Located in the UK
Located in the USA
Located in Europe
- Per Nørgård
Gennem Spejlet (I) (1992)
(Through the Looking Glass (I))- Edition Wilhelm Hansen Copenhagen (World)
Identity problems (1995/2003), the ensemble work " It´s all his fancy that"(1992/1995) and "Through the looking glass - I" for trumpet/piano(1992)are all inspired by Lewis Caroll´s stories about Alice.
The enlarged version for trumpet, trombone, piano ("It´s all his fancy that”, 1995) was rev. in 2003.
Unavailable for performance.
Programme Note
THROUGH THE LOOKING GLASS (I)
Two fantasy pieces and one reflection, for trumpet and piano.
The three movements were inspired by characters and situations from the second of Lewis Carroll’s books about the adventures of Alice (Through the looking glass, 1872), where the main character experiences the world in very strange, disturbed perspectives - for instance in a croquet play, where the ball is a hedgehog and the mallet is a flamenco (which makes the game rather unpredictable…).
The reason for calling the pieces “through the looking glass” is due to my interest in two different musical universes, each being a mirror for the other: the one is ´making music´ on the white keys, the other on the black keys! Now the melodies of the white keys are in focus, now the melodies of the black keys. They are in focus almost simultaneously, changing and interlocking: when a white melody is in focus the black patterns are accompanying, and vice versa. And so the “The Red Queen” (first movement) and the “White Queen” (second movement) corresponds to the black and the white keys. The third movement – “Reflection” – could be seen as the mirror itself, with its strange being-between-two-worlds.
An enlarged version for trumpet, trombone, piano (“It´s all his fancy that”) was made in 1996/rev. 2003.
Per Nørgård (1992)
Two fantasy pieces and one reflection, for trumpet and piano.
The three movements were inspired by characters and situations from the second of Lewis Carroll’s books about the adventures of Alice (Through the looking glass, 1872), where the main character experiences the world in very strange, disturbed perspectives - for instance in a croquet play, where the ball is a hedgehog and the mallet is a flamenco (which makes the game rather unpredictable…).
The reason for calling the pieces “through the looking glass” is due to my interest in two different musical universes, each being a mirror for the other: the one is ´making music´ on the white keys, the other on the black keys! Now the melodies of the white keys are in focus, now the melodies of the black keys. They are in focus almost simultaneously, changing and interlocking: when a white melody is in focus the black patterns are accompanying, and vice versa. And so the “The Red Queen” (first movement) and the “White Queen” (second movement) corresponds to the black and the white keys. The third movement – “Reflection” – could be seen as the mirror itself, with its strange being-between-two-worlds.
An enlarged version for trumpet, trombone, piano (“It´s all his fancy that”) was made in 1996/rev. 2003.
Per Nørgård (1992)