Located in the UK
Located in the USA
Located in Europe
- Per Nørgård
Sonata for cello solo nr. 2: Sonata in due tempi (1980)
(Sonata for cello solo no. 2: Sonata in due tempi)- Edition Wilhelm Hansen Copenhagen (World)
The second of Nørgårds four sonatas for cello solo, consisting of Solo intimo (1953) and Solo in Scena (1980)
Programme Note
Per Nørgård
SONATA FOR CELLO SOLO NO. 2
Sonata in due tempi
I:SOLO INTIMO, 1953
II:SOLO IN SCÉNA, 1980
for cello solo
Preface / Programme Note
In taking into account the number of years between their composition, it will be appreciated that the two movements in the sonata are each separate works.
The bringing together of the two workS should be seen as an irresistable case of ”opposites attract” rather than an effort of cyclic wholeness. The two titles are also ”opposites”, intimo and in scéna representing respectively the recurring phenomenon of being ”off stage” and ”on stage”, the two sides of the coin, yin/yang etc.
SOLO INTIMO is one long, slowly and quietly developing arc, and the melodic material is of a Nordic, perhaps even Sibelian, calm. In contrast, SOLO IN SCÉNA unfolds in a constantly changing restlessness, and the rhythms defy any constant metric equilibrium. IN SCÉNA may be perceived, rhythmically, in either two- or three beat patterns, depending on the focus of the listener himself.
The soloist is, however, in no doubt about the rhythmic patterns and will try to make them as clear and audible as possible – but he will also be aware of the constant ambiguity; this will be yet another juxtaposition of the ”on” and ”off” stage situation.
Per Nørgård, 1984
SONATA FOR CELLO SOLO NO. 2
Sonata in due tempi
I:SOLO INTIMO, 1953
II:SOLO IN SCÉNA, 1980
for cello solo
Preface / Programme Note
In taking into account the number of years between their composition, it will be appreciated that the two movements in the sonata are each separate works.
The bringing together of the two workS should be seen as an irresistable case of ”opposites attract” rather than an effort of cyclic wholeness. The two titles are also ”opposites”, intimo and in scéna representing respectively the recurring phenomenon of being ”off stage” and ”on stage”, the two sides of the coin, yin/yang etc.
SOLO INTIMO is one long, slowly and quietly developing arc, and the melodic material is of a Nordic, perhaps even Sibelian, calm. In contrast, SOLO IN SCÉNA unfolds in a constantly changing restlessness, and the rhythms defy any constant metric equilibrium. IN SCÉNA may be perceived, rhythmically, in either two- or three beat patterns, depending on the focus of the listener himself.
The soloist is, however, in no doubt about the rhythmic patterns and will try to make them as clear and audible as possible – but he will also be aware of the constant ambiguity; this will be yet another juxtaposition of the ”on” and ”off” stage situation.
Per Nørgård, 1984