Dream Songs

for mixed choir and percussion

By Erling Kullberg



    Composed 1981, commissioned by the Nordiska Körkomittén.
    Dedicated to Erling Kullberg
    First performance 1.5.1981 in St. Markus Church, Århus, the Jutland Academy of Music Choir, directed by Erling Kullberg
    Length 13 min.


The idea and the impulse behind the composition of Dream Songs arose in 1980, when Per Nørgård was writing music for Finn Methling's radio play, Tigerens, Harens og Dragens Timer (The Times of the Tiger, the Hare and the Dragon). This work included a lullaby, based on a Chinese model, portraying a little boy who in his dreams sees himself in the future as an adult .

The associations evoked by the pictures and characteristic adjectives used in the poem are ambiguous, that is, they tread a narrow line between the positive and the negative - an ambiguity that was bound to fascinate Per Nørgård.

Nørgård went to Methling and asked him to write two more verses, each of which would project and conjure up a clearer version of the dream, that is, an idyllic version and a nightmare version respectively. The same ingredients are to be found in all versions, though the roles are different.

In the utopian version, the picture of the future which the boy sees is purely idyllic: he is sitting in a wonderful carriage and the man, who is himself, is kind and friendly and clothed in bright colours. The grazing horses create a scene of security and peace, and full of trust the child asks: 'Where are we going?'. In the nightmare version the pictures evoked are linked to terror and violence: the carriage destroys everything in its path, the man is armed, violent and covered with blood. Terrified, the child is forced to scream out to him: 'Where are you going?'. Between these two extremes there is the original poem with its  ambiguous visions.



Per Nørgård wrote as follows about Dream Songs:

    Dream Songs (dedicated to Erling Kullberg) is in fact three versions of the same dream: the harmonious version, where everything is beautiful and there is no oppression; the ambiguous, which can be interpreted either way; and the nightmare version. The musical composition begins and ends with the harmonious, utopian version, but the part it plays in the story is different: the first time it appears it seems 'free and easy', 'flaccid', and opens the way to a reversal of fortunes, to nightmare and to conflict. In contrast to this, the second time it appears its harmony seems well-deserved - harmony regained. For a time.
    (????)



3 dream scenarios

text: Finn Methling based on a Chinese model

    Utopia

    Night is over, little child
    the storm is stilled, the East is red.
    Awake and you will get to see a carriage:
    golden, jade-green, pink and grey.
    Leaning against the carriage is a man
    in a coat sapphire-blue as the day.
    The horses are grazing, the man asks if you will go with him and travel far.
    Who is this person, little son?
    He is yourself, and you ask him:
    "Grown man, grown man, where are you going?"
    Fear not, smile at him, little child!
    Look straight at him, and ask:
    "Grown man, grown man, where are we going?"

    Ambiguity

    The day is gone, little son
    dream and you will get to see a carriage.
    The carriage has wheels of scarlet
    and a white mule draws it.
    Inside the carriage sits a man
    in silken hose with many-coloured threads.
    He bears a cape of squirrel skin
    over en waistcoat of white rabbit.
    Lean against the shaft, little son!
    Look into the carriage and ask him:
    "Grown man, grown man, where are you going?"
    Fear not, smile at him, little child!
    Look straight at him, and ask:
    "Grown man, grown man, where are we going?"

    Nightmare

    The sun is gone, little brother.
    Sleep and you will get to see a chariot:
    Knives bound to wheels of iron,
    gruesome, it leaves sorrow and wailing it its wake.
    High on the chariot stands a man:
    Grim helmeted, with spear, bow and arrow,
    he bears an oxhide cape over a bloody shirt of mail.
    The horse rears, the whip cracks.
    Do not run away! Scream at him, ask him:
    "Grown man, grown man, where are you going?"