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- Per Nørgård
Le jeune homme a marier (Den unge mand skal giftes) - Suite (1965)
(jeune homme a marier - Suite)- Edition Wilhelm Hansen Copenhagen (World)
Programme Note
PER NØRGÅRD: LE JEUNNE HOMME A MARIER - Suite (1965)
Nørgård composed the music for this tv-ballet (EBU transmission in April 1965), based on an idea by Eugene Ionesco, choreographed by Flemming Flindt.
The ballet tells the story of a young man and his parents wish to get him married and to follow the conventional norms (education, family, job, house..). But he is a rebel. The family tries to inveigle him – by a three headed girl. This is too interesting for the young man…
The music is a combination of a unique, absolute music expressing the psychological phases of the young man and a series of associative quotations and collage, showing the interrupting world around him.
Nørgård says about the music (in an interview, 1965):
“In the music for the ballet I often use - besides quotations, stylistic associations and collages – music based on my “infinity series”, also used for instance in my opera “The Labyrinth” and the works “Fragment I-VII”. The reason is that the psychological developments and changes in the young man can be expressed in these infinity series of tone patterns, yet kept together by a structural unity. The quotations and collages disturb this music – the attacks of his surroundings.
Or sometimes: attempts to integration of the two different worlds. That’s is what fascinates me – to work with a wider spectrum in both expression and music.”
Per Nørgård (1965)
Nørgård composed the music for this tv-ballet (EBU transmission in April 1965), based on an idea by Eugene Ionesco, choreographed by Flemming Flindt.
The ballet tells the story of a young man and his parents wish to get him married and to follow the conventional norms (education, family, job, house..). But he is a rebel. The family tries to inveigle him – by a three headed girl. This is too interesting for the young man…
The music is a combination of a unique, absolute music expressing the psychological phases of the young man and a series of associative quotations and collage, showing the interrupting world around him.
Nørgård says about the music (in an interview, 1965):
“In the music for the ballet I often use - besides quotations, stylistic associations and collages – music based on my “infinity series”, also used for instance in my opera “The Labyrinth” and the works “Fragment I-VII”. The reason is that the psychological developments and changes in the young man can be expressed in these infinity series of tone patterns, yet kept together by a structural unity. The quotations and collages disturb this music – the attacks of his surroundings.
Or sometimes: attempts to integration of the two different worlds. That’s is what fascinates me – to work with a wider spectrum in both expression and music.”
Per Nørgård (1965)