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GO JAWTEN, GO JAWTEN MK316

GO JAWTEN, GO JAWTEN MK316

GO' MÅREN, GO' MÅREN BØK19

GO' MÅREN, GO' MÅREN BØK19

WILL YE GO, LASSIE, GO SATB

WILL YE GO, LASSIE, GO SATB

GO TELL IT ON THE MOUNTAIN

GO TELL IT ON THE MOUNTAIN

AGNESTIG OH, PETER, GO RING THE BELLS SSA

AGNESTIG OH, PETER, GO RING THE BELLS SSA

As Times Go By, Kopi

Sunleif Rasmussen: Krevgals Go Aprah (Score and parts)

For percussion and harp.

Sydney Bechet: When The Saints Go Marchin' In

Per Nørgård: Serenita

Written on the suggestion of guitarist David Starobin as a 'tiny dance-like movement to go along with similar bagatelles from all over the world'. Norgard's intention was that this piece should be performed after the piece 'Daggry', which is based on a poem by Henrich Nordbrandt. For Guitar solo.

Poul Ruders: 'Cha-Cha-Cha' A One Man Show For Jan Williams

This piece is part of a trilogy of compositions from Poul Ruders, all dealing with Latin American rhythms and percussion instruments. The red-thread rhythm of this piece is that of the classic cuban Cha-Cha-Cha but otherwise the piece can be considered a veritable merry-go-round of exciting Latin American rhythm patterns - Sambas, Baiao, Calypso, Mambo and so on.

Bo Holten: Venus' Wheel (score)

Contents:Römische Elegie I ? p. 7Römische Elegie V ? p. 21Ich bin der Welt abhanden gekommen ? p. 49Cantigas d?amigoNo. 1. How very great my grief ? p. 73No. 2. In the green grasses ? p. 84No. 3. ... to see my friend there ? p. 91No. 4. Lelia doura ? p. 98No. 5. ... prepare to go ? p. 104Handel with Care ? p. 121Rota VenerisI ? Quia sub umbraculum ? p. 133II ? Aprili tempore ? p. 148III ? Plangit nonna ? p. 155

Palle Mikkelborg: Going To Pieces Without Falling apart (Score)

Palle MikkelborgGOING TO PIECES WITHOUT FALLING APART2002for violin, harpe og strygereTilegnet Elise Båtnes og Helen DaviesForord l ProgramnoteEn solful d morgentur i Melbourne bragte mig forbi en boghandel der specialiserede sig i "spiritualbooks", og i vinduet faldt mine øjne på et citat som øjeblikkeligt ramte mig følelsesmæssigtstærkt- og jeg følte at jeg havde fundet titlen på den komposition jeg på tankeplan allerede vari gang med. Citatet lød:"going to pieces ... without falling apart"Tre temaer og relaterede skalaer, baseret på henholdsvis Elise Båtnes', Helen Davies' og BergenKammerensembles navne, har været afgørende for dele af tonesproget, og forekommer både ielose-up og mere douche i kompositionens syv hovedafsnit.Det barnlige, det enkle, det her-og-nu naive, det umiddelbare, kom til at spille en vigtig rolleunder arbejdet. Ikke fordi selve mit tonesprog er særligt meget anderledes end ellers (hvordanskulle det også kunne blive det?), men formuleringen: at go to pieces fik mig til at tænke på "atblive som barn på ny", atter at være u-bange, at turde tro på det enkle.Udover denne- i bedste betydning- enkle inspiration er ønsket at kompositionens kurve kanopleves som en mulig "meditiations-rejse"; i starten en tro på egen ro, langsomt breder uroensig, og i lystfulde glimt ser man sig selv "danse" en rituel dans, med åndehuller her og der; ogfristelsen til at rive forhænget væk og go to pieces, og angsten for måske at miste sig selv undervejs,breder sig. Dog, til sidst erkender man at det var rejsen værd, og at man heller ikke denne gangfaldt apart, men kan se frem mod atter at vise livet sin respekt ved spirituelt fuldstændigt at givesig hen, dog vel vidende at livet merciless & merciful, med kærlig hånd villade dig"go to pieces ... without falling apart"Men selvklart er mit egentlige ønske: at man blot lader musikken leve sit eget ordløse liv - atlytteren har sin egen rejse.Palle Mikkelborg

