"Per Nørgård"
- Spaces in Time
- Waves
- ii. Man - Animal
- epilogue
- The Taming Power Of The Small - 9 Sounds
- Act I: 'Se Maya danser'
- The Red Mask Of Death
"Per Nørgård"
Act I: 'Se Maya danser'
автор:
Per Nørgård
альбомы: NORGARD: Siddharta / Percussion Concerto, 'For a Change'
- Текст
- Перевод
- Открытка с текстом
I was one as you were one And we were two so much in love forever I loved the white socks that you wore But you don't wear white socks no more, now you're a woman I joked about your turned-up nose And criticized your school girl clothes But would I then have paced these roads to love you For seasons come and seasons go Bring forth the rain the sun and snow Make Valerie a woman - And Valerie is lonely No more to roam on the snow hills of Hienton Undecided with the guardians of the older generation A doormat was a sign of welcome In the winter months to come And in the summer laughing Through the castle ruins we'd run For the quadrangle sang to the sun And the grace of our feeling And the candle burned low as we talked of the future Underneath the ceiling There were tears in the sky And the clouds in your eyes were just cover For your thighs were the cushions Of my love and yours for each other For seasons come and seasons go Bring forth the rain the sun and snow Make Valerie a woman - And Valerie is lonely The songs still are sung It was fun to be young But please don't be sad where `ere you are I am who I am You are who you are Now Valerie's a woman (3x)
Я был один, и ты одна, Мы оба были влюблены навеки. Носила ты белые гольфы, которые я так любил, Но ныне не носишь ты белые гольфы, ты женщина ныне. Шутил я над тем, как ты нос задираешь, Ругал твою школьную форму. Но мог ли тогда я пройти все пути до любви? Сезоны сменяют друг друга, Дожди принося с собой, солнце, снега, И женщиной с ними тогда Валери становилась, Но днесь Валери одинока. И некому больше бродить по заснеженным хо'лмам Хайентона, И участь его не решилась еще поколения старшего опекунами. Ковер при дверях нас приветствовал В зимние месяцы, когда приезжали мы, Равно и летом, смеясь, Средь руин того замка играя. Там дворик квадратный пел солнцу И чувств красоте наших пел, И свечи горели тускло, пока мы вели разговор о грядущем Под сводами теми. И в высях небесных всё слезы блестели, И очи твои облака застилали, И бедра твои тогда ложем служили Для нашей любви, для обоих, для нас. Сезоны сменяют друг друга, Дожди принося с собой, солнце, снега, И женщиной с ними тогда Валери становилась, Но днесь Валери одинока. Те песни поются доныне, Как весело быть молодыми, Но где б ни была ты, молю, не грусти... Я есть, кто я есть, Ты есть, кто ты есть, И женщина днесь Валери. (3 раза)
Composed 1974-1979
Opera-ballet in 3 acts (I Morning, II Noon, III Evening)
Libretto by the composer in cooperation with Ole Sarvig
First performance 18.3.1983 at the Opera, Kungliga Teatern, Stockholm
Revised 1983 (the section called Darkness Falls)
Length: 2 hours
Siddharta was Per Nørgård's third opera after Labyrinten (1963) and Gilgamesh (1972). It was composed as part of a major project commissioned by the national operas in Oslo, Helsinki, Stockholm and Copenhagen, comprising four operas by four different Scandinavian composers. Each was to be performed for the first time at the national opera in the composer's native country, and would then tour the others.
After the success of Gilgamesh in Stockholm, much more interest was shown in Per Nørgård's new opera there than at the Royal Theatre in Copenhagen, and Nørgård sent his score to both theatres at the same time,
The first performance took place in Stockholm in March 1983. The first performance in Denmark was in 1984 - a concert performance by the Danish Broadcasting Corporation - and in 1987 the opera was produced at the Royal Theatre.
Per Nørgård had called Siddharta an 'opera-ballet', thereby underlining the balance he had striven to achieve between the music, the theatrical element and the choreography. Dance, acting and choral scenes play a major part in the work. Several of the main parts - such as Maya and Amra - are not played by singers, but by dancers.
Text and story
The text for Siddharta was written in cooperation with the poet, Ole Sarvig, whose poetry interested Nørgård a great deal in the middle of the 1970s. He made use of it in the choral works, Frostsalme (Frost Hymn) Vinterkantate (Winter Cantata) and Kredsløb (Circulation). This textual cooperation was unusual: Per Nørgård did not want to compose a 'writer's opera', putting music to an already completed libretto. He was looking for an integrated process, in which text and music influenced each other and grew interactively. Sometimes the music arose as an abstract harmonic vision before words were put to it; at other times, Nørgård wrote fragments of text himself, which Sarvig could elaborate on if he wanted to:
In fact, Ole took a paternal interest in these baby cuckoos and breathed creatively on their feathers with his poetic muse, so that they fitted into his own contributions without attracting too much attention. One by-product of this cooperation, moreover, was that Ole insisted on only being credited for 'assistance'.
The opera is based on the 2,500 year-old legend about the childhood of the young Buddha, the son of the king at the palace of Kapilavastu - before he achieved enlightenment and became the Buddha.
After composing the opera Gilgamesh, the hero of which passes by way of loss to self-control and a love for his fellow beings, Per Nørgård was interested in following up this same idea, but at another psychological level.
Prince Siddharta was apparently born with special qualities, and it was foretold that the child would become the ruler of the world, though it was uncertain whether this would be at the secular or spiritual level. Siddharta's father strongly wished his son to be brought up as a secular ruler and did all that was in his power to prevent a spiritual awakening. The king created an artificial environment around Siddharta - a palace and garden of pleasure where the boy grew up surrounded by beauty, joy and happiness. All signs of transience, illness and imperfection were banished from his sight.
The young Siddharta threw himself into all these worldly pleasures with great enthusiasm, and he married the beautiful and intelligent Princess Yasodara, who bore him a son. But in the end, the deception was revealed. Siddharta was 'accidentally' initiated into the dark side of human existence, and with this awareness was forced to leave the palace and those who dwell there - all that had made up his life and happiness - in order to journey out alone into the world.