DEN FORTRYLLEDE SKOV (1968)

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Elektronisk musik (på lydbånd).

Se også Nr. 112 (værket anvendt i film)

Varighed: 12´

Værknummer: 104


VÆRKNOTE: DEN FORTRYLLEDE SKOV (THE ENCHANTED FOREST) (1968) – elektronisk musik.

Bedømt ud fra i hvert fald én synsvinkel kan en gennemgående besættelse i min produktion nok karakteriseres som ”interferens”. Dette fænomen er især kendt fra akustiken, hvor det udtrykker sig fx i to på hinanden meget tæt klingende toner, hvis differens (forskellen på svingningstallene) frembringer ´noget tredie´; dette tredie kan være en puls (således som enhver kan efterprøve på et klaver, hvor fx to dybe strenge sjældent stemmer helt, indbyrdes, og en samlet anslag derfor bevirker en rytmisk-periodisk ´bølgen´) eller det kan tilmed være en ´tone´ – der altså ikke eksisterer, fysisk udgående fra de to klangkilder, men opstår, subjektivt, hos hver tilhører uafhængigt.

Nu kan det forekomme påfaldende, til det absurde, at et trivielt fysisk fænomen kan blive en "gennemgående besættelse" i en komponist-produktion! Men her må man betænke et af mig højt værdsat citat, af den engelske biolog L.L.Whyte, som lyder således: ”What is most obvious may be most worth of analysis. Fertile vistas may open out, when commonplace facts are examined from a fresh point of view”. Dette er en sandhed, som jeg har erkendt på mange områder. Og hvad interferens-fænomenet angår er dette udsagn for mig af en næsten ´løsenagtig´ dybde, men kan også anvendes på fx trivial-melodik, – harmonik osv. Hvad netop den fysiske interferens angår (´svævninger´, ´beats´ etc.) har jeg i værket ”Den Fortryllede Skov” fra 1968 forsøgt på den enklest tænkelige måde at frembringe oplevelsen af de "subjektive toner" ved at, elektrofonisk, kombinere to harmoniske spektre på hver 8 deltoner (oktav, kvint, terts etc.) med en indbyrdes minimal forskydning i tempo og tonehøjde. Da hver af de 2 gange 8 deltoner dertil følger sine egne tempi, opstår der et konstant forskudt klangfelt, hvis interferenser enten ´bølger´ mangfoldigt rytmisk, eller direkte skaber ´tone´-udtryk i hver tilhørers hoved (som en art "organisk stereofoni"). Disse subjektive toners tilblivelse kan følges individuelt, som ved den vegeterende, meditative oplevelse af vandets bølgemønstre og af de hvide bølgekammes opståen og forsvinden. ”Meditation” er nok nøgleord til en positiv lytterattitude overfor dette, kompositorisk set, næsten fornærmende enkle værk, hvis titel modsvarer det statiske og dog skiftende billede...

Disse ideer om tempo- og tonehøjde-interferenser lå også bag mit orkesterværk ”Voyage into the Golden Screen” (Rejse ind i den gyldne skærm), også fra 1968.

Per Nørgård (1968)

PROGRAMME NOTE: THE ENCHANTED FOREST (1968) – electronic music

Programme note – short version:

"The Enchanted Forest" is an early example of my occupation with the phenomenon of auditive perception. On the surface: a simplicistic, contemplative collection of two columns of overtones – all at different speed. Under the surface: a wealth of differentials (that is: purely subjective) tones, interwoven between each other.

This is not a "composition", but a study in the inner world of hearing, and the listeners result is dependent on his concentration on the subtle effects.The title alludes to my personal perception of the work. A forest, or an ideal enchanted garden, where everything is in motion and yet solidifies within an intemporal harmony in the form of static existence.It was the tempo- and pitch-interferential idea from "The Enchanted Forest which lay behind the first movement of my work for chamber orchestra "Voyage into the Golden Screen", also from 1968. Per Nørgård (1984)

Programme note – longer version:

The electronic piece "The Enchanted Forest" was composed during 1968-69 in cooperation with the electronic studio of Jørgen Plaetner and the Danish Radio. The work arose from my fascination with combined sounds (sounds of interference and difference), or even more from the transformation of sonorous waves by the human ear – the perception.I consider the "creating" influence of the ear upon the sonorous waves particularly fascinating; the phenomenon of combined sounds, that is to say, a subjective sound which, as everybody knows, is the consequence resulting from the simultaneous effect of two sonorous sounds upon the auditory nerve.A theoretical description of the piece will doubtlessly be the best means of clarifying the background of this. A magnetic tape with two tracks simultaneously plays a sonorous spectrum of 200, 300, 400, 500, 600, 700, 800 and 900 hertz, and am-spectrum of 196, 234, 392, 490, 588, 686, 748 and 882 hertz. These spectra (harmonious) sound like soft Aeolian harps if they are played separately and at low sound-intensity. Contrary to this, the ear “produces” a sound of 100, more exactly 98 hertz, at strong intensity. These sound are perceived in a particularly intensive way (having an agreeable or disagreeable effect according to the taste, the physical specifics, or the temper of each listener), almost as if produced within the head itself – which actually is the case! One can object to this that sounds are produced within the head; the sounds of difference however, show some very particular specifics, that is, they resound as if within themselves, which cannot be said of “normal” sounds.

It was the tempo- and pitch-interferential idea from "The Enchanted Forest” which lay behind the first movement of my work for chamber orchestra "Voyage into the Golden Screen", also from 1968.The title "The Enchanted Forest” alludes to my personal perception of the work. A forest, or an ideal enchanted garden, where everything is in motion and yet solidifies within an intemporal harmony in the form of static existence..Per Nørgård (1969)