SONATE NR. 1 FOR CELLO SOLO (1951 (rev. 1953))

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3 satser, for cello solo.

I. Lento ma espensivo

II. Tranquillo

III. Allegro con brio

Tilegnet Hans Henriksen

Varighed: 18´

Værknummer: 18


VÆRKNOTE: SONATE NR. 1 FOR CELLO SOLO (1951/1953). 3 satser, for cello solo.

Klangspektret og gestikulationen hos strygerne, kort sagt selve strygerinstrumentets natur, har altid haft en stor og central plads i mine kompositioner, hvilket kan ses af værklistens mange strygekvartetter, koncerter med stryger-solist, samt kammer og soloværker. Interessen går tilbage til min skoletid, hvor jeg var så heldig at have en cellospillende skolekammerat, Hans Henriksen, som jeg kunne akkompagnere på klaver. Jeg opdagede her de utallige gaver af mangfoldige spillemåder og klangnuancer som strygerinstrumenter kan give – med blot en bue, fire strenge og fem fingre…

Enhedsbestræbelsen forbundet med konstant variation (læs: nuancering, fluktuation, dobbelttydighed) har præget min komposition fra starten. I den tidlige cello-solosonate i tre satser er kompositionsmåden ´fortsat forandring´ via betoningsskift (forudgribende senere værker som fx “Solo in scéna”, 1980), mens enhedspræget er baggrund for de tre satsers indledende temaer.

Første sats når – via voldsom ekspansion, til sidst frem til et nyt tema. Dette indleder andensatsen, der så igen ´føder´ et tema til sidst, som derpå bliver trediesatsens hovedmotiv. I begge tilfælde af temaovertagelse ændres imidlertid det udtryksmæssige markant: identitet forbundet med variation synes for min musik at være et livslangt motiv.

Sonaten er tilegnet Hans Henriksen.

Per Nørgård (1995)

Note: Værknotens indledning (”Strengeinstrumenternes”…”fem fingre”.) kan medtages efter behag.

PROGRAMME NOTE: SONATE NO. 1 FOR CELLO SOLO (1951/1953).

The spectrum of sound, the gesticulation – in short, the very nature of the strings – has always had a central place in my output, demonstrated by the numbers of string quartets, concertos with string soloist, chamber and solo works. The interest dates back to my school years, when I was fortunate to be able to compose for a cello-playing schoolmate, Hans Henriksen, and to accompany him on the piano. I discovered then the innumerable nuances of sound and playing varieties offered by just one bow, four strings and five fingers…

Unity combined with constant variation (read: nuances, fluctuation, ambiguity) has influenced my composition from the start. In this early sonata for cello solo in three movements the compositional plan was ´continued change´ through emphasis shifts and change of accents (anticipating later works such as "Solo in Scena", 1980), while the unity is characterized by the relations between the first theme of each movement. First movement finally – through vigorous expansion – transforms into a new theme. This opens the second movement, which in turn turns into a new theme at the end, which then becomes the main motive of the third and last movement. In both cases of theme transformation, however, the expressions are radically changed: identity associated with variation appears for my music to be a lifelong motif.

The sonata is dedicated to Hans Henriksen.

Per Nørgård (1995)

Note: the beginning of the programme note (from “The spectrum…” to “ …five fingers...” to be used or not used (ad libitum).