WHAT'LL I DO

WHAT'LL I DO

Pape Till Death Do Us Sc

English version

Lorentzen Do You Know The Tne Thy're Plyng? Singers/Tape V/S

Bent Sørensen: Vokalise

Composer Note: Vokalise is another selection from Under the Sky. Ida?s voice has been taken out of the compact orchestral setting, and is left naked and unaccompanied. Vokalise is one scene earlier in the opera than the Cavatina. Ida enters to where her husband, Magius, is sitting. He wants her dress herself up more, become even more beautiful. Ida wants to feel his love. ?...Do you hear the way I call on you at night-time? Do you hear the way I cry myself to sleep?Do you hear the way I long to feel your skin? I?m burning up with your coldness.I want you, my beloved, I want you to love me.? She is disappointed, and loses the last remnant of love when she finds out that her beauty and adornment are only to be used in a power game between two men. --Bent Sørensen

Day And Night, Kopi

Day And Night (1982) by Per Nørgård. Programme Note DAY AND NIGHT (1982) – 2 short songs for alto, piano (and cello ad lib.).  The contrasting constellation of these two poems (Ted Hughes´ ”A Kill” and William Shakespeare´s ”How Silver sweet sound”, from Romeo and Juliet, act 2, III) do not call for much explanation by the composer: the world´s woes in Hughes´ poem (in the form of delivery problems during a child’s birth) is follow by the balsamic words of love – to the night – by Shakespeare. Another ode to the night might have been chosen, I do not know any other that, in so few words, creates such an atmosphere of love and enchanted night as this poem by Shakespeare.  Per Nørgård 

Antonio Bibalo: Sinfonia Notturna (Score)

The Norwegian composer Antonio Bibalo was born in 1922 and is originally from Triste, Italy. Bibalo's encounter with music began with the piano, and his instrumental talents took him on to the Conservatoire in Trieste, where he took his diploma in 1946. During World War II Bibalo, like other Italian men, had been conscripted into Mussolini's army. He escaped, but was captured by the Germans and had to do forced labour as a German prisoner-of-war. He wrote the Sinfonia Notturna in 1968.

Niels Marthinsen: Two Resurrections (Score And Part)

Two Resurrections for Violin and Piano, composed by Niels Marthinsen in 2015. Dedicated Signe Madsen and Erik Kaltoft. Programme note: Resurrection is the act of bringing something back to practise, notice, use or vibrancy - never mind raising the dead.I've brought new life to two forgotten works of mine by subtly merging them into each other and touching them up with 20 extra years of craftmanship.So they're reworked; reimagined - but still a Blast from the Past: I've remained true to the way we used to do it back in the 90ties.(Niels Marthinsen)

Juliana Hodkinson: Is There Something You Can Tell Us (Score)

Juliana Hodkinson 's Is There Something You Can Tell Us for String Quartet. This ten minute piece was written for the Anima Quartet and was comissioned by SWR (South-West German Radio) for first performance at Theaterhaus Stuttgart on 7th June 2014 during the festival 'Lost & Found - Stimme. Text. Szene.'.The quartet's title and the titles of the individual movements are taken from Cynthia Troup's libretto 'Turbulence'. I Degrees of freedom II Hidden by an almost perfect balance III We are taught that it is out of reach IV For the real earth we do not know yet

A Walk To Beethoven

This work for orchestra was commissioned by Arktisk Filharmoni and was premiered at the Stormen Cultural Centre in Bodø in February 2020. The composer writes "'A Walk to Beethoven' is a walk to Beethoven’s Symphony no. 7. It is the main theme of the second movement that you can discern in my piece. I chose that theme partly because I just love it, partly because it has within itself a wandering pace. The work consists of 14 small parts (played without breaks). I do not regard it as 14 variations: it is rather 14 different versions, like 14 flowers grown from the same musical seed. Or maybe: like 14 different paths, all leading to Beethoven."This work for orchestra was commissioned by Arktisk Filharmoni and was premiered at the Stormen Cultural Centre in Bodø in February 2020. The composer writes "'A Walk to Beethoven' is a walk to Beethoven’s Symphony no. 7. It is the main theme of the second movement that you can discern in my piece. I chose that theme partly because I just love it, partly because it has within itself a wandering pace. The work consists of 14 small parts (played without breaks). I do not regard it as 14 variations: it is rather 14 different versions, like 14 flowers grown from the same musical seed. Or maybe: like 14 different paths, all leading to Beethoven."

Michael Sanvig: Du'gaff - idé-sider (for trommer)

Du'Gaff was written by Michael Sanvig for those who want to learn how to play the Drums, but properly! It covers everything a beginner drummer needs to know, including how to read sheet music, practice technique, and many of the different music styles you'll need to know. Du'Gaff is not a "do-it-yourself" book. Even if you already have a knowledge of music and you know how to hold a pair of sticks, it is best that you work through the book with a teacher who can steer you around the problems that many people can easily fall into otherwise. In Swedish and Danish. Extra resources can be downloaded from here: http://www.dugaff.dk/dugaff/Downloads.html

Bent Sørensen: The Wings Of Night

Bent Sørensen THE WINGS OF NIGHTI do not yet know what to write about this short piece which I have just finished.But like my Piano Concerto LA NOTTE, it seems to take place at night-time - or perhaps it is only because I wrote the piece by night. In short, the title is from Shakespeare?s ?Romeo and Juliet?.Juliet sings to the night - the night of love: ?Come, night; come Romeo; come, thou day in night; For thou wilt lie upon the wings of nightWhither than new snow upon a raven?s back.THE WINGS OF NIGHT was composed as a commission from the Warsaw Autumn for Christian Lindberg and the Silesian String Quartet.Bent Sørensen

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: Birds And Bells (Score)

Solo trombone = WH31606Programme Note Bent Sørensen BIRDS AND BELLS, Trombone ConcertoBIRDS AND BELLS was composed in 1995 for the Swedish trombonist Christian Lindberg. As the title suggests it is not a 'roaring' trombone concerto but rather a 'pianissimo concerto' filled with the contents of the title.It must be emphasized that 'bells' here has nothing to do with death or destruction which connoisseurs of my music might be tempted to think. The work is in three movements which are played without a break. The second movement ends with a kind of 'pseudo-nightingale cadenza', and I feel the third to be a slow lullaby.BIRDS AND BELLS was premiered on 30.4.1996 with Christian Lindberg and the Aarhus Sinfonietta conducted by Søren K. Hansen.Bent Sørensen

Bent Sørensen: Birds And Bells (Solo trombone)

Score = KP00531Programme Note Bent Sørensen BIRDS AND BELLS, Trombone ConcertoBIRDS AND BELLS was composed in 1995 for the Swedish trombonist Christian Lindberg. As the title suggests it is not a 'roaring' trombone concerto but rather a 'pianissimo concerto' filled with the contents of the title.It must be emphasized that 'bells' here has nothing to do with death or destruction which connoisseurs of my music might be tempted to think. The work is in three movements which are played without a break. The second movement ends with a kind of 'pseudo-nightingale cadenza', and I feel the third to be a slow lullaby.BIRDS AND BELLS was premiered on 30.4.1996 with Christian Lindberg and the Aarhus Sinfonietta conducted by Søren K. Hansen.Bent Sørensen

The Wings Of Night, Kopi

The Wings Of Night for Trombone and String Quartet was composed by Bent Sørensen in 1998, as a commission from the Warsaw Autumn for Christian Lindberg and the Silesian String Quartet. Programme note: I do not yet know what to write about this short piece which I have just finished. But like my Piano Concerto LA NOTTE, it seems to take place at night-time - or perhaps it is only because I wrote the piece by night. In short, the title is from Shakespeare’s ’Romeo and Juliet’.Juliet sings to the night - the night of love: ’Come, night; come Romeo; come, thou day in night; For thou wilt lie upon the wings of nightWhither than new snow upon a raven’s back.THE WINGS OF NIGHT was composed as a commission from the Warsaw Autumn for Christian Lindberg and the Silesian String Quartet.(Bent Sørensen)

Poul Ruders: Event Horizon (Piano)

Programme NoteThe name Event Horizon was coined by the brilliant British physicist Stephen Hawking to describe the circumference of a so-called "black hole", the remains of a collapsed star with a gravity-pull so powerful, so that not even light can escape from it.This 5-minute study for piano has - needles to say - nothing to do with black holes, but the term "event horizon" fascinates med and strikes me as near-perfect description of virtually any stretch of organized sound evolving in time, e.g. a musical composition with a strong linear focus.So - "Event Horizon" it is, as seamless composition of high density, evolving in three parts: swingning-ricocheting-sweeping, a musical journey of speed, from fast to furiously fast, a study based on a high economical compositional material constantly renewing itself, the hands running parallel, separating, meeting again. The discreetest use of pedaling is advised ...Poul Ruders May 2001

