Per Nørgård Lygtemænd I Byen Will-O’-The-Wisps in Town Eventyrkantate Fairy Tale Cantata Tekst/Words By: H.C

Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 1

PER NØRGÅRD LYGTEMÆND I BYEN WILL-O’-THE-WISPS IN TOWN EVENTYRKANTATE FAIRY TALE CANTATA TEKST/WORDS BY: H.C. ANDERSEN & SUZANNE BRØGGER OUT OF THE CRADLE ENDLESSY ROCKING WAVE MUSIC HELENE GJERRIS: MEZZO-SOPRANO ATHELAS SINFONIETTA COPENHAGEN DVD LYGTEMÆND I BYEN – EN REJSE I EVENTYR OG TONEKUNST WILL-O’-THE WISPS IN TOWN – A JOURNEY IN FAIRY TALES AND MUSIC Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 2

Per Nørgård (f. |b. 1932):

Tekster |Words by : Hans Christian Andersen & Suzanne Brøgger

1 Forspil Eventyrene, der slap op 4:57 Prelude The Fairy Tales that Came to an End

2 Fortælling Manden, som engang vidste eventyr 1:43 Narrative The Man Who Used to Know Fairy Tales

3 Fortælling med underlægningsmusik Skovpastorale 1:44 Narrative with background music Woodland Pastorale

4 Arie Hvor blev eventyret af? 2:22 Aria Whatever Happened to the Fairy Tale?

5 Fortælling Eventyrjagt 2:21 Narrative Fairy Tale Hunt

6 Arie Solnedgang og dampende enge 1:30 Aria Sunset and Ground Mists Rising

7 Fortælling Det var ud på aftenen 4:12 Narrative It Was Late in the Evening

8 Arie og fortælling med råbekor En dyster invitation 3:34 Aria and Narrative with shouting choir An Ominous Invitation Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 3

9 Fortælling Dét forstår jeg ikke et ord af 1:36 Narrative I Don’t Understand a Word of All This!

10 Sang og spil Tolv små lygtemænd 1:12 Singing and playing Twelve Little Will-o’-the-Wisps

11 Fortælling og råbekor Nu er det en gammel, medfødt lov 2:12 Narrative and shouting choir It Is an Ancient Birthright and Favour

12 Arie med voldsomt efterspil 365 men’sker på et år 1:28 Aria with a violent postlude 365 Humans in a Year

13 Talekor med morale De kunne slet ikke ... 0:48 Talking choir with a moral They could not ...

14 Arietta (Finale 1) Rapport fra Eventyrland 1:52 Arietta (Finale 1) Report from a Fairy Tale Land

15 Apoteose-arie (Epilog, Finale 2) Er der noget der ringer? 1:50 Apotheosis-aria (Epilogue, Finale 2) Is there a sound ringing?

OUT OF THE CRADLE ENDLESSLY ROCKING Wave Music (2007-2008) for klarinet |clarinet , violin, cello & klaver |piano

16 Poco allegro (“Wie ein mächtiger Walzer”) 6:52 [“Som en prægtig vals”/“Like a great waltz”]

17 Vivo 3:53

18 Soffiato, marcato 4:33 Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 4

Helene Gjerris mezzosopran |mezzo-soprano

Athelas Sinfonietta Copenhagen: Anna Klett klarinet |clarinet Karl Husum trompet |trumpet Jesper Juul Wiindahl basun |trombone Kirstine Futtrup violin (Lygtemænd i byen) Ida Lorenzen violin (Out of the Cradle Endlessy Rocking) Toke Møldrup cello Anne Marie Fjord Abildskov klaver |piano

Recorded at the Royal Danish Academy of Music on 30 March-2 April (Will-o’-the-Wisps in Town) and 26-27 November 2009 (Out of the Cradle Endlessly Rocking).

Previously released in 2010 by TV-Glad

Dramatic consultant: Jan Maagaard Recording producer: Preben Iwan Executive producer: Peter Tulinius Krarup Artistic director and general manager, Athelas Sinfonietta: Anders Beyer Illustrationer: Daniel Poulsen, Glad Design Graphic design: Glad Design Libretto translation: Svend Ravnkilde Booklet editor and translator : Rune Kühl

This release was made possible with generous support from the Danish Composers' Society/ KODA's Fund for Social and Cultural Purposes, and the Beckett Foundation. www.athelas.dk www.tv-glad.dk www.dacapo-records.dk & c 2012 Dacapo Records, Copenhagen

# 8.226085

ALL RIGHTS OF THE PRODUCER AND OF THE OWNER OF THE WORKS REPRODUCED RESERVED. UNAUTHORIZED COPYING, HIRING, LENDING, PUBLIC PERFORMANCE AND BROADCASTING OF THIS RECORDING PROHIBITED. Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 5

DVD LYGTEMÆND I BYEN – en rejse i eventyr og tonekunst WILL-O’-THE-WISPS IN TOWN – a journey in fairy tales and music

Per Nørgård og Suzanne Brøgger

Helene Gjerris mezzosopran |mezzo-soprano

Athelas Sinfonietta Copenhagen: Mathias Gunnarsson trompet |trumpet Andras Olsen basun |trombone Tino Fjeldli violin Hege Waldeland cello Anne Marie Fjord Abildskov klaver |piano

Dramatic consultant: Jan Maagaard Production co-ordinator: Catja C. Gabel Producer: Peter Tulinius Krarup Artistic director: Anders Beyer

TV –GLAD Reporters: Daniel Henriksen & Majbritt Holm Camera: Rasmus Prüter, Sven Pors, Mogens Svane Sound and mastering: Sven Pors Producer and editor: Mogens Svane A co-produktion with Athelas Sinfonietta Copenhagen Glad Production 2008 Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 6

LYGTEMÆND I BYEN NOTER AF PER NØRGÅRD I anledning af 200-året for H.C. Andersens fødsel HANDLINGSREFERAT AF PER NØRGÅRD bestilte musikforlaget Samfundet til Udgivelse af Den fra dansk almuetro bekendte (og berygtede) Dansk Musik et værk efter et frit valgt eventyr hos Mosekone står pludselig foran den eventyr-tør - ti danske komponister, hvoriblandt undertegnede. stende digter, og ud over at vise ham forskellige Jeg valgte eventyret "Lygtemændene ere i Byen, remedier (flasker og lignende) til at producere sagde Mosekonen" – resultatet blev en eventyrkan - eventyr og poesi med, advarer hun ham og byens tate , som er skrevet for mezzosopran, skuespiller, mennesker om den store trussel: Lygtemændene blandet kor, børnekor, ungdomstrommegruppe og (i hvert fald tolv af dem) vil opholde sig i byen et orkester. helt år og hver for sig forsøge at forføre 365 men - Med deres kunstneriske leder, Anders Beyer, nesker, forsøge ved deres blålys at føre dem ned i som initiativtager bestilte Athelas-ensemblet en moralske mosehuller ("Og det er langt at falde, version for blot én sanger (Helene Gjerris, som når bunden aldrig nås, fordi den ikke er der.") ved uropførelsen af den store version i Birming - H.C. Andersens tekst slutter med Mosekonens ham, England, den 2. april 2005 – som bekendt Andersens fødselsdag) samt fem musikere, som advarsel, men Suzanne Brøgger tager gas på lyg - jeg valgte frit: trompet, trombone, violin, cello og temændene ved at lade dem forsøge sig med klaver. Denne begrænsning medførte naturligvis, deres skarnsstreger i vor egen tid – og her står at der ikke kunne være tale om et blot og bart ar - det allerede så slemt til, at lygtemændenes tricks rangement, men derimod en delvis nytænkt helhed. falder helt til jorden. Således betød fraværet af det store orkestrale ud - Mosekonen hævner sig dog på sine underjordi - træk (herunder slagtøj og sirene), at jeg i stedet ske fællers vegne ved for en 'ironisk' programouverture ("1864-ouver - at fastslå, at det er ture"), der antydede den danske natur- og natio - gået lige så skidt for nalfølelses forfald til overmod og national de berømte eventyr - katastrofe, i den kammermusikalske version egent - skikkelser – ikke en lig lige så programmatisk forsøgte at udtrykke gang den grimme æl - fantasiens forfald og sluttelige forstening – dette ling kan se frem til er jo 'den indre side' af eventyrets første ord, dem nogen happy ending! om manden, der engang kunne så mange eventyr … "men nu var de sluppet op for ham". Fraværet af voksen- og børnekor betød ikke, at

HANS CHRISTIAN ANDERSEN jeg måtte udelade alle satser/scener, hvor de el - Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 7

lers medvirker, for i stedet har jeg omskabt nogle sekonen indvilliger i at hjælpe den nødstedte af disse numre i den store version til arier. Derved digter med eventyrtilbud ("på flasker"), men hun er solistens rolle blevet betydeligt mere krævende. afbryder brat sin hyldest til mosekonebryg og ret - Hvor hun i den store version forblev Mosekone (på ter i stedet for en advarsel til manden og bybo - bare fødder, efter Helenes egen idé – selvfølgelig erne: Lygtemændene er i byen og vil fordreje folks som den er, ved nærmere eftertanke), så skal hun hoveder i et helt år! "Så" – slutter hun sin drama - nu ikke blot synge arier desforuden, men er også tiske afsløring – "tag jer i agt, mennesker! Lygte - tildelt fortællerens og tilmed digterens (H.C.A. mændene er i byen." selv!) rolle/roller, som bruger H. C. Andersens Her slutter også Andersens historie – nogen egne ord. Som før veksler altså Suzanne Brøggers vil sige: just da den skal til at begynde! Sådan viltre Mosekonetekst med H.C. Andersens, men i tænkte i hvert fald jeg som komponist: historien kammerkantaten kommer de fra samme mund, er en eventyrlig torso. Men en fortsættelse er på - mezzoens! krævet ved en musikalsk fremstilling: hvad laver Et par korsatser er dog blevet skåret til (ned!), lygtemændene egentlig i byen? – og hvordan rea - idet den store "Så er de her"-kulmination er er - gerer byfolket? – hvad skete der? stattet af en kortvarig instrumental kampscene. I Disse spørgsmål lod jeg gå videre til digteren visse tilfælde udtrykker musikerne sig også vokalt, Suzanne Brøgger, og hendes tekster udgør det i tale- eller råbekor og et sted med forsøg på Lyg - andet – og lige så eventyrlige – lag i værket. Hun temands-falsetkor. placerer nemlig de arme lygtemænd i vor tids me - Der er to eventyrlige lag i dette værk. Det før - tropol, året er 2005, og sammenlignet med om - ste lag er H.C. Andersens egne ord, som omhand - fanget af forførelse og forfald i den moderne ler en ejendommelig tildragelse: H.C. Andersen verden, er 1865-lygtemændenes fristelser for intet (for ham er det), møder en ægte eventyrfigur, at regne. De mislykkes altså bitterligt, mens tilhø - nemlig selveste Mosekonen! Det fremgår tydeligt rerne får indblik i vor tids moralske tilstand. at "manden" i historien er Andersen selv, og at tiden er omkring et år efter 1864, dét krigsår hvor INTERVIEW MED PER NØRGÅRD Dan mark på grund af styrets kortsynede nationali - Da jeg skulle møde Suzanne og bede hende om at stiske politik mistede en trediedel af riget til ty - løse opgaven, tænkte jeg på Marx Brothers, som skerne. Den begribelige nedstemthed i forud for en filmoptagelse altid fik et tyndt manu - befolkningen greb også Andersen, han savnede skript a la: "Rig amerikaner kommer til byen. I inspiration og kreative impulser. Nu – ved eventy - kommer og lokker på forskellige morsomme måder rets begyndelse – føler han for alvor savnet af sin pengene ud af ham !". Ja tak, på forskellige mor - eventyrskaben, og han vil opsøge eventyret. Mo - somme måder. Det var den opgave, jeg stillede til Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 8

Suzanne. Jeg sagde til hende: "Lygtemændene kommer til byen, og du viser, hvad de kan finde på for at føre folk bag lyset."

