Grafisk notation, interpretation och musikalisk gestaltning med utgångspunkt i Torsten Nilssons ”Nativitas Domini”

Abstract

Septem Improvisationes pro organo op 27 by Torsten Nilsson is a suite of seven organ pieces composed during the 1960s and 70s. The suite is a high point in Swedish organ composition in the style prevailing at the time. The work contains a mixture of graphic notation and traditional notated sections. The use of symbols and graphics indicates the necessity to improvise certain passages and therefore it allows a great deal of free expression. The music combines Gregorian tradition with avant-garde context and is linked to a biblical event with accompanying Bible quotes. As a starting point for my analysis, I use the second piece in the suite, “Nativitas Domini”. It was written in 1968-69 for Gustavi Cathedral's organ and is dedicated to the then cathedral organist Henrik Jansson, who also was a good friend to the composer. The piece is based on the antiphon to a Gregorian introitus, traditionally sung on Christmas Day: Puer natus est nobis. The work is built up of alternating strict and freer sections. Part of my analysis consists of how the hymn, with text about the incarnation, correlates with the piece. The graphic representation of the music is here inventoried and the biblical text from Luke's Gospel about the birth of Jesus is placed in the sheet music to better enhance the musical performance of the content of the text when playing. An inventory of recordings is made to find similarities and differences in behaviour practices. Conversations with organists with this piece in their repertoire are carried out and different techniques are tried out in my own exploration at the organ. This part also includes different positions in relation to the instrument, the room and contextual conditions. Through problematizing the concept of interaction, my knowledge has broadened both artistically and denominationally: • My ability to musically perform a sequence of events has been improved through both sonorous design by the organ and playing skills in improvisation. • During the study of Torsten Nilsson's incarnation music, my view of church music has deepened.