INTONATION (2002)

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For euro-/balinesisk slagtøjsensemble

(16 percussionister).

Kan opføres sammem med slagtøjsværkerne GROUND (nr. 211b) og GENHING (nr. 176) – i følgende rækkefølge: INTONATION, GENDHING, GROUND.

Komponeret til Percurama Percussion Ensemble.

Varighed: 5’

Værknummer: 342


VÆRKNOTE: INTONATION (2992) For euro-/balinesisk slagtøjsensemble (16 percussionister).

Intonation (2002) – er et tætvævet, kromatisk værk med et ofte eksplosivt udtryk. Det tætvævede er især præget af komponistens interesse for nyopdagede, ´forskudte´ relationer i de særlige uendelighedsrækker, der lå til grund for bl.a. Symfoni nr. 3 (1975) og operaen ”Siddharta” (1979/1984).

Per Nørgård (2002)

Bemærk: Mulig værknote til slagtøjs-suite bestående af:

Intonation (2002) – Gendhing (1980) – Ground (1982) – for slagtøjsensemble.

Gamelanmusik fra Java og Bali har inspireret moderne komponister fra Debussy til bl.a. Nørgård, der opdagede gamelan-orkestrenes virtuose rytmiske samspil og vibrerende samklange ved rejser til Bali siden 1975 – og siden sendte begejstringen videre til bl.a. danske slagtøjsmusikere.

Nørgårds inspiration fra Bali drejer sig ikke om specifikke balinesiske melodier, rytmer o.lign. men om slægtskab indenfor bl.a. lynhurtigt vekselspil (interlocking) og vibrerende interferensklange som havde optaget Nørgård siden 1960erne. Bali-inspirationen udmøntede sig også i en ny form for quasi-improviseret ensemblemusik, kaldet ”uendeligheds-rytmer” (bl.a. i værker som En Lys Time, Små Slag, For a change, Echo Zone I-I-III, Nemo Dynamo m.fl.). Komponistens specialindkøbte, gamelan-instrumenter kom desuden til at indgå i værker som operaen Det Guddommelige Tivoli (1982) og i disse værker for percussion ensemble: Intonation (2002) – Gendhing (1980) – Ground (1982), der – i denne rækkefølge – kan danne en suite for øst-vestligt slagtøjsensemble. Om de enkelte stykker skriver komponisten:

“Intonation” (2002) – er et tætvævet, kromatisk værk med et ofte eksplosivt udtryk. Det tætvævede er især præget af komponistens fornyede interesse for nyopdagede, ´forskudte´ relationer i de særlige uendelighedsrækker, der lå til grund for fx Symfoni nr. 3 (1975) og operaen ”Siddharta”.

“Gendhing” (1980) – er baseret på en langsom, rolig javansk gamelan melodi, brugt som udgangspunkt for en række variationer.

“Ground” (1982) – oprindelig en korsang med titlen ”Solen er rund” (fra kor/orkesterværket ”Slå dørene op!”, til tekster af Inger Christensen, 1982), baseret på den balinesiske ”pelog”-skala i mange samtidige lag, akkompagneret af ”uendelighedsrytmer” i forskellige tempi.

PROGRAMME NOTE: INTONATION (2002) For Euro-/Balinese percussion ensemble (16 percussionists).

Intonation is a dense polyphonic, chromatic piece with an often-explosive expression. The network of the melodic patterns are due to the composers interest in the new found ´hidden patterns´ in the so called infinity series, dominant for instance in “Symphony no. 3”, 1975 and the opera “Siddharta”, 1979.

The piece was written with inspiration from several visits, since 1975, to Bali – for a West/East percussion ensemble of Balinese gamelan instruments (gangsas, reong, kempli, chingching, gongs) and vibraphone, marimba and different drums.

Per Nørgård

Possible programme note for a percussion suite consisting of:

Intonation (2002) – Gendhing (1980) – Ground (1982).

The Gamelan music of Jawa and Bali has inspired modern composers from Debussy to, among others, Per Nørgård, who experienced the virtuoso ensemble playing and the vibrating sounds of gamelan orchestras in Bali, visiting the island for the first time in 1975.

The inspiration was not about certain melodies, rhythms etc. but of a structural nature within the experiments with polyphony, interlocking and interference that Nørgård had work with since the 1960s. The Bali inspiration also resulted in a new kind of Nørgardian ensemble music for percussion, called “infinity rhythms” (in A Light Hour, Easy Beats, I Ching, Echo Zone I-I-III, Nemo Dynamo a.o.). Nørgård´s specially tuned gamelan instruments were used in his opera "The Divine Circus" and in these works for percussion ensemble: Intonation (2002) – Gendhing (1980) – Ground (1982), three pieces that – in this order – might form a “suite – for an east/west percussion ensemble”: The composer writes about the pieces:

“Intonation” (2002) – is a dense polyphonic, chromatic piece with an often explosive expression. The network of the melodic patterns is due to the composer’s interest in the new found ´hidden patterns´ in his so-called infinity series (dominant for instance in his “Symphony no. 3”, 1975 and the opera “Siddharta”, 1979).

The piece was written with inspiration from several visits, since 1975, to Bali – for a West/East percussion ensemble of Balinese gamelan instruments (gangsas, reong, kempli, chingching, gongs) and vibraphone, marimba and drums.

“Gendhing” (1980) – is based upon a slow and calm Jawanese theme, used as a point of departure for a series of variations.

“Ground” (1982) – was originally a choral song with the title”Solen er rund” (The Sun is round”, to a poem by the Danish Inger Christensen, 1982). The tune is based on the Balinese “pelog”-scale in a multi layered version, accompanied by infinity rhythm in different tempi.

Per Nørgård