Suzanne blev engang bedt om at give et signale - ment at vores tid. Hun sagde, at vi lever i den vil - lede blindheds tidsalder. At vi er blinde i den forstand, at universet er stort, og vi ikke kan for - ventes at se det hele, er forståeligt og naturligt. Den villede blindhed består i, at vi fx ved at olie - reserverne slipper op, vi ved det godt, men vi lader, som om vi ikke kan se det. Dette signale - HANS CHRISTIAN ANDERSEN ILLUSTRATION PER MARQUARD OTZEN ment kunne stå som et motto for værket: Den vil - før selve kompositionsarbejdet gik i gang. Jeg be - lede blindheds tidsalder. Det er dog trøsterigt, at høver ikke at uddybe, at Suzanne selv er en heks, det er os selv der er 'villede blinde' og ikke ofre som graver ned i tabu-områder – jeg havde hende for trolddom, eftersom vi følgelig også selv kan i tankerne fra første færd i dette projekt! vælge en anden og bedre vej.

Suzanne præsenterede mig for 12 siders poesi. Jeg blev glad og overvældet, men opdagede, at der var ord, jeg slet ikke kunne tænke mig at have med i min musik. Jeg plukkede ud og bad om mere tekst visse steder, og jeg kunne slet ikke be - gynde at komponere, før jeg havde fundet de helt rigtige ord. Opgaven for mig var at være 'medkre - ativ' i forhold til Suzanne og samtidig bevare klar - heden i hendes tekst og store steder. Jeg kunne ikke udholde tanken om, at skrive en ledende te - matik som i "Peter og ulven", hvor musikken er underlagt en større fortælling. Nej, hos mig skulle tekst og musik være ligeværdige. Heldigvis havde jeg ikke grund til at bekymre mig om Suzannes re - aktion, for hun var med på en redaktionsproces Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 9

INTERVIEW MED SUZANNE BRØGGER hvor man er sårbar, og hvor det kan falde ud til Der er to skæringspunkter for H.C. Andersen: Ikke begge sider – men det er eventyrets natur, at det alene krigen i 1864, men også krisen i hans egen skal gå godt. Min opgave var derfor: Hvad er det livshistorie, hvor romantikken er rindet ud, og det onde, man kan finde på at skrive om idag? Man moderne gennembrud har fundet sted. Dette mo - kan også spørge, hvor eventyret kommer fra hos derne gennembrud kræver af ham, at han skal Andersen. Det er forbundet med den magi, der er i være moderne. Han prøver så i sine sidste år at de firkløvere, som Andersen skriver om, der vokser skrive ind i fremtiden. Derfor er det et meta-even - præcis på et sted, hvor en sommerfugl rammer en tyr, der handler om, hvordan man bærer sig ad gravsten. Det er altså lige mellem liv og død, at med at skrive et eventyr på de nye præmisser. Det magien fældes. var så den samme opgave, jeg fik: Kan historien føres ind i vores egen tid? Baggrunden for at lygtemændene skal ind og lave ulykker, grunden til at man er nødt til at introdu - Lygtemændene er på en måde gjort arbejdsløse cere ondskab eller destruktion, er jo, at den fla - hos mig. For alle de steder, jeg ville sende lygte - skepoesi eller discountpoesi, som gives os som mændene hen, var der allerede sket nogle sam - tilbud, ikke duer. Man er nødt til at gå ned i de menbrud, sådan at disse lygtemænd ikke havde sammenhænge, hvor det gør ondt. Jeg er gået ret meget at gøre – deres påfund ville virke så helt ind i sproget og har opløst eventyret indefra uskyldige og harmløse i forhold til, hvad moderni - ved at lave om på alle pointerne. teten har betydet. Teksten er dobbeltydig derved, at på trods af alt, hvad der er gået i opløsning, H.C. Andersen blev beskyldt for at skrive talesprog alt hvad der er forsvundet af traditioner af den i sin egen tid. Han skrev: "Solen synker og så livgivende slags (jeg taler ikke om fossile traditio - vid’re". Det passede slet ikke til den højstemte ner), så viser det sig alligevel, at man ikke kan slå poesi, man forlangte. Det er måske det eneste eventyret ihjel. sted, hvor jeg går H.C. Andersen i bedene, ved at prøve at skrive mundret. Jeg har forsøgt at reflektere over, hvad der er eventyrets natur. I pagt med Andersen har jeg Jeg synes faktisk, at der er adskillige ørehængere fundet ud af, at der skal introduceres et eller i det værk. Når man har hørt disse melodier andet 'ondt'. Der skal en destruktion ind, et mørke mange gange, bliver man ved med at synge dem eller noget, man er bange for. Eventyret skal finde indvendigt. Jeg kan godt lide, at der er så mange sted på overgangen ved åen, hvor der kan komme sangbare passager, der henvender sig til alle en trold op. Det skal finde sted i overgangsfaser, Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 10

aldre. Det var så overrumplende for mig, første gang Per Nørgård spillede hele værket for mig på klaver. Musikken bliver til i en anden tidsdimen - sion, hvor man kan udfolde en stemning eller en følelse. Et udsagn, som måske kan siges på to li - nier i en tekst, dét kan i musikken udfoldes og få så meget dybde og rummelighed og vare flere mi - nutter. Derfor bevæger man sig i musikken ind i en anden tidsdimension – og der har Per Nørgård hele tiden i eventyret evnet at skifte stemning i hver scene: En helt ny verden begynder i hver eneste scene.

Interview med Per Nørgård og Suzanne Brøgger ved Anders Beyer er citeret fra artiklen "Når månen står på slem – interview med Per Nørgård og Suzanne Brøgger", Dansk Musik Tidsskrift nr. 1, 2005/2006 Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 11

OUT OF THE CRADLE ENDLESSLY ROCKING dens land, tusinder af sømil herfra. Sangeksempler fra hawaiiansk folkemusik blev NOTE AF PER NØRGÅRD venligst stillet til min rådighed, og denne musik Værket blev bestilt af Ebb and Flow Ensemble til fascinerede og inspirerede mig i en sådan grad, at uropførelse i Maui Arts and Cultural Center i Kahu - det melodiske repertoire i "Out of the Cradle" har lui på Hawaii den 23. november 2008. ekkoer af disse fjerne klange. Værkets titel er lånt fra første linie i det stor - En latent bølgekarakter præger meget af mu - slåede første digt i sikken, heraf undertitlen. Man vil ofte høre en den amerikanske samtidighed af forskellige 'bølgelænger', og det digter Walt Whit - klingende resultat bliver en tætvævet og kom - mans suite "Sea- pleks, rytmisk lag-på-lag musik. Tredje og sidste Drift", som er en sats er karakteristisk ved en accelererende, frem - hyldest til havet. adbrusende akkumulering hen mod slutningen. Suiten indgår til - Da jeg kiggede tilbage på det afsluttede parti - lige i Whitmans ko - tur, var der ikke nogen tvivl i mit sind: det var lossale opus, blevet en vuggende, rokkende, bølgende musik, "Leaves of Grass ", og titlen gav nærmest sig selv. som han reviderede, WALT WHITMAN udvidede og omar - INTERVIEW MED PER NØRGÅRD bejdede hele livet. Jeg havde tidligere anvendt Det er ud af denne endeløse, rokkende vugge for nogle linier fra digtet i et af mine værker, som alting, havet – at musikken udspringer. Ebb and også tog sin titel hefra, "Seadrift" (1978), for Flow Ensemble fra Hawaii bestilte et værk af mig, sopran og ensemble. som skulle være for samme besætning som Mes - I det foreliggende værk har det ikke været min siaens "Kvartet til tidens ende" – klarinet, violin, mening at afbilde 'havets sjæl' eller noget i den cello og klaver – og jeg tog udgangspunkt i, hvad retning. Det var, på den anden side, min klare in - der forbinder Hawaii og Danmark: Det er jo havet! tention at lade værket være en udstrakt hånd fra det ene lille, havomkransede land, med 'et hav af' Det har været meget inspirerende for mig at for - øer – til et andet ørige i et fjernere ocean (jeg re - dybe mig i noget, som min musik altid har været fererer her naturligvis til Danmark og Hawaii). centreret om i større eller mindre grad, nemlig "Hawaii"… navnet klinger for en skandinav fjernt, bølgeformerne. Det er noget dybt fascinerende eksotiskt tillokkende, et varmens og sorgløshe - ved musik, at den jo er bølgeformer, alene ved at Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 12

musikken når vores ører som svingninger. Musik - øret, men hvis pianisten bruger pedalen, så kan ken er er en svingningsverden i alle mulige lag. det blive en helt summende, havagtig lyd, så det indgår næsten som en slags billede, men det er Det, der betinger bølgernes form, er rillerne i rent musikalsk alligevel. stranden, som vi kender, når vi går ud og bader. Så er det man spørger, jamen hvad er det, der be - Andensatsen har til gengæld hawaii-chanting som tinger rillernes form? Det gør bølgerne! Vidunder - sit centrum, men der er også mange andre lag i ligt som tilværelsen er indrettet: Det ene betinger satsen. Jeg skrev til det hawaiianske kammeren - det andet og det andet det ene. Det vil sige, der semble, at jeg ville være interesseret i at høre er en konstant relation, hvor bølgeformernes stør - deres originale folkemusik. Jeg holder meget af relse afhænger af, hvad de forefinder, mens deres etnisk musik, jeg er jo opdraget hos Vagn Holm - intensitet samtidig kan påvirke det, de ruller hen - boe, og der lærte jeg tidligt at elske de forskellige over. Det er denne gensidige påvirkning, min udtryksverdenener, som er virkelig forskellige uni - musik egentlig har som forbillede. verser. Men jeg har aldrig tidligere brugt folkemu - sik i min musik, så det ventede jeg egentlig heller I førstesatsen er der i begyndelsen flere rytmer i ikke, at jeg ville komme til at gøre her. Men så de forskellige instrumenter, der ligesom slår hen - kommer der altså en plade med ti chants og så en over hinanden, men hvis man lytter flere gange, lille tromme til – og i forhold til, hvad jeg kan få vil man kunne genkende noget, som er meget ty - ud af slagtøjsmusik, så var det jo ingenting, for deligt senere – at der for eksempel er en bestemt det var bare en lille stentromme. Men denne rytme, 5-4-3 – eller en omsluttende rytme på 3 tromme og sangstemmerne var helt fascinerende! slag, og nedenunder den kan det være inddelt i Det, der fascinerede mig, det var klangen af deres nogle mindre. Disse buer opfatter jeg helt konk - stemmer, som ikke lignende noget som helst ret, og det er den form for bølgeformation, som andet, jeg havde hørt af stemmer over hele ver - interesserer mig – det er jo en kosmisk sag! den. Det her var den kropslige veltilpasheds klang. Det er en form for rytmisk sang, som lang - I første sats anvender jeg også lidt fremmedar - somt stiger i intensitet og i tonehøjde. Når de tede klange, idet pianisten holder på de dybeste synger med deres vibrerende stemmer, giver det af flygelsets strenge med venstre hånd, mens hun sådan et velbefindende fysisk, det forplanter sig med højre hånd spiller på de tilsvarende tangen - til vores egne kroppe. Oplevelsen af denne æld - ter, hvilket giver en underlig kobberagtig klang, gamle musikkultur, som hedder Huna, var så som kan være knastør, som en hveps helt op i stærk, at det satte sig spor i værket. Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 13

