Ám, Magnar, Norwegian composer; b. Trondheim, April 9, 1952. He studied organ at the Bergen Cons, and received lessons in composition from Lidholm at the Stockholm Musikhògskolan (1971–72). He was awarded a State Guaranteed Income for Artists and devoted himself to composition. In his output, Âm has generally pursued a freely tonal style. While preferring traditional forms, his experimental bent has led him to explore the realm of electroacoustics.
ORCH.: Song for Brass and Percussion (1974); Study on a Norwegian Hymn for Strings (1977); ajar for Double Bass and Orch. (1981); my planet, my soul, sym. (1982); right through all this (1985); The Oblique One, march for Symphonic Band (1985); can tell you a mile offior Symphonic Band (1988); if we lift as one (1988); timeless energy (1991); Naked Tones for Symphonic Band (1993); The Wondering and the Wond: For Orchestra—and the Odd Passing Dolphin (1996). CHAMBER: 2 Movements for String Quartet (1970); Lyrikk for 2 Horns and Hardanger Fiddle (1971); Intermezzo for 3 Woodwinds (1976); Sonata for Flute, Guitar, and Cello (1976); Dance for Harp, Guitar, and Harpsichord (1977); in nude, octet for Clarinet, Bassoon, Horn, 2 Violins, Viola, Cello, and Double Bass (1977); Du, bli her (You Stay Here!) for Viola and Cello (1979); sing, pain for Viola, 2 Cellos, Percussion, and Piano (1979); like a leaf on the river for Guitar (1983); pas de deux for Violin and Cello (1984); still for Flute and Harp (1985); Freetonal Conversation for Violin, Cello, and Piano (1986); hovering depths for Double Bass (1986); air...of breath have you come, to breath shall you be for Double Bass and Tape (1987); summen..., canon for 4 Trumpets (1990); Unio mystica for Organ (1998). VOCAL: Prayer for Soprano, Chorus, and String Orch. (1972); Mot dag (Dawn Is Breaking), oratorio for Chorus and Orch. (1972); point zero, version A for Soprano, Chorus, Children’s Chorus, and Orch. (1978–83), version B for Soprano, Chorus, Congregation, Organ, and Orch. (1978–83), and version C for Soprano, Chorus, Congregation, and Organ (1982); trollsenga for Narrator and Saxophone or Flute or Percussion (1980); Agamemnon, choral drama for Soprano, Women’s Chorus, and 2 Clarinets (1981); wings for 3 Choruses and 5 Instruments (1981); A Cage-Bird’s Dream (Music for Closed Eyes) for Chorus, Violin, 2 Percussion, Piano, and Slides (1982); Omen for Reciter, Violin, Horn, and Upright Piano (1983–89); till we grow out of ourselves for Soprano, Chorus, Children’s Chorus, Narrator, and Organ (1983); congilia for Narrator, Violin, Horn, and Piano (1984); a miracle and a tear for Chorus (1987); fritt fram for Soprano, Flute, Clarinet, Violin, Cello, Percussion, and Piano (1987); grain of sand seeks oyster for Soprano, Flute, Clarinet, Guitar, Violin, and Double Bass (1987); a new-born child for Chorus, Flute, Percussion, Marimba, and Harp (1988); and let the boat slip quietly out for Voice and Orch. (1989); Pilgrimsmusikk for Nidaros Cathedral for Boy Soprano, Tenor, Children’s Chorus, Mixed Chorus, and Chamber Orch. (1990); ...og livet, oratorio for 2 Narrators, Soprano and Tenor Voices, Children’s Chorus, Mixed Chorus, and Chamber Orch. (1990); effata for Soprano, Men’s Voices, and Organ (1991); quiet ruby for Chorus (1992); is it Like this Among Humans, Too? for Alto, Chorus, Flute, Synthesizer, Piano, and Percussion (1992); On the Wings of the Ka-Bird, 7 motets for Chorus (1996); You Are Loved for Soprano, Women’s Voices, 2 Horns, and Harp (1997); Wandering Heaven for Alto, 2 Violins, 2 Violas, and 2 Cellos (1998). OTHER: water music, electro-acoustic piece (1984); pa en stol, visual concert for Clarinet, Trumpet, Percussion, Piano, Mime, and Audience (1989); Tonebath, music experience (1989); Voyage, music experience (1993).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire