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Rued Langgaard: Symfoni nr. 1 "Klippepastoraler"

Symphony No.1 'Klippepastoraler'. Instrumentation: 3.3.3.3/8.3.4.1/2 timp/perc/2 hp/str (in 5th movement also: 3 trp, 3 trb + tuba off stage). BVN32

Søren Nils Eichberg: Piano Concerto No.1

For Piano Solo and Orchestra.Full Score.Orchestration2 Flutes2 Oboes2 Clarinets in Bb (1st also Eb Clarinet, 2nd also Bass Clarinet)2 Bassoons (2nd also Contra Bassoon)4 Horns in F2 Trumpets in C2 Trombones (2nd = Tenor-Bass Trombone)TimpaniPercussion I: Vibraphone (motor always off), Hi-Hat, High Brake Drum, Low Tom-TomPercussion II: Xylophone, Tubular Bells, Crotales, Hi-Hat, Low Brake Drum, High Tom-Tom, Gran CassaCelestaSolo PianoStrings

Bent Sørensen: The Bells Of Vineta

Work for Trombone. Sorensen writes: 'The title The Bells Of Vineta refers to the journey through Sweden in Selma Lagerlöf?s book The Wonderful Adventures of Nils Holgersen, in which Vineta is the city under a curse. Situated off the Gotland cost, Vineta only appears from the water once every hundred years and then sinks into the sea again. However, my work does not relate programmatically to the myth; it is simply the expression of associations with ringing bells sinking into the sea. a sense of "pastness" prevails in and beyond this piece.'

Per Nørgård: Symphony No. 6 (Score)

Per NørgårdSYMPHONY NO. 6AT THE END OF THE DAYfor orchestra, 1997-99Preface / Programme Note?? with the Lord a day is like a thousand years, and a thousand years is like a day?(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean ?when all is added up?. However, in my opinion, nothing ever quite adds up, there is always ?something? missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still ?something?, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of ?other worlds?, is revealed ....The symphony is dedicated to Helle, my wife.Per Nørgård

Come Together The Song Book

31 sange fra teaterkoncerten Come Together I forbindelse med Gasværkets teaterkoncert Come Together har Wilhelm Hansen udgivet et nodehæfte med alle sangene fra showet. Her får du 31 Beatles-klassikere flankeret af Anja Vang Kraghs originale kostumetegninger til forestillingen. Becifret melodilinie med underlagt tekst. Gennemillustreret i farver INDHOLD Across The Universe All My Loving All You Need Is Love Baby's In Black Back In The Ussr Because Carry That Weight Come Together Day Tripper Dig a Pony Eight Days a Week Eleanor Rigby Get Back Getting Better Golden Slumbers Happiness Is A Warm Gun Hello Goodbye Help! Helter Skelter Here Comes The Sun I Am The Walrus I Me Mine I'm So Tired Norwegian Wood (The Bird Has Flown) Nowhere Man Revolution She Came In Through The Bathroom Window Strawberry Fields Forever Why Don't We Do It In The Road World Without Love Yesterday You've Gotta Hide Your Love Away Your Mother Should Know  

Juliana Hodkinson: Turbulence - An Opera In Three Scenes (Score)

Turbulence - or, ‘the underlying forces usually hidden’- an Opera in three scenes by Juliana Hodkinson (2013). Libretto by Cynthia Troup. For soprano voice with electronic pocket piano* and groovebox*, young female actor with hand-held microphone and shortwave radio, vintage fans, audio samples (*may be redistributed to off-stage player or sound desk). The libretto and score for Turbulence were commissioned by Chamber Made Opera in 2012. Turbulence was first performed by Deborah Kayser (soprano) and Anneli Bjorasen (actor), and directed by David Young, with sound design in performance by Jethro Woodward — the premiere season opened in Melbourne on 3 October 2013, as part of Chamber Made Opera’s Living Room Opera series.

Studium

Poul Ruders STUDIUM: Concerto for 2 percussionsoloists and OrchestraAs indicated in the Latin title STUDIUM, this concerto is a study or etude for virtuoso percussion and orchestra and a composer?s studium of the meticulous and patient building up a huge structure based on a very tight and sparse material. The title originally means and undertaking done with ardour and the wish to strive for the highest possible goal, a natural aim in any artistic endeavour. The orchestra and the soloists work in a body towards the off-centre placed climax, the technical level of the soloists increasing form ensemble status to stupefying virtuosic display, whereas the orchestra maintains its tightly composed surround-sound. What then happens shall remain a surprise.Poul Ruders

Per Nørgård: Zigzag (Parts)