Det, der interesserer mig meget ved bølger, det er, Tredjesatsen, det er én eneste acceleration hen at de netop sjældent er helt pulsagtige. De er ikke mod det hurtigste hurtige. Der er nogle små inter - fuldstændig periodiske, de siger ikke bare pjask, mezzi, men så igen videre, til sidst så hvirvler det pjask, pjask ind mod strandbredden, det er meget af sted, som accelerationen i en storm, bølgefor - mere raffinerede fænomener. Men just den der merne tager i den grad over. Og så, til allersidst, gentagelse i hawaiiansk sang, som ligger som ligger der bare en uendelighedstone, som jeg kontrapunkt til den evigt nye bølgerytme, den fo - komponerede af flere lag i strygerne, og så klave - kuserer jeg på i anden sats. Allerede i slutningen ret, der spillede en bestemt figur, altså endlessly, af første sats er der antydninger af sangens rytme endeløst, samtidig med, at der er en fløjtetone – i celloen – en tonegentagelse, som vokser i tone - jeg ville egentlig helst have haft et syngende højde og intensitet. Men ellers findes inspiratio - glas, men det kan være svært at skaffe i en kon - nen fra sangen i anden sats som rytmisk kontrast certsal, så jeg accepterer en fløjtetone – som in - til bølgeformerne. Det afspejler en særlig facet af terfererer med klarinetten, som spiller en anelse Hawaii, som interesserer mig, så det har jeg altså lavere. Det foregår sådan, at samtidig med klaver- med som en hyldest til Hawaii. og strygerkombinationen spiller klarinetten en høj og uanstrengt tone, og den kan også lave et lille Det, der betog mig meget, da jeg omsider valgte glissando uden at ændre fingerstilling – mens pi - en titel af Walt Whitman, det var ikke mindst ryt - anisten, samtidig med at hun spiller nogle figurer, men i den der sætning: "Out of the cradle endlessly har mulighed for at fløjte en tone, der ligger tæt rocking". Selve den linie var for mig musik, ikke på klarinettens. Musikerne har indstuderet, hvor - alene rytmisk set, men også i vokalerne – så selve dan den fjerner sig og kommer tættere på og fjer - titlen er bagt ind i musikken som indledning til ner sig, hvorved antallet af beat tones, stødtoner, tredje sats, ved at vokalerne kommer til at fungere hele tiden skifter. Derved opstår der en vibration i som tonebærende. Fordi alle mennesker har samme lytterens ører, som jeg igen synes er noget vidun - toner ved samme vokaler, når de hvisker, lod jeg derligt og kosmisk, som ligger i vores høresans: Vi musikerne hviske titlen med udeladelse af konso - er forbundet med kosmos direkte kropsligt i vores nanterne, og så overtager klaveret og de andre in - oplevelse! Og den tone ligger så i det uendelige strumenter den rytme, så det vil sige, at de verbale og forsvinder i det fjerne ... indslag går direkte over i den musikalske fortsæt - telse på instrumenterne – det har jeg aldrig prøvet Interview ved Rune Kühl før. Jeg har heller ikke været ude for en titel, der har været så musikalsk som "Out of the Cradle ..." Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 14

WILL-O’-THE-WISPS IN TOWN NOTES BY PER NØRGÅRD At the occasion of the 200th anniversary of Hans SUMMARY BY PER NØRGÅRD Christian Andersen’s birth, The Society for Pub - The Marsh Witch, a well-known (and notorious) fi - lis hing Danish Music commissioned works from gure in Danish popular superstition, suddenly ap - ten Danish composers, myself among them, to be pears before the poet who is longing for fairy based on fairy tales of our own choice. I chose tales, and besides showing him various parapher - the fairy tale "The Will-o’-the-Wisps Are in Town, nalia (bottles and the like) for making fairy tales Said the Marsh Witch", and composed a fairy tale and poetry, she warns him and the town inhabi - cantata for mezzo-soprano, actor, mixed choir, tants about the big threat: The will-o’-the-wisps children’s choir, drummers and orchestra. (or at least twelve of them) will come to town Artistic director of the Athelas Sinfonietta Co - and stay for a whole year and each of them will penhagen, Anders Beyer, commisioned a version attempt to seduce 365 humans and use their for only one singer (Helene Gjerris who sung at magic blue lights to lead them into moral bog the premiere of the large-scale version in Bir - holes ("And falling down is endless, the falling mingham, England, on Andersen’s 200th birthday, never stops, because there is no bottom!") April 2, 2005), and five instruments of my choice: Hans Christian Andersen’s trumpet, trombone, violin, cello and piano. This fairy tale ends with the limitation meant that the chamber version would warning from the Marsh necessarily become a re-composed, in parts a Witch, but Suzanne Brøg - wholly new work , rather than a mere arrangement ger takes the will-o’-the- of the larger work. Thus, the absence of large or - wisps for a ride by letting chestral forces (including percussion and siren) them try their mischievous meant that instead of the 'ironic', programmatic tricks in the present – but ouverture (“The 1864 Ouverture”), hinting at how HANS CHRISTIAN ANDERSEN things are so bad in our the Danish Romantic devotion to nature and na - times that their tricks fall flat. tionality deteriorated into hubris and national ca - However, The Marsh Witch does take revenge tastrophe – the chamber music version attempts, on behalf of her supernatural allies by telling us in a manner which is actually just as programmatic, that things are just as bad for the famous fairy to express the deterioration and ultimate petrifi - tale characters – not even the ugly duckling can cation of the creative imaginaton. This is actually look forward to a happy ending! the 'inside' of the initial words of the fairy tale, about the man who "used to know any number of new fairy tales, but now he had run out of them." Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 15

The absence of adult and children’s choirs did year of war where a third of Denmark was lost to not mean that I had to leave out every scene the Germans because of Denmark’s short-sighted they take part in. Instead, I have recreated some nationalistic policy. The understandable misery of of these movements from the large-scale version the Danish people was shared by Andersen. He in the form of arias. Therefore the part of the so - felt that he had run out of inspiration and crea - loist is significantly more demanding in the tive impulses. Now – at the beginning of the fairy chamber version. In the large version, she re- tale – he feels the loss of his creative powers, and mai ned the Marsh Witch (bare-foot, following He - he goes to seek out the Fairy Tale. The Marsh lene’s own idea – self-evident, when you come to Witch willingly offers the distressed poet fairy think of it), whereas in the smaller version, not tales ("in bottles"), but abruptly, she stops pay - only does she have extra arias to sing, but she also ing tribute to her own "Marsh Witch brew", and takes over the part of the narrator, as well as that warns the man and the townspeople: The will-o’- of the poet (Hans Christian Andersen himself!), the-wisps are in town and will lead people astray both of them speaking Andersen’s own words. As for a whole year! "Be on your guard, humankind!" before, the wild Marsh Witch-text of Suzanne she ends her dramatic disclosure, "the will-o’-the- Brøgger alternates with the words of Andersen, wisps have gone to town!" but in the chamber cantata the words are spoken This is where Andersen’s fairy tale ends – by the same lips, those of the mezzo-soprano! some might say: Just as it is about to begin! At A couple of the choir movements have been least that was my thought as a composer: This reworked (reduced!), so that the great "Here they story is a fantastic torso. But to be able to set it are now"-culmination has been replaced by a to music, I needed a continuation of the story: short instrumental fight scene. At certain points in What are the will-o’-the-wisps actually doing in the score, the musicians must express themselves town? – and how do the townspeople react? – vocally in talking and shouting choirs, and in one what happened? I asked the writer Suzanne Brøg - instance as a falsetto choir of will-o’-the-wisps. ger this question, and the second – and equally There are two layers in the narrative. The first imaginative – layer of the narrative consists of layer consists of Hans Christian Andersen’s own her writing. She takes the poor will-o’-the-wisps words, describing a strange incident: Andersen to our own time and lets them loose in a modern himself meets a real fairy tale character, none city in the year 2005, and compared to the other than the Marsh Witch! It is evident that the amount of seduction and deprivation of the mod - "man" of the story is Andersen himself, and that ern world, the temptations the will-o’-the-wisps it takes place about a year after 1864, the fatal of 1865 have to offer seem quite harmless in our Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 16

time. So they fail miserably, while the audience that there were get an insight into the moral decay of our time. words that I did not want to use in INTERVIEW WITH PER NØRGÅRD my music, so I left When I was going to meet Suzanne and ask her to out certain passa - do the job, I was thinking of the Marx Brothers ges and asked for who were always given a very thin screenplay be - additional lines in fore shooting a scene, something like: "Rich Ame - other passages, rican comes to town, you appear and trick his and I couldn’t even money out of him in various funny ways. " In various begin to compose

funny ways, that’s not an easy task! But it was before I had HANS CHRISTIAN ANDERSEN this kind of task that I gave Suzanne. I told her: found the right ILLUSTRATION PER MARQUARD OTZEN "The will-o’-the-wisps come to town and you show words. The task for me was to be 'co-creative' what they do to pull the wool over people’s eyes." with Suzanne, and at the same time preserve the clarity and special qualities of her writing. I Suzanne was once asked to describe what charac - couldn’t bear the thought of writing descriptive terizes our times. She answered that we are living themes as in "Peter and the Wolf" where the in the age of deliberate blindness. It is under - music is subservient to the narrative. No, in my standable and natural that we are blind in the case, the music and the libretto needed to be sense that the universe is endless and we cannot equally important. Fortunately there was no need be expected to be able to see it all. But delibe - to worry about Suzanne’s reaction, because she rate blindness means that we know e.g. that the agreed to take part in an editing process before oil reserves are running out, but we pretend that the actual composing of the music started. I am we cannot see it. This characterisation of our age sure I don’t have to tell you that Suzanne is a could be used as a motto for the work: The age of witch herself who digs into what is considered deliberate blindness. But at least it’s a comfort that taboo – from the very beginning I wanted her to we brought the deliberate blindness upon ourselves, take part in this project! rather than being the victims of sorcery – so we can actually choose a different and better path.

Suzanne presented me with 12 pages of poetry. I was happy and overwhelmed, but I discovered Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 17

INTERVIEW WITH SUZANNE BRØGGER thing 'evil' has to be introduced. Some kind of de - There are two points of intersection in this period structive force is needed – a kind of darkness or of Hans Christian Andersen’s life: The first is his something that one is afraid of. The fairy tale experience of the war of 1864, the second is the takes place at the crossing over the stream where crisis in his own life, as the Romantic era has a troll might turn up. It takes place in a period of come to an end and the Modern age has begun. transition where one is vulnerable and it is uncer - The so-called Modern Breakthrough in Danish lite - tain how things will turn out, although it’s in the rature is about to happen, and it is as though nature of the fairy tale that there is a happy en - there is an expectation of a modern breakthrough ding. Therefore, my task was to find out: What is in Andersen’s writings as well. In his last years, the evil that you can write about today? One he attempts to write for the future. Therefore, could also ask where Andersen’s fairy tales stem this is a meta-fictional fairy tale, a fairy tale from. It has something to do with the magic of about how to write fairy tales when society has the four-leaf clovers that Andersen writes about changed. In a sense, it was the same task that which grow on the exact spot where a butterfly was handed over to me: Is it possible to continue touches a tombstone. It is right there between the story in our own time? life and death that the magic occurs.

