FOUR OBSERVATIONS – FROM AN INFINITE RAPPORT. HOMMAGE A BARTOK (1995)

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For strygeorkester.

Værket kan opføres separat eller som første del af trilogien TRIBUTES – ALBUM FOR STRINGS – 1994-95 (bestående af Nr. 289, 285, 293 – i den rækkefølge).

Hommage a Bartok.

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VÆRKNOTE: FOUR OBSERVATIONS – FROM AN INFINITE RAPPORT. HOMMAGE A BELA BARTOK (1995). For strygeorkester.

Per Nørgård wrote 2 programme notes for the work – in English. You may use what might be useful.

Short version:

“Four Observations from an Infinite Rapport – hommage a Bartok (1995) is the first part of “Tributes – Album for Strings” (1994-95) including three hommages (each around 5-7 minutes), which might also be performed separately. The shared point of departure was the homage to three major composers of the 20th century – Bartok, (Four Observations – from an infinite Rapport, 1995), Lutoslawski (Out of this World, 1994) and Sibelius (Voyage into the Broken Screen, 1995).

Per Nørgård

Longer version:

“Four Observations from an infinite – homage a Bartok” (1995) is the first part of “Tributes – album for strings” (1994-95) including three hommages (each around 5-7 minute), which might also be performed separately. The shared point of departure was the homage to three major composers of the 20th century – Bartok, (Four Observations – from an Infinite Rapport, 1995), Lutoslawski (Out of this World, 1994) and Sibelius (Voyage into the Broken Screen, 1995).

In the “Four Observations” – the homage is to Bartok, on the occasion of the 50th anniversary of his death 1995. Hungarian Radio asked me to write a piece in his honour, but apart from the very last unison string figure, which is – I think – very Bartokian, the work in no way intends to evoke, even less to imitate, the musical style of the great Hungarian master. This would be an act of impudence against a composer who was such an exceptionally integrated personality, and who has himself shown (in “Mikrokosmos”) the worthy way to pay a personal tribute to highly respected colleagues: In “Homage á J.S.B.” and “Homage à R. Schumann” Bartok composes in his own manner but lets the music reflect some qualities of the said composers, as perceived in Bartok´s mind.

In a similar way my ´Observations from an Infinite Rapport´ (ca. 6-7 minutes) reflects as well the timeless proportions of the ´golden section´ – which seem to have inspired Bartok so much, – in his great respect for perceptive and structural patterns.

Per Nørgård (1995)