Programme Note Zigzag ? percussion sextet (1981)ZIGZAG (1981, earlier entitled just SEXTET) is the second of my three percussion sextets (the other being RONDO (1964) and SQUARE AND ROUND (TWO DANCES) (1986)). ZIGZAG derives its characteristic rhythmic impulse from the establishing of simple metres (for instance four-bar patterns) that are abruptly cut off before completion, only to start over again immediately. This creates a sort of "cubistic" rhythmic effect, present also in my ISTERNIA (1979) for marimba solo and SONORA (1981) for flute and harp.Several percussion ensembles have performed SQUARE AND ROUND together with ZIGZAG, the latter played attacca as a third movement. I find the result of this combination convincing and satisfactory and I recommend it in performance ? with the title?Square, Round and Zigzag ? 3 pieces for percussion sextet? (1981/86).However, SQUARE AND ROUND as well as ZIGZAG may still be played separately.Per Nørgård

Per Nørgård: Zigzag (Score)

Programme Note Zigzag ? percussion sextet (1981)ZIGZAG (1981, earlier entitled just SEXTET) is the second of my three percussion sextets (the other being RONDO (1964) and SQUARE AND ROUND (TWO DANCES) (1986)). ZIGZAG derives its characteristic rhythmic impulse from the establishing of simple metres (for instance four-bar patterns) that are abruptly cut off before completion, only to start over again immediately. This creates a sort of "cubistic" rhythmic effect, present also in my ISTERNIA (1979) for marimba solo and SONORA (1981) for flute and harp.Several percussion ensembles have performed SQUARE AND ROUND together with ZIGZAG, the latter played attacca as a third movement. I find the result of this combination convincing and satisfactory and I recommend it in performance ? with the title?Square, Round and Zigzag ? 3 pieces for percussion sextet? (1981/86).However, SQUARE AND ROUND as well as ZIGZAG may still be played separately.Per Nørgård

Poul Ruders: Break-Dance (Parts)

Break-Dance is an obvious next of kin to the two Clarinet trios Vox In Rama and Tattoo For Three. This piece, however, combines the roaring despair of the first trio with the twisted rhythmical display of the latter. The title, of course, is a reference to the modern street-dance electric boogie, but the very music itself takes the naming most literally indeed: formally and rhythmically, after a straightforward head-on opening, it breaks into isolated, jagged fragments, winding up in a bouncing piano cadenza. Albeit not an obvious piano concerto, the piano part hovers in the front line, the same way the horizontal guy, ringing himself on the pavement, is doubtless an eye-catcher to passers-by. The springy 'body-language' that kicks off the piece suddenly stiffens and freezes into hard-edged blocks and the real 'dance of breaks' emerges into focus. Break-dance is commissioned by and dedicated to Yvar Mikhashoff and Spectrum. Arranged for 2 Trumpets, 3 Trombones, and Piano.

Poul Ruders: Break-Dance (Score)

Break-Dance is an obvious next of kin to the two Clarinet trios Vox In Rama and Tattoo For Three. This piece, however, combines the roaring despair of the first trio with the twisted rhythmical display of the latter. The title, of course, is a reference to the modern street-dance electric boogie, but the very music itself takes the naming most literally indeed: formally and rhythmically, after a straightforward head-on opening, it breaks into isolated, jagged fragments, winding up in a bouncing piano cadenza. Albeit not an obvious piano concerto, the piano part hovers in the front line, the same way the horizontal guy, ringing himself on the pavement, is doubtless an eye-catcher to passers-by. The springy 'body-language' that kicks off the piece suddenly stiffens and freezes into hard-edged blocks and the real 'dance of breaks' emerges into focus. Break-dance is commissioned by and dedicated to Yvar Mikhashoff and Spectrum. Arranged for 2 Trumpets, 3 Trombones, and Piano.

Pelle Gudmundsen-Holmgreen: Incontri (Score)

For Orchestra.Score.Commissioned by The Danish National Symhony Orchestra / DROrchestration3 Flutes, 3rd dbl. Piccolo3 Oboes, 3rd dbl. Cor Anglais3 Clarinets in Bb, 3rd dbl. Bass Clarinet in Bb3 Bassoons, 3rd dbl. Contra Bassoon4 Horns in F3 Trumpets in C3 Trombones1 Tuba2 Percussion (2 players)TimpaniStringsThe Score is written in CPreface / Programme NoteINCONTRI is a kind of orchestral prelude presenting some of the orchestra?s timbralpossibilities. The timbres of the instrument groups emerge either clear on their ownor in various blends. There are no doublings between the three main groups ? winds,strings and percussion ? each group maintains its own individual character, evenduring the encounters; as in a forest where different kinds of birds continue theirterritorial song without yielding or altering their signals.The joint musical project is not unlike a Baroque concerto grosso, not only in theway the form plays the groups off against each other, but also in the musical languageitself.I have previously written a concerto grosso which I called ?Jungle Baroque? becauseof its savage and wild sounds. The same thing can be said about INCONTRI ? bydegrees.Pelle Gudmundsen-Holmgreen