The will-o’-the-wisps have been made redundant The reason why the will-o’-the-wisps must do mis - by me, so to speak. Because all the places where I chief, and the reason why one has to introduce wanted to send the will-o’-the-wisps, things had evil or destructiveness, is that the "poetry in already deteriorated so that there wasn’t anything bottles" or discount poetry which we are offered, for the will-o’-the-wisps to do – their tricks would isn’t good enough. You have to have the courage seem so innocent and harmless compared to the to explore those areas where it hurts. I have consequences of modernity. The libretto is ambi - ente red into the language and disorganized the guous in the sense that in spite of all that has fairy tale from the inside by turning all the mes - deteriorated, and in spite of all the traditions of sages upside down. the life-affirming kind that have disappeared (I am not talking about fossilized traditions), it turns In his own age, Hans Christian Andersen was cri - out that after all the fairy tale cannot be defeated. ticized for writing the way people spoke. He wrote: "The sun sinks ... and so on". It did not fit I have tried to reflect on the nature of fairy tales. in with the pompous poetry that was expected at I discovered that, in the spirit of Andersen, some- the time. This is perhaps the only area where I Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 18

emulate Andersen stylistically, in trying to write the way people speak.

Actually, I think that there are several ear-catching tunes in this work. When you have heard these tunes several times, you keep 'singing' them in your imagination. I like the fact that there are so many singable passages that appeal to people of all ages. It was quite overwhelming the first time Per Nørgård played the whole work to me on the piano. The music becomes a different time dimen - sion where you can unfold a mood or an emotion. A statement that amounts to two lines in a text can unfold in the music and gain in depth and spaciousness and last several minutes. That is why you move into a different time dimension when listening to music – and in this work, Per Nørgård has managed to change the mood for each new scene from the fairy tale: A whole new world begins in each and every scene.

Per Nørgård and Suzanne Brøgger were interviewed by Anders Beyer. The interviews are quoted from the article "Når månen står på slem – interview med Per Nørgård og Suzanne Brøgger", in Danish Music Review no. 1, 2005/2006 Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 19

OUT OF THE CRADLE ENDLESSLY ROCKING neity of different 'wavelengths', and often a dense and complex melodic and rhythmic multi-layering. NOTE NY PER NØRGÅRD In the third movement, a driving, metamorpho - The work was commissioned by the Ebb and Flow sing acceleration is built up towards the end. Ensemble for premiere at the Maui Arts and Cultu - When I looked back at the music I had com - ral Center, Kahului, Hawaii, 23 November 2008. po sed, there was no doubt in my mind as to the The title is borrowed from the magnificent first title; this was certainly a music "Out of the poem in American poet Walt Whitman’s suite of Cradle Endlessly Rocking" – in my own rocking poems, "Sea-Drift", a tribute to the sea. The suite and waving way. also forms part of Whitman’s magnum opus "Lea ves of Grass", which he revised, extended and INTERVIEW WITH PER NØRGÅRD worked on practically all his writing life. I had It is out of this endless, rocking cradle for every- previously drawn some lines from the poem for thing, called the sea – that the music emerges. another work of mine, a work likewise entitled The work was to have the same instrumentation "Seadrift " (1978), for soprano and ensemble. as Messiaen’s "Quartet for the End of Time" – cla - In this present, new piece I did not set out to rinet, violin, cello and piano – and I chose as my depict in music 'the soul of the sea' or anything point of departure that which unites Hawaii and like that. I did, however, have an intention of Denmark: The sea! making the piece a sort of outstretched hand from one small country with a multitude of islands and It has been very inspiring for me to become ab - a lot of water around it (I am referring, of course, sorbed in something that has always been at the to my native Denmark) to another country with core of my music, the wave forms. It is a deeply many islands: Hawaii, with its far-away exotic fascinating aspect of music that it actually is wave appeal (at least for a Scandinavian), and its re - forms, because of the way that music reaches our moteness, thousands and thousands of nautical ears in the form of oscillations. Music is a multi- miles away. layered world of oscillations. Folkloristic Hawaiian chant (alluring samples of which were kindly forwarded to me from the com - The form of waves is determinated by the grooves missioner of the work) fascinated and impressed in the sand as we all know from our trips to the me so much that my melodic repertoire in the beach in the summer. It makes one wonder, what new piece sometimes echo these Hawaiian chants. is it that determines the form of the grooves? It is A latent wave-character is characteristic of the the waves! It’s wonderful how existence is ordered piece, hence the subtitle. You will hear a simulta - in that way: One thing determines the other, but Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 20

this in turn determi - a humming, sea-like sound, so it’s almost there as nes the first. There is an image, but it’s purely musical just the same. a constant interrela - tedness where the The second movement has the Hawaiian chant as size of the waves de - its centre, but there are many other layers there as pends on what they well. I wrote to the Hawaiian chamber ensemble find on their way, but which commissioned the work, saying that I’d be at the same time the interested in hearing the original Hawaiian folk intensity of the music. I am very fond of ethnic music, having had waves can influence Vagn Holmboe as a teacher, and early on I came WALT WHITMAN the shape of what to love the different worlds of expression which they roll across. It is this mutual influence that are like really different universes. But I had never inspires my music. before made use of folk music in my own music, so I didn’t really expect that I would do so in this In the first movement, the various instruments case. But then this disc arrived in my mail, with play different rhythms which sort of overlap each ten chants accompanied by a small drum – and other, but if you listen to it several times, you compared to what I can do with percussion in my will recognise something which gets more appa - music, this seemed very modest, for it was just a rent later on – for example, there is a certain small stone drum. But this drum and the singing rhythm, 5-4-3 – or an encompassing 3 beat – it was quite fascinating! What fascinated me rhythm which can be subdivided into smaller was the sound of their voices which wasn’t like measures. I consider these arcs to be very con - any voices I had heard anywhere in the world be - crete, and it is this kind of wave formation which fore. It was the sound of feeling physically at interests me – it is related to the cosmos . ease. It is a kind of rhythmic chanting where the intensity and pitch slowly increases. When they In the first movement I make use of unfamiliar sing with their vibrating voices, a great feeling of sounds, as the pianist must put her left hand on being physically at ease is transmitted to our bo - the lowest strings of the piano while playing on dies. The experience of this ancient music culture the corresponding keys with her right hand. This which is called Huna, was so strong that it influ - creates a strange, copper-like sound, which can enced the work. be dry as dust, like a wasp buzzing close to your ear, but if she uses the pedal, the sound becomes What interests me about waves is that they sel - Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 21

dom have a regular pulse. They are not strictly The third movement is like a single acceleration periodic, they don’t just say splash, splash, splash towards the fastest possible tempo. There are against the beach, it is a much more sophistica - some minor intermezzi, but then it goes on, and ted phenomena. But the way the Hawaiian chant at the end it is whirling, accelerating like a repeats itself becomes a counterpoint to the eter - storm, the wave forms are really taking over. And nally new wave rhythm – this is my central con - then, at the very end, there is just an infinity cern in the second movement. Already at the end tone, which I composed from several layers in the of the first movement, the rhythm of the chant is strings, and then the piano playing a certain hinted at in the cello – the repeat of one note phrase, endlessly, and at the same time there is a which increases slightly in pitch and intensity. whistling sound – originally I wanted the sound But otherwise the inspiration from the chanting is of a crystal glass, but it can be hard to find in a in the second movement as a rhythmic contrast to concert hall, so I accepted the sound of someone the wave forms. It mirrors a certain aspect about whistling – which interferes with the clarinet Hawaii which interests me, so I have included it which plays at a slightly lower pitch. The way it is as a tribute to Hawaii. done is that at the same time as we hear the combination of piano and strings, the clarinet What excited me when I finally chose the title by plays a high pitched, effortless note, and it can Walt Whitman, was the rhythm of that sentence: also make a slight glissando without changing the "Out of the Cradle endlessly rocking". That line position of the fingers. Simultaneously, it is pos - was music to me, not just rhythmically, but also sible for the pianist, while playing her phrases, to because of the vowels – so the title of the work is whistle a note which is close to that of the clari - integrated in the music at the start of the third net. The musicians have prepared how to vary movement, in the way that the vowels are used as their tones so that the distance between them al - notes. Because all humans have the same pitch ternately increases and decreases, which means when they whisper identical vowels, I let the mu - that the number of beat tones is constantly chan - sicians whisper the title, leaving out the conso - ging. This results in a vibration in the listener’s nants, and then the piano and the other ear which I think is something quite wonderful instruments take over that rhythm, so that the and cosmic which is integral to our sense of hea - verbal part leads straight into the instrumental ring: We are directly connected with the cosmos part – I never tried that before. I never came in our physical experience! And this tone is then across a title as inherently musical before, either: endlessly fading away into the distance ... "Out of the Cradle ..." Interview by Rune Kühl Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 22

LYGTEMÆND I BYEN WILL-O’-THE-WISPS IN TOWN EVENTYRKANTATE FAIRY TALE CANTATA TEKST/WORDS BY: H.C. ANDERSEN & SUZANNE BRØGGER

1. Forspil: 1. Prelude: Eventyrene, der slap op The Fairy Tales that Came to an End

2. Fortælling: 2. Narrative: Manden, som engang vidste eventyr The Man Who Used to Know Fairytales

Der var en mand, som engang vidste så mange There was a man who used to know any number of nye eventyr, men nu var de sluppet for ham, new fairy tales, but now he had run out of them, he sagde han; eventyret, der af sig selv gjorde visit, said; the Fairy Tale, which used to pay him visits of kom ikke mere og bankede på hans dør; og hvor - its own accord, no longer came knocking on his for kom det ikke? Ja, det er sandt nok, manden door, and why didn’t it? True, he had not given the havde i år og dag ikke tænkt på det, ikke ventet Fairy Tale a thought for a long time, had not expec - at det skulle komme og banke på, og det havde ted it to come knocking on his door, and very prop - vist heller ikke været her, thi udenfor var krig og bably it had not been around anyway, because out- indenfor sorg og nød, som krigen fører med sig. side there was war, and inside were the sorrow and Stork og svale kom fra deres lange rejse, de misery that war brings. Stork and swallow arrived tænkte på ingen fare, og da de kom, var reden from their long journey; they did not think of dan - brændt, menneskenes huse brændte, leddet af ger, but when they arrived, their nests had been lave, ja rent borte; fjendens heste trådte på de burned and so had people’s houses, the gate was gamle grave. Det var hårde, mørke tider; men broken, indeed all gone, and enemy horses trod on også de får en ende. Og nu havde de ende, sagde the old graves. Hard, dark times they were; but they, man, men endnu bankede ikke eventyret på, eller too, come to an end. And now they had come to an lod høre fra sig. end, people said, but as yet the Fairy Tale did not "Det er vel dødt og borte med de mange knock on the man’s door or send him word. andre!" sagde manden. "I suppose it is dead and gone, along with all Og der gik over et helt år, og han længtes så those many others," the man said. såre. "Mon dog ikke eventyret skulle komme igen And more than a whole year passed, and he was og banke på!" really pining. "Just maybe the Fairy Tale will return after all and knock on my door!" Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 23

