Arthur Honegger: Trois Contrepoints No.3 'Canon Sur Bass Obstinee' (Parts)

The third part of Honegger's Trois Contrepoints is entitled Canon Sur Bass Obstinee A Quatre Voix, and is written for Piccolo (Flute), Cor Anglais, Violin and Cello.

WHAT'LL I DO

WHAT'LL I DO

Mikko Heiniö: Minimba I

Canon for four (or three) Guitars.

Nãrg·rd Stãv Vce

'Opsang af Jºrgen Gustava Brandt og Per Nºrg¦rd' for unacc. voice or voices - canon ad. lib.

Mikko Heiniö: Minimba I - For Four Guitars (Parts)

Minimba I , by Mikko Heiniö , was composed in 1982 and is a Canon for four (or three) Guitars.

Per Nørgård: Canon For Organ

Substantial Work for Organ dating from 1971.

Canon Cantata - Låt Mig Vila

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."

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

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

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

Flowersongs Partitur, Kopi

Hans Abrahamsen 's Flowersongs (1973) for three Flutes. Score. 'I wrote Flowersongs for three Flutes in the spring of 1973, when I was 20 years old. Looking back now, 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time, this is still a very important piece for me. In Flowersongs , along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra, I feel that I was on my way to finding my own voice in the middle of the music of the great Central European modernist tradition from the 50s and the reaction from the 60s of the new simplicity, minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s, and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German, for example 'Winternacht' (1976/78), 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German, it must be Blumenlieder, and to me it now sounds suddenly very different, more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection, as I incorrectly wrote the title as one word; but perhaps it is also a kind of naivety, which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example, there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of Flowersongs for Flute, Oboe and Clarinet.' - Hans Abrahamsen

Flowersongs Stemmer, Kopi

Hans Abrahamsen 's Flowersongs (1973) for three Flutes. Parts. 'I wrote Flowersongs for three Flutes in the spring of 1973, when I was 20 years old. Looking back now, 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time, this is still a very important piece for me. In Flowersongs , along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra, I feel that I was on my way to finding my own voice in the middle of the music of the great Central European modernist tradition from the 50s and the reaction from the 60s of the new simplicity, minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s, and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German, for example 'Winternacht' (1976/78), 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German, it must be Blumenlieder, and to me it now sounds suddenly very different, more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection, as I incorrectly wrote the title as one word; but perhaps it is also a kind of naivety, which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example, there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of Flowersongs for Flute, Oboe and Clarinet.' - Hans Abrahamsen

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

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

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