Come Together The Song Book - Beatles

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  

Tormod Vinsand: Jazz Chords On Piano

A methodical introduction to the understanding and usage of jazz chords on piano.Over the years, many non-pianists ( i.e. musicianswho do not use the piano as their main instrument) have tried to transfer the principles of traditional triads and tetrachords to jazz chords - with varying degrees of success. With the book "Jazz Chords on Piano" Tormod Vinsand gives you some guidelines that may help demystify the process of making a piano arrangement with melody and jazz chords. The reader will get tools making it possible to create a piano arrangement, which will adequately include the melodics, harmonics and rhythm of a composition. The book is not meant to be a school in jazz piano - but more an introduction into the work with jazz harmonics and melody playing of a piano arrangement. The overall basis of the book is standard jazz, which means jazz with its harmonic basis in II - V - I connections. The book's tunes are recorded by the composer himself and can be accessed via the web

Franz Schubert: Fantasy 'the Wanderer' Op.15

The Fantasie in C major, Op. 15, popularly known as the Wanderer Fantasy , is a four-movement fantasy for solo Piano composed by Franz Schubert  in 1822. The whole work is based on one single basic motive from the lied “The Wanderer” and the four movements are played without a break.  It is widely considered to be  Schubert 's most technically demanding composition for the Piano. Schubert  himself said "the devil may play it," in reference to his own inability to do so properly. It is the perfect challenge for any proficient pianist, and the effort will be appreciated by audiences upon hearing this marvellous piece! Franz Schubert  was an Austrian composer who was extremely prolific during his short lifetime(he died at the age of 31). His output consists of over six hundred secular vocal works, seven complete symphonies,sacred music, operas, incidental music and a large body of chamber and Piano music. Today  Schubert  is ranked among the greatest composers of the late Classical era and early Romantic era and is one of the most frequently performed composers of the early nineteenth century.

Bent Sørensen: 'La Notte' Piano Concerto (Score)

Score of the Danish Composer's Concerto for Piano and Orchestra written in 1996. Bent Sørensen writes: 'The title of this piano concerto came, as usual, very early to me, when my thoughts about the work had started to circulate, but before ?real? music was written down. I held on to the Italian title, even though its association with Vivaldi had no influence on my music, and even when German, French, English, and Danish titles covering almost the same content -?Nachtmusik?, ?Nocturne?, ?By Night?, ?Om Natten?, were just about to get the upper hand. The piano concerto has, then, in my opinion, something to do with night, but to describe this further is at least as difficult to me as it is to defend the final Italian title against those which were rejected. The Piano Concerto is in two movements. The first, swarming, is perhaps the mystery of the night, and the second perhaps the dreams of the night; with this, however, I have already given the concerto a more programmatic content than I can defend. Each movement ends with a cadenza and perhaps the last of those - the ending of the work that is - is inspired by a sequence from Bruce Chatwin?s wonderful book ?The Viceroy of Ouidah?: Or the Amazons howling. ?No, No, No. It was not the leopard that killed him. Not the buffalo that killed him. It was night. Night that killed him!?

Tormod Vinsand: Jazz Chords On Piano -2

Jazz Chords On Piano -2 by Tormod Vinsand (2017). This book is a follow-up on Jazz Chords on Piano (WH32971) and it is definitely an advantage if you have familiarised yourself with the techniques and terms used in Jazz Chords on Piano . There are many ways in which to play jazz on a piano. In Jazz Chords on Piano I describe some guidelines for how to prepare accompaniment and melody playing, but admittedly, there are of course many other ways to play or other techniques to use. In Jazz Chords on Piano - 2 I have chosen to focus on four typical techniques: Part 1 - Playing Arpeggio in left hand Part 2 - 4-stacked chords in a piano movement Part 3 - Left-hand chords Part 4 - Overlying triads when accompanying To illustrate the various techniques, I have made compositions that are stylistically adjusted so that the various techniques make musical sense and are playable. (Tormod Vinsand) Tormod Vinsand (born 1958) has a Master’s Degree in Musicology from University of Copenhagen. Since 1988 Tormod has been a jazz piano lecturer at The Rhythmic Music Conservatory, Copenhagen, The Institute of Musicology at University of Copenhagen, and the Royal Danish Academy of Music, Copenhagen. The material you fi nd in this book has been used at the above three educational institutions and is primarily targeted to music students that do not have the piano as their primary instrument at these schools. But others may also benefi t from this book, provided you have an elementary theoretical background in music. Since 2013 Tormod has also been Music School Manager at the Rødovre School of Music.