3. Fortælling med underlægningsmusik: 3. Narrative with background music: Skovpastorale Woodland Pastorale

Og han huskede det så levende i alle de mange And he remembered it so vividly in all the many skikkelser, det var kommet til ham; snart ungt og sha pes in which it had come to him; sometimes dejligt, foråret selv, en yndig lille pige med skov - young and lovely, springtime itself, a charming little mærkekrans i håret og bøgegren i hånden; hendes girl with a garland of woodruff round her hair and a øjne skinnede som dybe skovsøer i klart solskin; branch of beech in her hand; her eyes shone like the snart var det også kommet som bissekræmmer, deep woodland lakes in bright sunshine; at other havde åbnet kramkisten og ladet silkebånd flagre times, though, the Fairy Tale had come as a peddler, med vers og indskrift fra gamle minder; men al - it had opened its box and let flutter ribbons of silk lerdejligst var det dog, når det kom som gammel with verses and inscriptions that told of old memo - morlille med sølvhvidt hår og med øjne så store ries; but it was never more delightful than when it og så kloge. came as a little old woman with silvery white hair "Mon hun ikke mere skulle banke på!" sagde and eyes so large and so wise. manden og stirrede mod døren, så at der kom "Can it really be that she will never knock on sorte pletter for øjnene, sorte pletter på gulvet; my door again?" the man said, and he stared hard at han vidste ikke, om det var blod eller sørgeflor the door, so that black spots appeared before his fra de tunge, mørke dage. eyes, black spots on the floor; he did not know if it Og som han sad, kom han i tanke, om ikke was blood or mourning crêpe form the heavy, dark eventyret havde skjult sig, ligesom prinsessen i days. de rigtige gamle eventyr, og ville nu søges op; Whilst sitting there, he was struck by the idea blev hun fundet, da strålede hun i ny herlighed; that maybe the Fairy Tale was hiding, like the prin - dejligere end nogensinde før. cess in those really old stories, and now wished to be sought out: once found, she would shine in new glory, more lovely than ever before.

4. Arie: 4. Aria: Hvor blev eventyret af? Whatever Happened to the Fairytale?

Er det i den våde regn fra himlen? Is it in the wet rain from heaven? I den klare, lyse sol? In the bright, shining sun? I en natviol? In a night flower? Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 24

Et hjertesår? A broken heart? Eller er det i en blomsterkrans i håret? Or is it in a flower-decked garland? Hvor er det Where is that der gi’r denne skønne svimlen? Which gives such a lovely rapture? Er det i solregn, solregn fra himlen Is it in the kind of weather where the sun shines som gi’r denne skønne svimlen? through the rain Hvor man frydefuldt gi’r efter, Which gives this lovely rapture? frydefuldt gi’r efter, frydefuldt. Where one blissfully gives in, Hvor? Hvor? Hvor? Hvor? Blissfully gives in, blissfully. "Jeg vil gå at søge det op!" Where? Where? Where? Where? "I shall go and seek it up!"

5. Fortælling: 5. Narrative: Eventyrjagt Fairy Tale Hunt

"Ud på landet! Ud i skoven ved den åbne strand!" "Out into the countryside! Out into the wood by the Derude ligger en gammel herregård med røde seashore!" mure, takket gavl og vajende flag på tårnet. Nat - Out there, in the countryside, lies an old manor tergalen synger under de fintfrynsede bøgeblade, house with red walls, pointed gables and a flag that mens den ser på havens blomstrende æbletræer waves from the tower. The nightingale sings under og tror, at de bærer roser. the finely fringed beech leaves while it looks at the Ned i den gamle del af haven, hvor den store blossoming apple trees of the garden, believing allé af vilde kastanier lokker med sit halvmørke, them to bear roses. gik manden, der søgte eventyret. I Mormors tid Down into the old part of the garden, where the stod her beskårne hække, nu voksede kun bregner great avenue of horse chestnut trees beckons with og nælder; de bredte sig over henslængte rester its shade, went the man who was searching for the af gamle stenfigurer; der voksede dem mos i øj - Fairy Tale. In Grandma’s time trimmed hedges stood nene, men de kunne ligeså godt se som før, det here; now there grew but ferns and nettles, sprea - kunne manden efter eventyret ikke, han så ikke ding across scattered remains of old stone figures. eventyret. Hvor var det? Their eyes grew moss, but they could see just as well Hen over ham og de gamle træer fløj krager i as earlier on, which the man who was after fairy hundredevis og skreg: "Herfra! Herfra!" tales could not: he did not see the Fairy Tale. Where Og han gik fra haven hen over gårdens vold - was it? Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 25

grav, ind i ellelunden; her ligger en gammel grav - Hundreds of crows flew past him and the old sten der for mange år siden kom herhid fra lands - trees. "Away! Away!" they cried, up high. bykirkegården, et minde om en af byens And he left the garden, walking past the manor hæderlige rådmænd; idet manden, der søgte moat and into the alder grove. Here lies an old eventyret, nu kom her, så han en levende som - tombstone, brought to this place many years ago merfugl sidde lige i panden på rådmandens ud - from the town churchyard, a memorial of one of the huggede billede; den slog med vingerne, fløj et town’s honest aldermen. Approaching, the man who lille stykke og satte sig igen tæt ved gravstenen was searching for the Fairy Tale saw that a butterfly for ligesom at vise hvad der groede. Der groede was sitting right on the forehead of the carved en firkløver, der groede hele syv ved siden af hin - image of the alderman. It flapped its wings, flew a anden. Kommer lykken, kommer den fuldtop! Han little way and settled again, close to the tombstone, plukkede kløverne og puttede dem i lommen. Lyk - as if it meant to show what was growing there. A ken er lige så god som rede penge. four-leaved clover grew there; indeed no less than seven of them grew there, side by side. When luck comes, it comes in plenty! He plucked the clovers and put them in his pocket. Luck is as good as cash.

6. Arie: 6. Aria: Solnedgang og dampende enge Sunset and Ground Mists Rising

Solen gik ned, rød og stor. Down went the sun, big and red. Solen gik ned, rød og stor, Down went the sun, big and red, rød og stor, Big and red, rød og stor. Big and red. Engen dampede, Ground mist rises. Mosekonen brygger It is the Marsh Witch brewing (brygger brygger!) (brewing, brewing!) Engene dampede, Meadows steaming, Mosekonen brygger … The Marsh Witch is brewing ... "Mosekonen" Det er jo mig! "The Marsh Witch" ... But that’s me! Mosekonen er mig! er mig! The Marsh Witch! It’s me! it’s me! Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 26

7. Fortælling: 7. Narrative: Det var ud på aftenen It Was Late in the Evening

Det var ud på aftenen, han stod alene i sin stue, It was late in the evening, the man stood alone in så ud over haven, over eng, mose og strand; his room, gazing out on the garden, on meadow, månen skinnede klar, der lå en damp henover marsh and beach; the moon was shining bright, a engen, som var den en stor sø, og det havde her mist covered the meadow as if it were a large lake, engang også været, der gik sagn herom, og i må - and indeed a lake had been there once, that is what neskinnet viste sig syn for sagn, the story tells, and in the moonlight the story loo - Idet han således stod og tænkte, slog noget ked all true. ganske stærkt på vinduet. Var det en fugl? En fla - As he stood there, lost in thought, something germus eller en ugle? Ja, dem lukker man ikke struck quite hard against the window. Was it a bird? ind, om de banker på. Vinduet sprang op af sig A bat or an owl? You don’t want to let those in if selv, en gammel kone så ind på manden. they come knocking. Suddenly the window opened "Hvad behager! Hvem er hun? Lige ind i før - wide by itself, an old woman stood looking at the ste etage ser hun. Står hun på en stige?" man from the outside. "De har en firkløver i lommen; ja, De har "I beg your pardon? Who is she? She is looking hele syv, hvoraf den ene er en sekser." straight in upstairs. Is she standing on a ladder?" "Hvem er hun?" "Sir, you have a four-leaved clover in your poc - "Mosekonen! Mosekonen, som brygger; det ket, in fact you have seven altogether and one of var jeg i færd med; tappen sad i tønden – men en them has six leaves." af de små moseunger rev i kådhed tappen af, ky - "Who is she?" lede den lige herop imod gården, hvor den slog "The Marsh Witch! The Marsh Witch who brews, mod vinduet; nu løber øllet af tønden, og det er and that is what I was doing. The tap was in the ingen tjent med." barrel, but one of the little marsh kids pulled out "Nå, men go’ da’! go’ da’! – pænt go’ da’! – the tap in fun, hauled it right up here in the direc - til "Firkløvermanden!" – go’ da’ til "Firkløverman - tion of the manor-house where it hit your window. den!" Respekt! Respekt! Lakridskonfekt! "Snip, Now the beer is running out of the barrel, and that snap, snude?" Tip, tap, Tønde, dét er mig! Mose - helps no-one. konen det er mig! Med min tip og min tap og min "Oh, well, hello! Hello and good evening, Mister tønde: det er mig: Mosekonen! Mosekonen som "Four-Leaf Clover Man"! Hello there, "Four-Leaf Clo - brygger og brygger. Brygger, det er jeg! – Hva’ er ver Man"! Respect! Chocolates! Well, answer me! du?" Bing, bung, barrel, that is me! I am the Marsh Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 27

"En mand som engang vidste så mange nye Witch, at your service! With my bing and my bung eventyr" and my barrel, that is me, I am the Marsh Witch! I "– men nu er de sluppet op for dig!" brew and I brew: A brewer, that is me! What are "Så sig mig dog!" (sagde manden) you?" "Ja, vent lidt" (sagde Mosekonen) "nu har "A man who used to know any number of new jeg andet at tage vare!" – og så var hun borte! fairy tales ..." Manden var ved at lukke vinduet, så stod "– but now you have run out of them!" konen der igen. "Would you please tell me" (said the man) "Nu er dét gjort!" (sagde hun) "Men det "I shall ..." (said the Marsh Witch) "but hang halve øl kan jeg brygge om i morgen. – Nå, hvad on: right now I have something else to take care har De så at spørge om? Jeg kom igen, for jeg of!" – And then she was gone! holder altid mit ord, og De har i lommen syv fir- The Man stood closing the window when there kløvere, hvoraf den ene er en sekskløver! Dét giver she was again, the old woman. respekt; det er ordenstegn som gror ved landeve - "All fixed!" (she said) "But I have to brew half jen, men ikke findes af enhver! Hvad har De så at the beer again tomorrow. Now, what is it that you spørge om? Stå nu ikke der som en løjerlig tip, want to ask me? I came back, I always keep my jeg må snart af sted – til min tap – og min word, see, and in your pocket you have got seven tønde!" four-leaved clovers, one of which has six leaves: Og manden spurgte om eventyret, spurgte that earns respect, such clovers are emblems which om Mosekonen havde set det på sin vej. "Ih, Du grow by the wayside but are not found by just Store Brygning!" sagde konen, "har De endnu anyone. Well, what is it you want to ask me? Come ikke nok af eventyret? Det tror jeg da rigtignok at now, don’t stand there like a bony old bore, I should de fleste har. Selv børnene er kommet ud over be getting back – to my tap – and my barrel!" det. Giv smådrengene en cigar og småpigerne en And the man asked about the Fairy Tale, asked ny kjole, det holder de mere af! Høre på eventyr! if the Marsh Wich had seen it on her way. Nej, her er sandelig andet at tage vare, vigtigere "By my bog and my brew!" the witch said, "Ha - ting at udrette!" ven’t you had enough of fairy tales? I do believe "Hvad mener De med det?" sagde manden. most people have. Even the children have moved on. "Og hvad ved De om verden? De ser jo kun frøer Give the little boys a cigar and the little girls an og lygtemænd!" evening gown, that’s more to their liking! Listen to "Ja, tag De Dem i agt for lygtemændene! De fairy tales? Oh no, sir, we have other things to take er ude! De er sluppet løs! Dem skal vi tale om! care of, more important things to accomplish! Kom De til mig i mosen hvor min nærværelse er "What do you mean by that?" said the man. Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 28

nødvendig; der skal jeg sige Dem det hele, men ”and what do you know about the world? You see no skynd Dem lidt, mens Deres syv firkløvere, med one but frogs and will-o’-the-wisps!” den ene sekskløver, er friske, og månen endnu er ”Ah, the will-o’-the-wisps, beware of those! oppe!" They are out! They are running loose! They are so - mething we need to talk about! You should be joi - ning me in the marsh where my presence is required. There I shall tell you the whole story, but do hurry up, will you, while your seven four-leaved clovers including that six-leafer are fresh and the moon is still up!”

