UT ROSA (2000-01)

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For 8-stemmigt blandet kor (SSAATTBB).

Variationer over korsangen ”Flos ut rosa floruit” (Nr. 144) – i 4 satser.

1. Flos ut rosa floruit

2. Qui divina gratia

3. Cantemus hymnum gloriae

4. Qui natus est de virgine

Tekst: anon. middelalderlige Mariahymnetekster.

Tilegnet Ivan Hansen.

Varighed: 12´

Værknummer: 337


VÆRKNOTE: UT ROSA (2001) – for 8-stemmigt blandet kor.

1. Flos ut rosa floruit

2. Qui divina gratia

3. Cantemus hymnum gloriae

4. Qui natus est de virgine

Maria-begrebet har en dybde der går ud over alle trosretninger. Over hele jorden kendes symboler for den milde og det moderlige. Men ordet Maria forbindes lydligt med det latinske ord for havet, mare – og bliver derved til havets stjerne, Maris stella.

I min 3. symfoni (1972-75) findes Maria-motivet i en hymne i symfoniens anden del. En af disse melodier blev til en selvstændig korsang – Flos ut rosa floruit – og dannede siden grundlag for en række større vokal- og korværker.

I 1975 skrev jeg således ensembleværket Nova Genitura for sopran og barokinstrumenter (og kor ad lib.). Heri indgik en enkel Maria-vise til en anonym middelaldertekst. Lidet anede jeg da, at jeg siden ofte skulle vende tilbage til denne musik – endda helt ind i det nye årtusinde. Allerede senere i 1975 indgik melodien i et 22 minutter langt værk for tenor (eller sopran) og lut (eller harpe), Fons Laetitiae (Glædens Brønd), og i 1977 blev melodien et af to hovedtemaer i orkesterværket Twilight. Siden lod komponisten Hans Gefors sin opera “Parken” slutte med inddragelse af melodien i en paradisisk quodlibet.

At der stadig var mere i disse toner mærkede jeg i sommeren år 2000. Lige så fascineret som for 25 år siden bevægede jeg mig nu, i “Ut Rosa”, videre ind i den ´musikalske have´, der bl.a. lod melodien udspringe af hver tredje tone i den diatoniske uendelighedsrække (og disses kvinter og tertser). Her opdagede jeg en hel buket af nye flerstemmigheder, indbyrdes proportioneret efter ´det gyldne snit´. Og senere, i 2003, blev melodien strukturel basis for min 20 minutter lange ”Harpekoncert nr. 2 – Gennem torne…”. Den anonyme middelalderhymne-teksts fire vers er i “Ut Rosa” udformet som fire selvstændige korsatser, pauseløst forbundne i det ca. 11 minutter lange værk. Den originale korsang “Flos ut rosa floruit” (1991-versionen) danner åbningsverset, det naturlige udgangspunkt for de nye melodiske og kontrapunktiske udfoldelser i de efterfølgende tre satser. ”Ut Rosa” er komponeret på opfordring af Ivan Hansen, hvem værket er tilegnet.

Per Nørgård

PROGRAMME NOTE: UT ROSA – for eight part mixed choir (SSAATTBB) – (2001).

1. Flos ut rosa floruit

2. Qui divina gratia

3. Cantemus hymnum gloriae

4. Qui natus est de virgineThe concept of Mary has a depth that transcends all religious persuasions. All over the earth symbols of the gentle and maternal are known. But the word ´Maria´ is also associated – in sound – with the Latin word for the sea, mare, and she thus becomes the Star of the Sea, Maris Stella.In my Third Symphony the Maria motif is used in a hymn in the second, and last, part of the work. Flos ut rosa floruit was composed directly in the context of the symphony, and the melody had a ´stamina´ that carried it over into many later compositionsIn 1975 I wrote the ensemble work Nova Genitura for soprano and – primarily – Baroque instruments (and choir ad lib). This included a simple Marian hymn with an anonymous medieval text. Little did I know then that I would later often return to this music – even all the way into the new millennium. Later that year the melody was already used in a 22-minute work for tenor (or soprano) and lute (or harp), Fons Laetitiae (The Fount of Joy). And in 1977 the melody became one of the two main subjects in the orchestral work Twilight. Later the composer Hans Gefors finished his opera “The Park” with a version of the melody in a paradisiacal quodlibet. I felt that there was more to be found in this music in the summer of 2000. Just as fascinated as I was 25 years ago, in “Ut Rosa” I moved further into the ´musical garden´, which among other things had the melody generated by every third note in the diatonic infinity series (and their fifths and thirds). Here I discovered a whole new bouquet of polyphonies, relatively proportioned in accordance with ´the Golden Section´. And later again, in 2003, the melody became the structural basis for my 20-minute “Harp Concerto no. 2 Through Thorns”. The four verses of the anonymous medieval hymn are formed in Ut Rosa as four independent choral pieces, combined without breaks in the c. 11-minute six-part work. The choral piece “Flos ut rosa floruit” (1991-version) forms the opening verse, the natural point of departure for the new melodic and contrapuntal developments in the subsequent three movements. Ut Rosa was composed at the request of Ivan Hansen, to whom the work is dedicated. Per Nørgård