Poul Ruders: Paganini Variations - Piano Concerto No.3 (Piano Solo)

Piano solo part for Paganini Variations - Piano Concerto No.3 by Poul Ruders (2014). Score available: WH32201 Programme note: In 1999 my friend, American guitar virtuoso David Starobin, wanted me to write a concerto for guitar and orchestra. It quickly dawned on me, that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on Nicolo Paganini´s famous 24th Caprice for violin solo, a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate, but its inherent simplicity and logic just grow on you, almost to the point of distraction - and the secret behind it being hauled through "the wringer" by composers as disparate as Liszt, Brahms, Rachmaninoff and Lutoslawski is perhaps found in its - what I´ll call, with a quick nervous look over my shoulder: brilliant banality. You can do anything with that tune, it´ll always be recognizable and just there, however much you maul it. The piece (subtitled Guitar Concerto no 2) was written pretty quickly, premiered and subsequently recorded for Bridge Records with David and the Odense Symphony Orchestra conducted by Jan Wagner, and everybody was happy. But the story didn´t end there, and it must be the ultimate proof of the durability of the theme, not to mention the flexibility and far-sightedness of David Starobin , when he 14 years later suggested "why not transcribe the solo part for piano?". The idea appealed to me immediately. One thing was clear from the beginning: the new version could in no way sound like a transcription. My aim was to end up with a solo-part sounding like were it "the one-and-only", the "real thing", if you like. The orchestral score remains exactly the same in both cases. Both versions, the two Paganini Variations, are comparable to a set of twins, not quite identical, but almost. And both each others´s equal. Poul Ruders  

Poul Ruders: Paganini Variations - Piano Concerto No.3 (Score)

Paganini Variations - Piano Concerto No.3 (The original guitar-part arranged for piano and pianist Anne-Marie McDermott by the composer, 2014). Programme note: In 1999 my friend, American guitar virtuoso David Starobin, wanted me to write a concerto for guitar and orchestra. It quickly dawned on me, that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on Nicolo Paganini´s famous 24th Caprice for violin solo, a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate, but its inherent simplicity and logic just grow on you, almost to the point of distraction - and the secret behind it being hauled through "the wringer" by composers as disparate as Liszt, Brahms, Rachmaninoff and Lutoslawski is perhaps found in its - what I´ll call, with a quick nervous look over my shoulder: brilliant banality. You can do anything with that tune, it´ll always be recognizable and just there, however much you maul it. The piece (subtitled Guitar Concerto no 2) was written pretty quickly, premiered and subsequently recorded for Bridge Records with David and the Odense Symphony Orchestra conducted by Jan Wagner, and everybody was happy. But the story didn´t end there, and it must be the ultimate proof of the durability of the theme, not to mention the flexibility and far-sightedness of David Starobin , when he 14 years later suggested "why not transcribe the solo part for piano?". The idea appealed to me immediately. One thing was clear from the beginning: the new version could in no way sound like a transcription. My aim was to end up with a solo-part sounding like were it "the one-and-only", the "real thing", if you like. The orchestral score remains exactly the same in both cases. Both versions, the two Paganini Variations, are comparable to a set of twins, not quite identical, but almost. And both each others´s equal. Poul Ruders  

Sorensen Intermezzi Fra Himlen F/S

Intermezzi from the opera Under Himlen was composed by Bent Sørensen in 2003. Scored for 2 Mezzosoparanos and Orchestra. Text by Peter Asmussen. Programme Note: In March 2003, when the Royal Theatre premiered the composer Bent Sørensen’s and the dramatist Peter Asmussen’s opera Under the Sky, it was not only Bent Sørensen’s first opera on the large scale, but also his first work as a music dramatist at all. The challenge of composing an opera came from the general manager of the Danish National Symphony Orchestra/DR, Per Erik Veng, who had asked Asmussen in 1996 whether he would write the libretto for an opera and pick out a composer to work with on it. Asmussen was willing, and he pointed to Bent Sørensen as the composer. Bent Sørensen reacted positively to Per Erik Veng’s suggestion of an opera collaboration with Asmussen, and with the opera agreement settled, the Danish National Symphony Orchestra/DR was then offered an independent work. It is related to the opera, but sheds light on it from a different angle – Bent Sørensen himself compares it to a film ‘trailer’. The result is Intermezzi, a suite in five movements. Intermezzi is expressly not just a garland of selected episodes from the opera, but an independent work built up in one long symmetrical sequence with instrumental passages in the middle of the first, third and fifth movements as well as the purely instrumental second and fourth movements, as the bearing pillars of the work. Fragments of the story of Ida and Molte (both mezzo-sopranos) are told, but they do not happen in the same order or with the same conclusion as in the opera. In this way Intermezzi becomes a comment on how not everything in the past is necessarily what it seems, or what one at first makes of it. In the first movement Ida sings to Magius that she is carrying Molte’s child, while from afar Molte observes the idyllic world from the outside. The second movement is instrumental, while the third begins with Ida’s love aria, which merges into a great instrumental passage before the movement ends with Molte’s cynical remark that Ida is simply “a fairytale, a book one closes. After a brief instrumental fourth movement comes the fifth, where Molte laments his coldness and isolation amidst all the riches, and seduces Ida by urging her to liberate him with her warmth. Jakob Levinsen

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