Outi Tarkiainen: Beaivi (Study Score)

Beaivi is inspired by the Sami poet Nils-Aslak Valkeapää's poem "When that time approaches", where the first encounter with light after the lengthy polar night is described with exceptional significance. The word beaivi comes from the northern Sami language meaning sun or day. The play of light - its dawn, a brief shimmering before darkening again - are characterized throughout the textures and timbres of the piece. Beaivi is dedicated to the Danish chamber music ensemble Lydenskab , who also commissioned the work. "When that time approaches I notice how frequently I ski higher than necessary and when I finally see the peaks turn red I am not ashamed to admit that I go to a high place in order to see the sun" -Nils-Aslak Valkeapää English translation by Ralph Salisbury Parts are available: WH32985A

Poul Ruders: Piano Concerto No.2

For Piano and Orchestra.Commissioned by The Norwegian Radio Orchestra and Jerome Lowenthal.Full Score.Orchestration3 Flutes (3rd dbl. Piccolo)3 Oboes (3rd dbl. Cor Anglais in F)3 Clarinets (1st and 2nd in Bb, 3rd in A, dbl. Bass Clarinet in Bb)3 Bassoons (3rd dbl. Contra Bassoon)4 Horns in F3 Trumpets in Bb3 Trombones1 TubaPercussion (2 players)1: Chinese Cymbal (suspended/bowed)XylophoneMark Tree]TriangleAnvilPolice WhistleVibra SlapSnare Drum2: GlockenspielTamTamBass DrumCrotalesVibraphoneKick Drum with Hi-Hat1 HarpPiano SoloViolin 1 (min. 10)Violin 2 (min. 8)Viola (min. 6)Cello (min. 4)Double Bass (min. 4)The score is notated in transpositionAll accidentals apply to each single note only. Naturals for 'safety'.Programme NotesIn this day and age, when faced with the challenge of writing a 'Piano Concerto', e.g. a piece for symphony orchestra and an all-dominating and virtuosic solo Piano part, one has two options: either: DO, or do NOT go for it wholesale, exploiting and enjoying the conrnucopia of sonorous treasures offered by the combination of the orchestra and the 'Grand Piano'. I have opted to go for it. When writing for one of our great young international Piano stars, it would be absurd, and a waste, to do anything less and only 'nibble at the goodies'.However, the piece is not a big, clunky 'machine'. Rather it is a transparently orchestrated neo-classic (for the lack of a better work) composition in three movements, lastign approximately 25 minutes.The piece begins with a moderately paced opening, in which the Piano gradually gathers momentum and strength, beginning with the most gentle of motifs. In this movement the soloist and orchestra fo not always agree, and the vigilant listener will observe the disparity between the two. Following a swift, up-beat coda, the movement stops, almost in mid-breath, on one of the gentle Piano chords taken from the very opening.The extreme simplicity of the second movement, 'Semplice' (the opening Piano solo bears the marking: 'slightly hesitant - like a child practicing') is, after having been joined by the Vibraphone, Harp and solo Violin, suddenly violated with unprecedented brutality by the rest of the orchestra, which virtually 'lies in wait - panting to pounce'. But eventually calm and order is restored.The finale is a crazy rondo of sorts. The marking 'Avanti Risoluto' (Forward with Resolve) is a bit of an understatement. It is a full throttle, no hold barred ride - and hopefully lots of fun for everybody.         - Poul Ruders, February 2010

Bent Sørensen: Lullabies

Bent SørensenLULLABIESfor piano2000Preface / Programme NoteSome melodies keep haunting me; they will stick in my mind, and I will walk abouthumming them, and they will find their way into my music.Two such melodies are the basis for the present piano piece, which I callLULLABIES. The first little tune began its life as a ballad in an operatic draft ofmine. Later on ? with text by English poet Selima Hill ? it became part of my songcycle ROSES ARE FALLING for mezzo soprano and piano. In the latter context itis a love song, but I have always had a lullaby-feeling about this tune, and, indeed,as a lullaby it appears in my opera UNDER THE SKY, to text by Peter Asmussen; inthe opera, the loved one sings and hums to her beloved and make him come to rest.During LULLABIES the tune will appear a half tone lower with each entry, andmake its way downwards through the musical texture, from upper voice to bassline.The other little melody is a true lullaby, which I hummed for my youngest daughterto try and make her go to sleep. Later on it became the backdrop for the last movementof my trombone concerto, BIRDS AND BELLS.The two melodies in their original form are reproduced at the beginning ofLULLABIES.Bent Sørensen, 2000