Britta Byström: Ten Secret Doors - Suite For Orchestra (Score)

Ten Secret Doors - Suite For Orchestra was composed by Swedish composer Britta Byström in 2010. Commissioned by Västerås Sinfonietta, and premiered by VS, conducted by Johannes Gustavsson on April 14, 2011. Programme note: Each of the ten movements in the orchestral suite Ten Secret Doors contains a transformation, a stage-change in sound, meant to give a feeling that the music "slips away". In the first movement this transformation is achieved by a sudden orchestral sound change from tutti to solo. There follow changes from muted sound to open sound, from wind section to string section, from bow play to pizzicato play. In the last movement there is a trumpet solo that is first played on stage, then off stage - a transformation from close to distant. I pictured the ending of every movement as the opening, rather than the closing, of a door. In this work there is also a small musical quotation from 'Von fremden Ländern und Menschen' (from Robert Schumann's famous Kinderszenen). This phrase snuck into music as a greeting from another suite characterized by many short movements of flightiness and lightness. (Britta Byström)  

Poul Ruders: String Quartet No.4 (score)

Programme Note It might be of interest for some to note, that a gap of only six months separates the writing of my second and third quartets (1979), but a 33 year interval stands between the third and the present piece, String Quartet No. 4.Which is in five movements and is about nothing but itself. The first movement "Adagio - Presto alla breve - Adagio" is an overture of sorts, lifting the lid, as it were, on the odd bit of what happens later on in the other movements.A portal into: The second movement "Vivo scherzando", which is just that: a short (2 minutes only) fast and jocular piece leading up to the next movement: "Adagio sognante", a slow and hushed dream-world, paving the way for the pièce de resistance of the entire quartet: "Presto alla breve", a ferociously fast tour de force for the four players, who, with that one under their belts, can lean back a little (but only a little) and put the whole thing gently to bed in the fifth and final movement: a simple "Adagio". Off the record: my first string quartet (1972) has been withdrawn and is no more, a fact that renders the numbering of the subsequent quartets a matter of personal conviction. Poul Ruders, November 2012

Hans Amrahamsen: J.S. Bach: Befiehl Du Deine Wege

A Chorale arranged for 15 Instruments. Full Score for ensemble.Bach's Befichl du deine Wege is a chorale setting (BWV 272), which Hans Abrahamsen has arranged for fifteen instruments. In Hans Albrahamsen's adaptation Bachs chorale gradually ernerges from two melodic fragments, both borrowed from the Danish composer Poul Ruders' Four Dances in One Movernent'. In fact both fragments are taken from the last three bars of Ruders' composition. One of Ruders' small melodies is descending, the other is ascending. The metamorphosis from Ruders to Bach can be accomplished because both of Ruders' melodic fragments are in fact 'hidden' among the parts of this Bach chorale inasmuch as the composer has transposed it into B minor. In the first verse we hear only the descending Ruders melody. In the secend verse Ruders' second, ascending and chrornatically coloured melody is added. In the subsequent verses more and more melodies are added. Thus the piece begins with Poul Ruders' melodic fragment in the foreground. In the course of the next verse Ruders' material gradually recedes into the background, and permits Bachs face to ernerge with increasing clarty in the foreground. The piece is dedicated to Poul Ruders.             - Thomas MichelsenArrangement1 Flute1 Oboe1 Clarinet In Bb1 Bassoon1 Horn in F1 Trumpet in Bb1 Trombone (Tenor)1 Vibraphone (Motor Off)1 Harp1 Piano1 Violin I1 Violin II1 Viola1 Cello1 Double Bass

Bent Sørensen: Minnewater (Score)

Work for Chamber dating from 1988.The composer writes:MINNEWATER means ?love water?/?love lake?, but when I began to compose the work, this direct meaning of the title was not very important to me. Rather the word itself had a magical sound. Later on, however, it occurred to me that the piece was full of mumbling swells and swarming cascades, and the sensation of water is perhaps most perceptible towards the end where lots of falling water movements are felt behind the emphasized rhythmic surface. Falls that moreover, quite literally at the end, sinks into the water. MINNEWATER has a subtitle: THOUSANDS OF CANONS, which directly refers to a compostion technique where all layers and elements in the music constantly are imitated; possibly waves imitating each other? The mudded and impalpable beginning of the work takes its starting point in one of my earlier pieces, the sextett LES TUCHINS (in fact the first 5 or 6 pages of the two pieces are quite identical but in MINNEWATER it is all ?blown up? to a larger ensemble). Quite soon, however, the thread to LES TUCHINS is cut off and it goes its own way; From the mumbling in the start - through swarming trills and pointilistic staccato movements - to a long section where the trumpet appears as a soloist and in a way conducts the movements of the remaining ensemble right to the rhythmic final section of the piece. MINNEWATER was commissioned by the Danish Radio for the German Ensemble Modern

