STRENGE (STRINGS) (1992)

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For violin, bratsch og cello.

Komponeret til Den Danske Kammertrio

Varighed: 12’

Værknummer: 272


VÆRKNOTE: STRENGE – STRINGS (1992) for violin, bratsch og cello.

I. Moderato

II. Allegro

III. Adagio

IV. Presto

“Strenge” (Strings) for violin, bratsch og cello er komponeret 1991-92 til Den Danske Kammertrio.

Titlen refererer – bortset fra den indlysende sammenhæng med værkets besætning – til satsernes mange indbyrdes forbindelser: deres ´strenge´. Disse kan høres såvel på det melodiske som det klanglige plan, hvor flertydighed – ofte i ´fiksérbilledets ånd´- kan forvandle et motiv ved umærkelige betoningsforskydninger. Men også rytmisk er ´strengenes´ slægtskaber mærkbare ved modstilling mellem pulseringer og (uregelmæssige) ´gyldne snit´.

Værket varer henimod et kvarter med satsfølgen Moderato (en lyrisk fantasia), Allegro (en scherzo-agtig Perpetuum Mobile), fulgt af en kort, kontrapunktisk Adagio og afsluttet af en Presto, hvis gylden-glitrende musik efter højdepunktet blot fortsætter opad, for at forstøve i luftig intethed…

Per Nørgård (1992)

PROGRAMME NOTE: STRINGS (1992) for violin, bratsch og cello.

I. Moderato

II. Allegro

III. Adagio

IV. Presto

The title is referring – of course – to the ensemble performing the music, and also to the various ´strings´ that link together the four movements.The first movement is a freewheeling, lyrical Fantasia, in which two smoothly moving motifs meander around one another, strongly featuring rhythmical durations to each other in proportions close to the golden mean (approx. 3 : 5 : 8). This approach to rhythm reappears in the fourth movement as the accompanying basis for long spun solos in the violin part, which, in its turn, is derived from the melodic content of the second and third movements.In the formal structure, however, the four movements are sharply contrasting: the initial Fantasia is followed by a short, intense hammering, scherzo-like Perpetuum Mobile, contrasted by en equally short Adagio with uninterrupted contrapuntal developments between the three instruments. Further contrast is heard in the fourth movement – a vivid Finale in which a complicated (´golden´) rhythmic polyphony accompanies the wide-spun melismas of the violin. However, towards the end, this garland of rhythm and melody is dissolved into its two components, both having had their brief heydays before the work accelerates into a shimmering nothingness.Per Nørgård (1992)