Not everything Per Nørgård composes is calculated to be a crowd-pleaser, but he did lighten things up a bit for portions of his score to “Babette’s Feast.” The Danish feature attained international popularity and an Academy Award for Best Foreign Language Film in 1988.

Nørgård has been following his idiosyncratic, often arcane muse in the concert hall for decades, from the Nordic symphonism of Sibelius and Vagn Holmboe (his teacher) to the avant garde experimentation of the 1960s and even feints into proto-minimalism.

“Voyage into the Golden Screen” (1968) employs an evolving variation technique the composer describes as an “infinity series,” a method of serializing melody, harmony, and rhythm. It’s been compared to fractal geometry. If you want to learn more about it, google “Nørgård infinity series.” Regardless of the technique, the music needs to speak for itself, and I think if you stick with it you might agree that it pays off. But maybe you have to be in the right mood. Just don’t go into it expecting Schubert!

https://www.youtube.com/watch?v=Ty1fjlN2kuc

From a later period, here’s his Violin Concerto No. 2 “Borderlines” (2002). Nørgård describes the opening movement as “endlessly questing” – much like the composer himself.

And in case you think Nørgård lacks the ability to charm, check out “Dream Play” (1975), deceptively simple at the start, but soon wandering into some unexpected places.

Finally, here’s his Symphony No. 6 “At the End of the Day” (1998-99). The composer declared this would be his last symphony – then went on to write two more!

Not the stuff to listen to for a pick-me-up, maybe, but it certainly does have its place. Happy birthday, Per Nørgård, 90 years-old today.