VARIATIONER SØGER ET TEMA (1991)

Tilbage til værkfortegnelsen

Quaerendo invenietis, for cello og guitar.

Tilegnet Morten Zeuthen og Erling Møldrup.

Varighed: 10’

Værknummer: 256


VÆRKNOTE: VARIATIONER SØGER ET TEMA. Quaerendo invenietis – for cello og guitar (1991).

Med en parafrase over Pirandellos ´Seks personer søger en forfatter´ søgte jeg i titlen at karakterisere dén særlige form, der præger denne duo for cello og guitar: en tostemmig og melodisk konstant, dobbelttydig bevægelse fra mere vage melodi-profiler henimod noget relativt mere klart, der evt. kan opfattes som det tema som alt det foregående udspringer af. ´Relativt klart´ fordi den konstante dobbelttydighed selv, til sidst, efterlader to temaer tilbage i bevidstheden. (på det analytiske plan beror dette på en kombination af 7- og 5-tonige motiver, der tilsammen kompletteres til 12 toner med op- og nedadgående skala-fragmenter, så at sige ´vigende fra hverandre´). De to instrumenter veksler med at skabe forgrund, betones (uden at de melodiske motiver adskiller sig væsentligt) hvorved det andet instrument pludselig opleves akkompagnerende, fordi det – med små midler – henvises til at være baggrund, ikke ulig den berømte gestalt-psykologiske figur, der i ét øjeblik ses (dvs. opleves) som en ´sort vase´ – for i næste øjeblik at ses som ´to hvide profiler´. Værket er imidlertid komponeret musik – ikke psykologiske øvelser – og formens spændingsbue lader de afgørende steder være klart proportionerede mellem cello og guitar. Men de to instrumenters indbyrdes betoninger tenderer mod at blive til en slags ´klingende fikserbilleder´ (med tiden – og ikke fladen – som medium.).

Værket er tilegnet Morten Zeuthen og Erling Møldrup.

Per Nørgård (1995)

PROGRAMME NOTE: VARIATIONS IN SEARCH OF A THEME. Quaerendo invenietis – for cello and guitar. (1991) With a paraphrase of Pirandello´s ´Six Characters in Search of an Author´, I tried in the subtitle to characterize the special form of this duo for cello and guitar: A two-part, melodically constant, ambiguous movement from vaguer melodic profiles towards something relatively clear, which may be regarded as the theme that is the source of all that went before; ´relatively clear´ because the constant ambiguity, even at the end, leaves two themes in the mind. (Analytically speaking, this is based on a combination of seven-note and five-note motifs which complement each other, forming twelve tones with ascending and descending scale fragments ´avoiding each other´).Each of the two instruments take its turn in creating the foreground, stressed (without any great difference in the melodic motifs), leading the other to be perceived as accompanying because it is subtly relegated to the background – not unlike the famous figure-ground picture in Gestalt psychology, which is perceived in one instant as a black vase, and in the next as two white profiles. However, this is composed music, not psychological exercises, and the spanning arch of the form ensures that the critical passages are clearly proportioned between cello and guitar. But the complementary emphases of the two instruments tend to create a kind of ´aural puzzle picture´ (with time – not the two-dimensional surface – as the medium).Per Nørgård (1995)