Poul Ruders: Paganini Variations- Guitar Concerto No.2

Ruders writes: There's a solid tradition in the history of Western music of turning the theme of Nicolo Paganini's "24th Caprice" for soloviolin into a set of variations endemic to the time and style of each individual composer; Liszt, Brahms, Rachmaninov and Lutoslawsky being the most prominent names. When asked by David Starobin to write a concerto for him, I though "well, why not have a go at it?" - bearing in mind, that not only is Paganini the most celebrated violin-wizard of all times, but he was also a more than accomplished guitarist. There are 22 variations in all, numbers 1 to 16 all adhering strictly to the 16-bar pattern, laid down by Paganini himself. From variation 17 though, the writing becomes more symphonic and the rigid 16-bar regime is being lossendes up a bit. However, the last variation 'Finale Prestisimo' is a 6 x 16 bars "white-knuckle ride", in which the hitherto soloistic role of the guitar gives way to that of 'primus interpares', i.e. 'first among equals'. As with another set of variations of mine 'Concerto on Pieces' (based on a tune by Purcell), the nature and shape of the 'Pagannini-Variations' may be compared to a stroll through a hall of mirrors: the "portrait" - the theme is gradually being distorted out of all recognition - but it's still the same "original" walking by.

Per Nørgård: String Quartet No.10 - Harvest-Timeless (parts)

Programme Note During the composition of my tenth string quartet a flower-name, høst-tidløs, came to my mind - and it would not me leave again. [høsttidløs is actually autumn crocus in English, but the composer prefers harvest-timeless, to maintain some of the associations of the Danish flower-name, red.] The paradoxical union of a seasonal time (harvest) and no-time-at-all was a good fit to the sections of the work that I had composed at that time, and I decided to tentatively stick to that title for the work-in-progress, and now, having finished the piece, I can say that is is still a fitting title - and it stands. Enough about the title, I will go on to describe the music, a somewhat more precarious project. My tenth string quartet is probably the most basic string quartet that I have composed; melodically - and in sound - it employs the naturally based overtones and undertones* (perceived at major and minor, respectively), and rhythmically it is based on growth, on the principles of the Golden Section, and the structure itself contrasts abundance and exuberance with sections of immobility and contemplation. However, Melos, melody, is definitely the dominating aspect of my STRING QUARTET NO. 10; behind even the most rhythmically complex or pure sonoric sections lies a firm - if hidden - basis of melodic or polyphonic ideas. The work was composed in 2004-2005 for the Kroger Quartet.

Per Nørgård: String Quartet No.10 - Harvest-Timeless (score)

Programme Note During the composition of my tenth string quartet a flower-name, høst-tidløs, came to my mind - and it would not me leave again. [høsttidløs is actually autumn crocus in English, but the composer prefers harvest-timeless, to maintain some of the associations of the Danish flower-name, red.] The paradoxical union of a seasonal time (harvest) and no-time-at-all was a good fit to the sections of the work that I had composed at that time, and I decided to tentatively stick to that title for the work-in-progress, and now, having finished the piece, I can say that is is still a fitting title - and it stands. Enough about the title, I will go on to describe the music, a somewhat more precarious project. My tenth string quartet is probably the most basic string quartet that I have composed; melodically - and in sound - it employs the naturally based overtones and undertones* (perceived at major and minor, respectively), and rhythmically it is based on growth, on the principles of the Golden Section, and the structure itself contrasts abundance and exuberance with sections of immobility and contemplation. However, Melos, melody, is definitely the dominating aspect of my STRING QUARTET NO. 10; behind even the most rhythmically complex or pure sonoric sections lies a firm - if hidden - basis of melodic or polyphonic ideas. The work was composed in 2004-2005 for the Kroger Quartet.