Poul Ruders: Final Nightshade - An Adagio Of The Night (Score)

Premiered by The New York Philharmonic, conducted by Lorin Maazel, at Avery Fisher Hall, Lincoln Center, New York City, 10th June 2004.Orchestration3 Flutes, 3rd dbl. Piccolo2 Oboes1 English Horn in F3 Clarinets in Bb, 3rd dbl. Bas Clarinet in Bb2 Bassoons1 Contra Bassoon4 Horns in F3 Trumpets in Bb3 Trombones1 Tuba1 (set of) Timpani2 Percussion (two players)1: Bass Drum (large), Chinese Cymbal, Mark Tree2: TamTam (large), Vibraphone, Antique Cymbal1 Harp1 Piano dbl. CelestaStringsAll non-octave transposing instruments are notated in their relevant transpositions.Horns notated in bass clef sound a fourth above the notated pitch.All accidentals apply to each single note only, except tied notes. Naturals for 'safety'.Programme NoteThis piece marks the conclusion of what could now be called 'The Nightshade Trilogy', three pieces which explore the contrasting worlds of Light and Darkness. As opposed to the earlier chamber work Nightshade, which dealt with extremes of high and low pitches, and the chamber orchestra composition Second Nightshade, a two-fold piece contrasting darkness/anxiety and light/calm, Final Nightshade, for full symphony orchestra, takes us on a journey in which the forces of dark and light struggle - and co-exist - in a predominantly polyphonic web, with brooding undertones. The melodic point-of-departure is not, surprisingly, to be found in either of the two preceding pieces of the Trilogy, but in an older piece, Corpus Cum Figuris from 1985. Over the ensuing years I've dreamt, on and off, of 'doing something' with the opening measures of this older work, perhaps even building a new composition on that very simple, inward-looking time was ripe, and there's a nice nostalgia angle to the idea: Corpus Cum Figuris was the first piece of mine to be performed by the New YOrk Philharmonic, at the Horizons Festival, conducted by Oliver Knussen, in 1986. Final Nightshade based on the few opening bars of Corpus Cum Figuris offers a new world of intertwining melodies played mostly in Violins and Flutes - along with the darker, at times even menacing forces of the rest of the Orchestra. The world itself, nightshade, is wonderfully evocative: pale moonlight, elusive shadows, dark, silent forests in the dead of night. Which is why I've given the new work of sub-title, 'An Adagio of the Night' - it's a slow-paced Nocturne, with 'Lightness and Hope' prevailing towards the end. Or do they? Poul Ruders, September 2003

Together Apart/Apart Together

Together Apart/Apart Together for Saxophone, Accordion and Double Bass was composed by Karsten Fundal in 2004. Written for and commissioned by Poing. Programme note:This piece is the 3rd in a row of pieces, which concentrates on a rhythmical relationship that continues to puzzle me. It is actually two relationships embedded. The 1st is a pattern that is very inspired by the composer Per Nørgård, who in the beginning of the 90ies got very preoccupied with the idea that you can have rhythms that never meet. This happens if you start a rhythm, like a quintuplet, on the beat and one, like a triplet, off beat. This can, with different rhythms, give very intricate interwoven patterns, that gives the illusion that they are not cyclic. In my case I use the two ratio five to seven, in the described way. This rythms have the strange property that if you take each 5th note of the seven and each 7 note of the five you get a ratio almost identical: 49:50. This is very intriguing, as you can use the possibility of letting them be equal or the possibility of letting them interfere. In the first case you get an interlocking rhythm which is “smooth”; an equal rhythmic pattern. In the second case you get a similar situation, but where one of them is one short after 50 of the other ones, which results in a disturbing almost equality, but not quite. Therefore the title: because when I use the unequal rhythm I put the two layers in a similar tone register, or a similar way of playing, and when I use the equal one I put them a part tone wise speaking. This is a very technical description, but it is very hard to put it in more wide terms, but you might compare it with driving in a train and looking at two fence rows behind each other: if the poles are placed exactly halfway between each other you will experience an illusion of a fast jump if there is enough distance between them, as a result of the perspective. If they are placed in a way that there are almost the same numbers of poles, like 49:50, you will experience a very complex pattern, which seems unpredictable. But of course when using it in music the whole thing is somewhat different, but even then it gives an idea of my preoccupation. What also intrigues me is that the relations are very hard to use in a musical way, and that is also quire a challenge.´ Finally I have to say that I enjoyed very much writing for Poing, as these crazy guys are capable of doing almost anything you want in an nearly literal sense. - Karsten Fundal summer 2004.