the limitless creativity of the percussionists who’d perform his music. While many details are notated with his characteristic specificity, Intrada leaves many passages open to improvisation, relying on graphic notation and verbal suggestions. Additionally, while nominally scored for traditional percussion (Tom Toms, Bongos, Pictcher percussion such as Glockenspiel, Vibraphone and Marimba) the bulk of the music’s narrative is profelled by “found sounds” such as glass bottles, suspended springs, an anvil, pieces, of glass and the rather unusual inclusion of the steel pan drum. Borup-Jørgensen employs this “junk yard” assembly with remarkable finesse, creating waves of shimmering textures, punctuated by the sheen of high-pitched metallic percussion. The work concluding with a clatter of cymbals and a series of emphatic tattoos on the tenor drums.
Intrada op. 149 (1993-94) for solo percussion
Borup-Jørgensen wrote prolifically and expressive for percussion from the beginning of his career (music for percussion and viola, op. 18 (1955-56)) and he had both a deep appreciation for the universe of sonorities possible with percussion instruments but more importantly, a respect and appreciation for the limitless creativity of the percussionists who’d perform his music. While many details are notated with his characteristic specificity, Intrada leaves many passages open to improvisation, relying on graphic notation and verbal suggestions. Additionally, while nominally scored for traditional percussion (Tom Toms, Bongos, Pictcher percussion such as Glockenspiel, Vibraphone and Marimba) the bulk of the music’s narrative is profelled by “found sounds” such as glass bottles, suspended springs, an anvil, pieces, of glass and the rather unusual inclusion of the steel pan drum. Borup-Jørgensen employs this “junk yard” assembly with remarkable finesse, creating waves of shimmering textures, punctuated by the sheen of high-pitched metallic percussion. The work concluding with a clatter of cymbals and a series of emphatic tattoos on the tenor drums.