8. Arie & Fortælling med råbekor: 8. Aria & Narrative with shouting choir: En dyster invitation An Ominous Invitation

Kom med til mit ormehul! Come, follow me further down! Kryb ned i mit mosedyb! Let us slide and crawl all the way! Kravl ind i trylleriets land, Please enter now my magic land, med elverpigers dans, Where pretty elves shall dance, til lygtemænd’nes glans; Whilst will-o’-the-wisps all prance: i mosen gi’r vi den kul! The bog is a lively den! men pas på det mørke hul! But careful now where you step! For det er bundløst, for det er bundløst, The ground is miry, there is no bottom, og det er langt at falde, når bunden aldrig nås: And falling down is endless, the falling never stops, fordi den ikke er der! Because there is no bottom!

Men drik du kun trygt mosekonens bryg! You are safe here, though: Taste my brew now! i skær fra lygtemændenes lygter There! Enjoy the will-o’-the-wispie shimmer (lygtemands blålys) (seductive hot air!) Her’ poesi på flasker! drik! Poetic stuff in bottles! Cheers! og drøm din 'virkelighed' i skæret fra Then dream your 'real' world, lygtemændenes lygter So real in Jack-o’-lantern shimmer (lygtemands blålys) (seductive hot air!) Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 29

Her er der skabe med flaskepoesi i, Just look, so many bottles, i hyldemål! hillemænd! Dozens of big cupboards of poetry! selv Hyldemor er her sat på flaske: Bless my soul: The Elder-Tree Mother is bottled! her er alt, hvad hjertet begærer Nothing is left for you to desire (believe me!): (med mere): "romantik" og det der ligner "Fine Romance", or something like it, og "eventyr" og dét der ligner And "Fairy Tales", or something like it, og "kærlighed og kildevand" And "Love in a Cottage", too, på flasker! og dét der ligner: In bottles! Or something like it: på papir og skærm, i flotte kulører! Shown on screen or paper, and lavishly coloured! med skandaler om de rige, Sordid tales about the rich folks der blir rigere, og blir rigere Who get richer still, og blir rigere (Wish it were me!) (bare det var mig! Bare...) About the rich man og om dén rige Turning pauper over night! der blev fattig på en nat! (That could never be me! (godt det ikke var mig! That could never be me! godt det ikke var mig! Yum! Yum! Feed me the scandals!) godt! godt med skandaler!) How falling down feels endless, Når bunden ikke ér der, When ne’er you reach the bottom! dér er det dybt, man falder! If one has luck, as you have luck, Men har man held, som du har held, One gets to see, as you shall see, så vil man se, som du nu skal se, How things will be! hvad snart vil ske! So, taste my classic Marsh Witch Beer! så, drik trygt mosekonens bryg! Enjoy the will-o’-wispie shimmer I skær fra lygtemændenes lygter (seductive hot air!) (lygtemands blålys) Reach for the magic potion’s high! få smag for trylledrikkens rus! And crave that buzzing elfin jive tag del i elverpigens sus! (seductive hot air, seductive hot air!) (i lygtemands blålys, lygtemands blålys) Wake up, will you? You, sir! Men så vågn da op, mand: "The fog will only lift, when the best is the worst!" Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 30

tågen letter først, når det Bedste er det Værste! ‘cause to see the worst must be better at se de værste er da bedre end slet intet Than not wanting to see at all, at ville se, så jeg sir til jer mennesker: So I say to you, humankind: vågn op, tag jer i agt. Wake up, be on your guard! Tag jer i agt! Be on your guard! Lygtemændene er i byen! Will-o’-the-wisps have gone to town!

(Lygtemændene er i byen! (Will-o’-the-wisps have gone to town! Vi er sluppet løs. We’re running loose. Lygtemændene er i byen!) Will-o’-the-wisps have gone to town!)

9. Fortælling: 9. Narrative: Dét forstår jeg ikke et ord af I Don’t Understand a Word of All This!

"Det forstår jeg ikke et ord af!" sagde manden. "I don’t understand a word of all this!" the man said. "Vær så god", sagde mosekonen, "at sætte "Please do sit down on the cupboard!" says the Dem på skabet! – men fald ikke ind i det og slå Marsh Witch, "Only, do not fall into it and smash the flaskerne itu; De ved, hvad der er i dem! Jeg skal bottles, please; you know what’s in them. I shall re - fortælle Dem den store begivenhed; den er ikke late the big event; it is from yesterday only, that’s ældre end fra i går; den er hændet tidligere. how new it is; it has happened before. This one has Denne har endnu trehundredefireogtredsindstyve still got three hundred and four and sixty days left dage at løbe på. De ved vel hvor mange dage der to run. I take it you know how many days there are er i året? – Her var stort på færde i går, ude i in a year? Yesterday big things happened out here, sumpen! Her var barnegilde! her blev født en lille in the swamp! We had a christening party (if you lygtemand, her blev født tolv af dét kuld, som get my meaning)! One little will-o’-the-wisp was det er givet, at de kan, om de vil, træde op som born, twelve little wisps were born, twelve were mennesker. Det er en stor begivenhed i sumpen, born of the brood to whom it is granted that if they og derfor dansede som smålys hen over mose og so wish they may appear as human beings and act eng alle lygtemænd og lygtekoner, der er også and order about amongst them, as if they had been hunkøn, men de er ikke i omtale. Jeg sad på ska - born human. That is a big event in the swamp, little bet dér og havde på mit skød alle de tolv små ny - lights across marsh and meadow; yes, there are will- fødte lygtemænd, de skinnede som o’-the-wisps of the female gender too, only they sankthansorme, de begyndte allerede at hoppe, don’t usually get mentioned. I was sitting on that Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 31

og hvert minut tog de til i størrelse, så at, før et cupboard there and held in my lap all twelve little kvarter var omme, så hver af dem lige så store ud newborn will-o’-the-wisps, my little Jack-o’-lanterns som deres fader eller onkel! – and indeed, they shone like glow-worms; already they began to jump, and they increased in size by the minute, so that within a quarter of an hour each of them looked as big as their father or uncle!

10 Sang og spil: 10 Singing and playing: Tolv små lygtemænd Twelve Little Will-o’-the-Wisps

Lok lok, løk løk løk, lok lok, løk løk, (Hi there! Hello there! Will-o’-the-wisps are here! lygtemænd lok, lok, lok! Will-o’-the wisps!) Tolv små lygtemænd Twelve tiny will-o’-wisps ja, tolv helt små lygtemænd (løk, løk) My twelve wee will-o’-wisps, tolv lygte småmænd, lygtemænd (lok) Twelve tiny will-o’-the-wisps ja, tolv små lokkelygtemænd lod sig føde, Yes, twelve mischievous will-o’-wisps. What a litter! små lygtemænd, og -koner med, – Both gentlemen and lady will-o’-the-wisps, kom alle frem ved midnatstid, And they were born in the midnight hour det var i netop dette øjeblik, At the exact same moment at "månen stod på slem!" When "the moon’s position boded ill!" (slikker sig om munden:) (And we lick our lips now.) "De’r elverpi’r i lunden!", There are maiden elves here: "Appear!" så de sidder i lys lue: They brightly burn and shine now: "Kom ud i elverpigeskrud, "Appear! In elfin girls’ best gear! brænd så i lys lue, Brightly burn and shine now! ild på hver jer’s mosetue!" We’re ready on our tussocks!" Lok lok, løk løk, løk løk, lok kok, løk løk! (Hi there! Hello there! Will-o’-the-wisps are here!)

11. Fortælling og råbekor: 11. Narrative and shouting choir: Nu er det en gammel, medfødt lov It Is an Ancient Birthright and Favour

Nu er det en gammel medfødt lov og begunsti - You need to understand that it is an ancient birth - gelse, at når månen netop står, som den stod i right and favour that when the moon stands preci - Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 32

går – og den vind blæser, som blæste i går – så sely as it stood yesterday, and that wind blows that er det givet og forundt alle de lygtemænd, som i was blowing yesterday, then it is allowed and accorded dén time i dét minut fødes, at kunne blive men - to all will-o’-the-wisps being born that at that hour nesker, og hver af dem et helt år igennem rundt and that minute to be able to become humans, and to om øve deres magt. Lygtemanden kan løbe landet each of them, throughout one whole year, to exercise rundt og verden med, om han ikke er bange for at their power wherever they wish. The Jack-o’-lantern falde i søen eller blæses ud i en svær storm. Han may roam the country and the world too, if he is not kan fare lige lukt ind i mennesket, tale for ham afraid of falling into the sea or being puffed out by a og gøre alle bevægelser, han vil: Lygtemanden strong gale. He may dart straight into a human being, kan påtage sig hvilken som helst skikkelse, mand talk on his behalf and perform any movement he desi - eller kvinde, handle i deres ånd, men med sin res: the will-o’-the-wisp may assume any shape what - egen yderlighed, så at der komme ud af det, hvad soever, man or woman, act in their spirit but with all han vil; men i et år må han vide og forstå at føre his particular extremity, so that the outcome is how he trehundrede og femogtresindstyve mennesker på wants it to be. Within one year, however, the will-o’- gal vej – og det i stor stil! – føre dem bort fra the-wisp must prove himself capable of leading three det sande og det rigtige; da opnår han det høje - hundred and five and sixty human beings astray – and ste, en lygtemand kan drive det til, at blive løber in grand style, too! – away from what is true and right, foran Fandens stadskaret, få gloende brandgul then shall the Jack-o’-lantern advance to the highest kjole og luen lige ud af halsen: station attainable for a will-o’-the-wisp, that of serving as a runner in front of the Devil’s stage coach, getting to wear a frock coat as glowing and yellow as fire itself, and having his flame come right out of his mouth:

Dét kan en simpel Lygtemand Something that will make an ordinary slikke sig om munden efter! Will-o’-the-wisp lick his lips in desire! Jeg skulle nu holde mund dermed, In fact I had better shut my mouth, men det må være en styrelse, But it must be some providence, en skæbne, noget, der går over mig, My lot, yes, something overpowers me, det er sat mig i kværken, det må herud: And I cannot control it, it must be said: Lygtemændene er i byen, Will-o’-wisps have gone to town! de er sluppet løs! They have been let loose! Ta’ jer i agt, mennesker: Be on your guard, humankind! Lygtemændene er i byen! Will-o’-wisps have gone to town! Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 33

Lygtemændene er i byen! Will-o’-wisps have gone to town! (Vi er sluppet løs.) (We have been let loose!) Lygtemændene er i byen: Will-o’-wisps have gone to town! Ta’ jer i agt, mennesker! Be on your guard, humankind! De ska’ nok… ta’ jer i agt! They will 'guard' you, 'guard' you well! (Vi skal nok tage os a’ jer!) (We will take good care of you!)

