Constellations

3rd. movement


Interaction
The 3rd. movement, with its concertante construction, is dominated by the interaction between the different string instrument groups. However, this etiquette does not only refer to the concerto grosso-like characteristics, but also to the inspiring dialogue between the different thematic ideas, for example, between a pulsating, motorial theme and a cantabile.

Motorial
Sample score from the 3rd. movement, bars 4-7



Cantabile
Score sample from the 3rd. movement, bars 56-62


*This example was first adduced in Mogens Andersen's analysis in DMT 1959 p. 138, later repeated in Bo Wallner's 'Vår Tids Musik i Norden', and again in Jens Johansen's thesis, 'Per Nørgård - Teori og Komposition efter 1970', Århus University 1978, who also points out the rhythmical metamorphosis
The constellation principle, with its linear development of themes, is heavily influenced by the metamorphosis principle, which was the dominating principle of dynamic form in Danish music of the 50s, not least in the works of Nørgård's teacher, Vagn Holmboe.

Metamorphosis is about organic change, gradual transformation. The term is cognate with the principle of variation, but in contrast to this familiar form ('a theme with variations'), the metamorphosis process can be pushed to such an extent that the original point of departure cannot be recognised in the final stage.

A very clear example of how this extreme diversification in the development of motifs can take shape can be seen in the following passage from the 2nd. movement*:


Score sample © Edition WH