2011; dur: 10′; String quartet; Score at Wise Music Classical
The backdrop for this commission was to complement music by the great Ludwig van Beethoven. Beethoven’s scores for string quartet is a cornucopia of techniques and musicality. They were certainly not meant for pure entertainment. Ending up with Beethoven’s quartet Op. 59 No. 1 as a reference for this piece, I even used elements from this quartet in my own composition.
Beethoven’s position as a free artist has been of great importance to all following composers. This is of equal inspiration as his music. As a free artist, one has to reflect upon our own time, and not be afraid of allowing reality affect our work. When I was in the middle of writing this piece something horrible happened in my neighbourhood. A bomb exploded in Oslo and a killer shot teenagers on an island summer camp. My nation’s reputation as a peaceful country to live in was drastically and forever changed. It was hard to compose. Papers and online media were soon filled with horrible pictures from the events. The lead-coloured skies being a recurring sight.
The ambiguity in the title reflects both hope and dread. Beethoven’s light shines through, strong and full of life!
(Norwegian programme note below)
The piece was commissioned by the Engegård Quartet in 2011. On the record String Quartets vol IV: Schubert-Ratkje-Britten-Haydn.
A later piece is made for string orchestra: Tale of Lead and Frozen Light.
Press quotes
“After the interval we heard Norwegian composer Maja Ratkje’s A Tale of Lead and Light, commissioned by the quartet in 2011 the work was affected by the terror attacks in Oslo during that Summer. Ratkje also has a career as an improvising vocalist, whilst as a composer she works with electronics and it was fascinating to hear how these elements seemed to shade into her writing for four string instruments. The work began with a feeling of phrases suspended in space, small gestures gradually accumulating until generating an underlying nervous energy, but still with a use of space. As the work progressed, the violence and intensity of the writing seemed to relate also to the music of Bartok that we heard in the first half. The work seemed to be unwinding to nothing, but then a collective violent intensity reappeared, only to die down again, a sense that the composer could not quite shake of the effect of the violent events around her, yet finally it ended with an astonishingly transparent, mobile texture that seemed to come out of nowhere, offering light and hope.” (Planet Hugill 2024)
“Hun folder ut sitt klangspektrum på fineste vis, og verket oppviser et fint, dynamisk spenn.” (Dagbladet 2014)
“Utväxlingen mellan tradition och samtid, mellan människa och samhälle, gör musiken stark, genom bejakelsen av det skira och fräna.” (Magnus Haglund, GP)
“Med sin stråkkvartett ”Tale of lead and light”, komponerad efter händelserna på Utøya och även den med referenser till Beethoven, färgade Maja Ratkje dessa festivaldagar som ingen annan tonsättare före henne.” (Martin Nyström, Dagens Nyheter)
“Aussagekräftige österreichische Erstaufführung. Ausgehend von Beethovens Streichquartett op. 59/1 verfasste die 39-jährige Komponistin Maja Ratkje ein Werk, das von Beginn an die Aufmerksamkeit auf sich zog, denn eine große Erwartungshaltung wurde bereits mit den flirrenden einleitenden Gesten gesetzt. Die Aura Beethovens schwang durch den musikalischen Duktus hindurch mit. Unter anderem wurden harmonische Eckpfeiler vielgestaltig kommentiert, plastisch umrankt und spannenden musikalischen Auflösungsprozessen ausgesetzt. Während des Entstehungsprozesses dieses Streichquartetts im Jahr 2011 wurde Norwegen von einer Terrorattacke erschüttert. Nachher war nichts mehr so wie bisher. Auch im Werk von Maja Ratkje hat dieser Gewaltakt Spuren hinterlassen. Dramatisch wirkte der Zusammenbruch vor allem durch die Zurückhaltung, mit dem er sich in der Musik widerspiegelte. Doch allmählich entstand wieder Neues, so dass zum Schluss hin die Farbe des Beginns wieder durchflimmerte.” (Kultur 2012)
“…For etter den nydelige avslutningen av Schubert, blir vi kastet rett inn i 22. juli 2011 med Maja Ratkjes inderlige og såre «Tale and Lead and Light». Dette verket er skrevet rett etter massakren på Utøya og regjeringskvartalet i Oslo, og er blitt et personlig bilde som hun deler med lytteren. Takket være eminent kvartettspill, fikk undertegnede frysninger flere ganger under gjennomlyttingen. Dette viser at en slags programmusikk fortsatt har sin misjon i dagens musikk-norge.” (Anders Erikson, Den Klassiske CD-bloggen 2015)

Beethoven skrev musikk for strykekvartett på bestilling fra Grev Razumovsky i 1806. Da var Ludwig 36 år gammel. Greven skulle ha tre kvartetter for å underholde sine gjester. Beethoven skrev, leverte og fikk betalt. Men skrev han det de ville ha? Disse kvartettene (Op. 59) er ikke blant de ”gale”, men de er langt ifra forlystelsesmusikk til munter passiar over en drink.
Beethoven ga oss ikke bare musikk, som fri kunstner har han inspirert skapende musikere fram til i dag. Derfor kan jeg skrive absolutt hva jeg vil når jeg setter meg ved arbeidsbordet. Og det er kanskje den største inspirasjonen, men også en forpliktelse. Den sommeren jeg skrev på dette verket hendte det forferdelige som har preget selve sjelen til landet vårt. Etter 22. juli føltes det meningsløst å komponere, men jeg fortsatte. Den blygrå himmelen preget alle de uvirkelige bildene fra denne dagen. Dette kom til å prege verket som tok en annen retning enn det jeg hadde planlagt. Jeg trengte et lys, og lar Beethoven skinne gjennom, ved bruk at bearbeidede sitater fra hans Op. 59 nr. 1.