12. Arie med voldsomt efterspil: 12. Aria with a violent postlude: 365 men’sker på et år 365 Humans in a Year

Tre hundredfemogtres Three Hundred and sixty-five men’sker, på et år! Humans in a year! ska’ han lokke, ska’ han narre, – He must seduce them, he must fool them, ska’ han friste, lade fare He must tempt them, he must trap them ind i li’ så mange fælder Into just as many pitfalls, – og det er Fandens Oldemor – And it is the Devil’s dam selv, der tæller! Herself who is counting!

Og nu’ der trehundredfireogtres dage tilbage! And now there are three hundred and sixty-four days left!

13. Talekor med morale: 13. Talking choir with a moral: De kunne slet ikke ... They could not …

De kunne slet ikke ødelægge byen They could not destroy the town at all selv om de gjorde deres værste: Even if they did their worst: "Det hele var jo allerede meget, meget værre!" "Everything was already much, much worse!" Alt det onde All the wicked things de ville gøre, They were planning, – hele smøren – – The whole caboodle – var jo gjort! All done, som smurt! As on oiled wheels!

Og det er ikke dem, som ødelægger byen, And they are not the ones who destroy the town Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 34

selv om de gerne ville. Even if they would have liked to. Og dét er vel i grunden And, come to think of it, ikke så ilde? That is not such a bad thing? "Det er et helt eventyr," sagde digteren. "Actually – it is a fairy tale!" the poet said: Ha! Ha!

14 Arietta (Finale 1): 14 Arietta (Finale 1): Rapport fra Eventyrland Report from a Fairy Tale Land

Prinsessen ku’ slet ikke mærke sin ært! In fact the Princess never noticed the pea. Hun banded’ og svovled’ og sa’: "det’ sgu for She cursed and said, "This bed is too soft, at last for svært!" me!"

Havfruen ville langt hel’re beholde sin hale And the Mermaid would much prefer to keep her fishtail end bedåre prinsen, og lære at 'tale'. And not beguile the Prince and learn how to speak well.

Lykkens Galoscher løb fulde af mudder, Fortune’s Goloshes: All sloshy and sloppy, mens Klods-Hans kun ævled’ det værste sludder. And Numskull Jack spoke nothing but rubbish.

Fyrtøjet var vådt og ville slet ikke tænde. And the Tinderbox was far too wet to be useful, Hundene alt for fede, de gad ikke rende. The huge dogs: Much too fat to run anywhere!

Den Grimme Ælling blev grim’re og grim’re, The Ugly Duckling got more and more ugly blev aldrig en svane, And never quite looked like a real swan, men ligned’ mer og mer: en udstoppet hane It looked, well, more like a stuffed one … en udstoppet hane! ... a stuffed one!

Den 'stakkels' Trold ku’ slet ikke finde på en gåde, The sad old Troll, he just could not think of a riddle og måtte, ynkeligt, be’ prinsessen om nåde! And was forced to humbly ask the Princess to show mercy!

Og Heksen slog ho’det af Landsoldaten: And the Witch chopped the head of that famous Soldier. SÅ fik hun endelig ram på krabaten! There, have at you, she said. Got you at last, son! Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 35

15. Apoteose-arie (Epilog, Finale 2): 15. Apotheosis-aria (Epilogue, Finale 2): Er der noget der ringer? Is there a sound ringing?

Er der 'noget' – der ringer? Is that ... what, a bell ringing? Der er 'noget' der banker på, A 'something', knocking on our door?: et sprog vi ikke helt forstår: A language that we do not quite understand: Eventyr… Fairy tale ... Der er noget der klinger med, Something does chime softly in, and it reaches us fra et sted vi ikke kan nå! ... from a place we can never reach from here! ...

Translation by Svend Ravnkilde, revised for the version for chamber players by Rune Kühl Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 36

OUT OF THE CRADLE ENDLESSLY ROCKING

Out of the cradle endlessly rocking, Out of the mocking-bird's throat, the musical shuttle, Out of the Ninth-month midnight, Over the sterile sands and the fields beyond, where the child leaving his bed wander'd alone, bareheaded, barefoot, Down from the shower'd halo, Up from the mystic play of shadows twining and twisting as if they were alive, Out from the patches of briers and blackberries, From the memories of the bird that chanted to me, From your memories sad brother, from the fitful risings and fallings I heard, From under that yellow half-moon late-risen and swollen as if with tears, From those beginning notes of yearning and love there in the mist, From the thousand responses of my heart never to cease, From the myriad thence-arous'd words, From the word stronger and more delicious than any, From such as now they start the scene revisiting, As a flock, twittering, rising, or overhead passing, Borne hither, ere all eludes me, hurriedly, A man, yet by these tears a little boy again, Throwing myself on the sand, confronting the waves, I, chanter of pains and joys, uniter of here and hereafter, Taking all hints to use them, but swiftly leaping beyond them, A reminiscence sing ...

Walt Whitman: The opening lines of the poem "Out of the Cradle Endlessly Rocking" (1859) Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 37

UD AF DEN ENDELØST ROKKENDE VUGGE

Ud af den endeløst rokkende vugge, Ud af spottefuglens strube, denne skyttel, der væver musik, Ud af den niende måneds midnat, Over det golde sand og markerne bagved, hvor barnet var stået ud af sin seng og gik alene, barhovedet, barfodet, Ned fra det strålende månelysskær, Op fra det mystiske spil af skygger, som slynger og snor sig, som om de var levende, Ud fra krat af torne og brombær, Fra minderne om fuglen, som sang for mig, Fra dine minder, bedrøvede broder, i den stødvist stigende og faldende sang, jeg hørte, Under den gule halvmåne, som sent kom til syne, opsvulmet som af tårer, Fra disse første toner af længsel og kærlighed, dér i tågen, Fra mit hjertes tusind gensvar, som aldrig vil ophøre, Fra myriader af ord, som dengang blev vakt til live, Fra det ord, som er stærkere og skønnere end noget, Fra dette nu, hvor ordene begynder at vende tilbage til stedet, Som en flok, der kvidrende stiger op eller flyver henover mit hoved, I hast ført herhen, før alt igen glider mig af hænde, Jeg, en mand, af disse tårer forvandlet til en lille dreng igen, Kaster mig på sandet, ansigt til ansigt med bølgerne, Jeg, der besynger smerter og glæder og forener nutid og fremtid, Tager alle indtryk til mig for at bruge dem, men bevæger mig hastigt hinsides dem, Synger om denne erindring ...

Walt Whitman: Begyndelsen af digtet "Out of the Cradle Endlessly Rocking" (1859), oversat af Rune Kühl. Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 38

PER NØRGÅRD

Per Nørgård (f. 1932) er en af de mest originale kunstnere i dansk kulturliv. Hans værker og virke som komponist, underviser og teoretiker gennem snart et halvt århundrede har haft kolossal betydning for ud - viklingen af nyere dansk tonekunst. Nørgård har skre - vet værker i alle kategorier: fra stort anlagte operaer til enkle hymner, fra enkle satser til monumentale bygningsværker. Som ung blev Nørgård elev af Vagn Holmboe, og tidlige værker som den 1. symfoni er da også inspireret af lærerens nordiske tone. I sidste halvdel af 1950erne begyndte Nørgård at udforske de nye muligheder i den centraleuropæiske modernisme. Beskæftigelsen med nye strukturelle indfaldsvinkler førte til opdagelsen af den såkaldte uendeligheds - række, et serielt system eller musikalsk vækstprincip, som kan sammenlignes med naturens symmetriske FOTO ANDERS BEYER formationer. Blandt de værker, som udnytter denne teknik, indtager hovedværket 3. Symfoni en fremtrædende position. Per Nørgårds kunstneriske univers hænger sammen fra begyndelsen til nu som ét stort work in pro - gress, samtidig med at komponisten gennem årene har været i evigt opbrud i selvoverskridelsens navn: Fra ironiske pasticher, uendelighedsrækker, det gyldne snits proportioner og skønhedssøgende metafysik i 70’erne, over 80’ernes livtag med store eksistentielle spørgsmål, centreret omkring en stor gruppe vær - ker, stærkt inspireret af den skizofrene kunstner Adolf Wölfli, til 90’ernes eksperimenter med det, Nør - gård selv kalder "tonesøer". Rationalitet og spontanitet, struktur og frihed, yin og yan, lokalt og globalt, system og kaos, kunst og kitsch, konstruktion og udtryk – i Per Nørgårds univers tages modsætninger bestandig i betragtning. Per Nørgårds kunst minder os til stadighed om, at musikkens potentiale er langt større end vi tror. Dirigenten Sergiu Celibidache udtrykte engang præcist potentialet i Nørgårds stort tænkte og gennem - førte skaberværk: "Først en ny tids bevidsthed i det nye årtusinde vil være i stand til at forstå rækkevid - den af Nørgårds musik." Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 39

Per Nørgård (b. 1932) is one of the most original artists in the cultural life of Denmark. His work and efforts as composer, teacher, and theorist through almost half a century has had an enormous influence on the development of contemporary Danish art music. Nørgård has written works in all categories: From large-scale operas to modest hymns, from simple movements to imposing edifices. In his youth, Nørgård was a student of Vagn Holmboe, whose influence can be felt in early works such as the 1st symphony. During the late 1950s, Nørgård started explo - ring the new possibilities of Central European Modernism. His occupation with new structural approaches lead to the discovery of the so-called infinity row, a serial system or musical growth principle, which can be compared to the symmetrical formations of nature. Among the works that employ this technique, the 3rd Symphony assumes a prominent position. Per Nørgård’s artistic universe is interconnected from the beginning to the present like one big work in progress, although paradoxically he has also constantly sought renewal in order to go beyond what he has already achieved: From ironic pastiches, infinity rows, musical propor - tions based on the pictorial Golden Section, and beauty-seeking metaphysics in the 70s, via the wrestling with great existential questions in the 80s, centred around a large group of works strongly inspired by the schizophrenic artist Adolf Wölfli, to experiments in the 90s with phe - nomena that Nørgård himself calls "tone lakes". Rationality and spontaneity, structure and freedom, yin and yang, local and global, system and chaos, art and kitsch, construction and expression – in Per Nørgård’s universe, opposites are continuously taken into consideration. Per Nørgård’s art is always reminding us that the potential of music is far greater than we think. The conductor Sergiu Celibidache once aptly expressed the potential of Nørgård’s visio - nary and brilliantly executed life’s work: "Only the consciousness of a new age in the new mil - lennium will be able to understand the scope of Nørgård’s music."

Notes by Anders Beyer Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 40

SUZANNE BRØGGER

Suzanne Brøgger blev født i København i 1944 og er en af Danmarks mest elskede og værdsatte forfattere gennem tiderne. Hun har forfattet bøger i alle genrer, mest kendte er nok tri - logien "Creme fraiche", "Ja" og "Transparence", slægtskrøni - ken "Jadekatten" og gendigtningen af "Vølvens spådom". I alt omkring 20 bøger er det blevet til, som er oversat til ca. lige så mange sprog. Gennem årene har Suzanne Brøgger modtaget en lang række priser, og siden 1997 har hun været medlem af Det Danske Akademi.

Suzanne Brøgger was born in Copenhagen in 1944. She is one of the most revered and popular Danish writers of all times. She is the author of books in all genres – including the popular trilogy "Crème fraiche", "Yes" and "Transpa - rence", the family saga "The Jade Cat", and her modern ver - sion of "Völuspá" ("The Wise Woman’s Prophecy"). Suzanne Brøgger has written around 20 books which have been trans - FOTO ANDERS BEYER lated into as many languages. She has received a number of awards over the years, and since 1997, she is a member of The Danish Academy. Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 41

HELENE GJERRIS

Helene Gjerris (f. 1968) debuterede officielt i 1997 efter studier på Det Kgl. Danske Musikkonservatorium, men alle - rede i 1996 havde hun sit gennembrud som Der Gymnasi - ast i Alban Bergs "Lulu". Hun har markeret sig som en fremragende fortolker af nutidsmusik, og har sunget mange værker, specielt komponeret til hende. Gjerris har medvirket i bl.a. Per Nørgårds "Nuit des hommes", både i Danmark og på turné i udlandet, i "Pierrot Lunaire", Ull - manns "Der Kaiser von Atlantis", John Frandsens "Tugt og utugt i mellemtiden", Peter Bruuns "Miki Alone" og Rued Langgaards "Antikrist" (Det Kgl. Teater). Blandt hendes klassiske operaroller er "Carmen", Cheru - bino i "Figaros bryllup", og Rossinis "Askepot". Helene Gjerris har været solist i Bachs "Johannes-Passion" og "Juleoratoriet", Händels "Messias", Mozarts "Requiem", og utallige messer og kantater med alle danske orkestre. Med ensemblet Kopenhagen Kabarett synger hun tysk ca - FOTO SARA ROLAND baretmusik fra 1930erne. Helene Gjerris er tillige professor i sang ved Det Fynske Musikkonservatorium.

Helene Gjerris (b. 1968) made her official début in 1997 after studying at the Royal Danish Academy of Music, but already in 1996, she made her breakthrough as Der Gymnasiast in Alban Berg’s "Lulu". She has made her mark as an excellent interpreter of modern music, and numerous works have been composed especially for her. Among her many successes are Per Nørgård’s "Nuit des Hommes" at home and abroad, Schoenberg’s "Pierrot Lunaire", Ullmann’s "Der Kaiser von Atlantis", Rued Langgaard’s "Antikrist", and in the classic repertoire, "Carmen", Cherubino in "The Marriage of Figaro", and Rossini’s "La Cenerentola" ("Cinderella"). Helene Gjerris has appeared as a soloist with all the major Danish orchestras in Bach’s "St John Passion" and "The Christmas Oratorio", Handel’s "Messiah", Mozart’s "Requiem", and numerous other sacred works. With the ensemble Kopenhagen Kabarett, she sings German cabaret songs from the 1930s. She is a Professor of Singing at the Carl Nielsen Academy of Music. Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 42

LEFT TO RIGHT: MARK SONNE, TV-GLAD; CASPAR RONAK, TV-GLAD; PREBEN IWAN, PRODUCER; TOKE MØLDRUP, CELLO; JESPER JUUL WIINDAHL, TROMBONE; KIRSTINE FUTTRUP, VIOLIN; KARL HUSUM, TRUMPET; HELENE GJERRIS, MEZZO-SOPRANO; ANNE MARIE FJORD ABILDSKOV, PIANO. PHOTO: KLAUS HOLSTING Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 43

ATHELAS SINFONIETTA COPENHAGEN

Athelas Sinfonietta Copenhagen har for længst placeret sig i forreste række blandt de danske kammeren - sembler og som landets førende ensemble inden for ny kompositionsmusik. Koncertserier, medvirken i operaforestillinger og på festivaler, internationale turneer, cd-indspilninger med ny dansk og udenlandsk musik og en fantasifuld programlægning har gjort Athelas til en markant institution. Athelas Sinfonietta Copenhagen har opført ca. 600 forskellige værker, hvoraf en stor del er uropførelser. Ensemblets målbe - vidste satsning på kvalitet har tiltrukket en række fremtrædende solister, dirigenter og komponister som fx Per Nørgård, Steve Reich , Heiner Goebbels, Arvo Pärt, David Lang, Christian Lindberg, Reinbert de Leeuw, Thomas Adès, Ilan Volkov, George Benjamin, Philippe Leroux og Pierre-André Valade. Ensemblet har været udnævnt til Dansk Statsensemble og som sådan repræsenteret den danske stat og Kongehuset. Det internationale samarbejde er vigtigt for Athelas, og ensemblet lægger vægt på nyskabende projekter, som overskrider æstetiske og mentale barrierer.

Athelas Sinfonietta Copenhagen has long been established as a leading Danish chamber ensemble and the nation’s foremost new music ensemble. Concert series, participation in operas and festivals, interna - tional tours, recordings of new Danish and international music and imaginative concert programming has made Athelas a remarkable institution. Athelas Sinfonietta Copenhagen has performed around 600 diffe - rent music works including a large number of first performances. Athelas’ determined pursuit of quality has attracted many important soloists and conductors, such as Per Nørgård, Steve Reich, Heiner Goeb - bels, Arvo Pärt, David Lang, Christian Lindberg, Reinbert de Leeuw, Thomas Adès, Ilan Volkov, George Benjamin, Philippe Leroux and Pierre-André Valade . Athelas Sinfonietta Copenhagen has been given the honorary title of Danish National Ensemble and as such, has represented Denmark and the royal family abroad. International co-operation is important to Athelas, as are innovative projects that overcome aesthetic and mental barriers.

DANIEL HENRIKSEN, MAJBRITT HOLM FOTO: PETER SØRUM Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 44 Side 22.58 27/02/12 Booklet48_#GLADCD-004_booklet Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 45

LYGTEMÆND I BYEN – en rejse i eventyr og tonekunst

TV-Glads reportere, Daniel Henriksen og Majbritt Holm, følger komponisten Per Nørgård på en togrejse fra København til Aalborg, hvor hans eventyrkantate "Lygtemænd i Byen" skal opføres. Per Nørgård taler om arbejdet med værket, som bygger på eventyret "Lygtemændene ere i Byen, sagde Mosekonen", som H.C. Andersen skrev i 1865. Han fortæller om bearbejdelsen af historien og den musikalske udvikling af forestillingen, så den samtidig bliver en kommentar til verden i dag. I deres jagt på at finde ud af, hvem lygtemændene er, og hvorfor de pludselig dukker op i nutiden, besøger Daniel og Majbritt også Suzanne Brøgger, der har skrevet de nutidige lyriske strofer til kantaten. Vi bliver også vidner til brudtykker af den farverige opførelse af værket på Aalborg Kunstmuseum med mezzosopranen Helene Gjerris og Athelas Sinfonietta Copenhagen.

Varighed 25 min.

WILL-O’-THE-WISPS IN TOWN – a journey in fairy tales and music

The reporters of TV-Glad, Daniel Henriksen og Majbritt Holm, accompany the composer Per Nørgård on a train journey from Copenhagen to Aalborg, where his fairy tale cantata "Will-o’-the-Wisps in Town" is going to be performed. On the journey, Per Nørgård talks about his work on the cantata, which is based on the fairy tale "The Will-o’-the Wisps Are in Town, Said the Marsh Witch", written by Andersen in 1865. Per Nørgård talks about adapting the fairy tale and setting it to music in a way so that it becomes a comment on our modern age as well. Daniel and Majbritt also visit the writer Suzanne Brøgger in their attempt to find out who the will- o’-the-wisps are and why they suddenly turn up in the present? We also witness excerpts from the colourful performance of "Will-o’-the-Wisps Go to Town" at the Aal - borg Art Museum by the mezzo-soprano Helene Gjerris and Athelas Sinfonietta Copenhagen.

Duration 25 min. Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 46

TV –GLAD TV –GLAD er en fond med to indsatsområder: Medier og Uddannelse. TV –GLAD er verdens første TV-station for og med mennesker med udviklingshæmning/funktions - GLAD Medier er den producerende enhed, der nedsættelse. rummer tv-, radio- og webredaktioner, et teater, en animationsafdeling og Glad Design. Glad TV –GLAD gik i luften den 29. juni 1999. Design har illustreret og designet denne cd-box.

TV –GLAD arbejder for, at mennesker med funk - GLAD Fagskole udbyder den 3-årige ungdomsud - tionsnedsættelse kvalificeres til aktivt at gøre dannelsen STU med faglinierne: tv, radio, teater, brug af deres ytringsfrihed til at være i dialog animation, designlinie og køkken. med hinanden og omverdenen via tilgængelige medier, udtryk og produkter. Endvidere er en lang række mennesker med funk - tionsnedsættelse beskæftiget i andre afdelinger, TV –GLAD etablerer og driver det nødvendige pro - med fx. køkkenvirksomhed, kontor-, receptions-, duktionsapparat til udvikling af bæredygtige for - service- og viceværtfunktioner. retningsområder lokalt, regionalt og globalt. TV –GLAD Fonden beskæftiger over 200 menne - TV –GLAD s hovedpersoner og væsentligste ar - sker på hovedafdelingen i København og i de tre bejdskraft er og skal altid være mennesker med regionale afdelinger i hhv. Esbjerg, Aabenraa og funktionsnedsættelse/udviklingshæmning. Slagelse.

tv-glad.dk Booklet48_#GLADCD-004_booklet 27/02/12 22.58 Side 47

TV –GLAD TV –GLAD is a trust with two areas of commitment: Media and Education. TV –GLAD is the world’s first TV station for and featuring people with intellectual disability / GLAD Media is the producer unit, which includes functional impairment. television, radio and web editorial departments, an animation department, a theatre and Glad TV-Glad went live on 29 June 1999. Design. Glad Design illustrated and designed this CD box. TV –GLAD works to ensure that people with functional impairment are actively empowered GLAD Vocational School offers the three-year and qualified to make use of their freedom of youth training scheme for students with specialist expression to join in the dialogue both with one needs (STU) with the specialist curricula: TV, radio, another and the outside world via available theatre, animation, design and kitchen. media, forms of expression and products. In addition, a great many people with functional TV –GLAD creates and operates the necessary pro - impairment are employed in other departments on duction facilities to develop sustainable areas of e.g. catering, clerical, reception, service and jani - business locally, regionally and globally. torial functions.

TV –GLAD ’s protagonists and key human resources The TV –GLAD Trust employs more than 200 people are and always will be people with functional im - at its main division in Copenhagen and at its pairment / intellectual disability. three regional divisions in Esbjerg, Aabenraa and Slagelse.

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