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Schubert Lounge

Schubert Lounge

Schubert Lounge for Soprano, 2 Baritones and Ensemble was commissioned by Oslo Sinfonietta. Franz Schubert was a singer/songwriter, says Eivind Buene . A Schubertiade as a role model, the composer - who himself grew up with pop music - imagined Schubert in the singer/songwriter pose of the 70s: with a Fender Rhodes and the voice of a pop singer. So, he staged his first Schubert Lounges for his friends in Oslo. Inspired by one of these house concerts, baritone Halvor Mellen suggested Buene that they could work together as singers.Eivind Buene is interested in this friction between different aesthetics and different systems of thought. In the further developed Schubert Lounge,three different musical styles meet: Buene's own recontextualized version of Schubert songs, Halvor Mellen's interpretation of Buene's music composed for his voice based on fragments from Schubert's diary, and Tora Augestad's very personal interpretation of Schubert songs. Schubert Lounge for Soprano, 2 Baritones and Ensemble was commissioned by Oslo Sinfonietta. Franz Schubert was a singer/songwriter, says Eivind Buene . A Schubertiade as a role model, the composer - who himself grew up with pop music - imagined Schubert in the singer/songwriter pose of the 70s: with a Fender Rhodes and the voice of a pop singer. So, he staged his first Schubert Lounges for his friends in Oslo. Inspired by one of these house concerts, baritone Halvor Mellen suggested Buene that they could work together as singers.Eivind Buene is interested in this friction between different aesthetics and different systems of thought. In the further developed Schubert Lounge,three different musical styles meet: Buene's own recontextualized version of Schubert songs, Halvor Mellen's interpretation of Buene's music composed for his voice based on fragments from Schubert's diary, and Tora Augestad's very personal interpretation of Schubert songs.

SEK 1302.00
1

Sirkling

Sirkling

An extended work for upper voices using the words of Monia Aasprong, and quote texts from The Quran, The First Book of Genesis, and the Norwegian write Henrik Wergeland. Sirkling is the final work in Ratkje’s trilogy for The Norwegian Girls Choir, conducted by Anne Karin Sundal-Ask, after Ro – Uro and Asylos. The first performance was given at the Oslo International Church Music Festival on 31 March 2019. An extended work for upper voices using the words of Monia Aasprong, and quote texts from The Quran, The First Book of Genesis, and the Norwegian write Henrik Wergeland. Sirkling is the final work in Ratkje’s trilogy for The Norwegian Girls Choir, conducted by Anne Karin Sundal-Ask, after Ro – Uro and Asylos. The first performance was given at the Oslo International Church Music Festival on 31 March 2019.

SEK 245.00
1

Hans Abrahamsen: Concerto For Piano And Orchestra (Score)

Hans Abrahamsen: Concerto For Piano And Orchestra (Score)

Abrahamsen's Concerto For Piano And Orchestra was composed in 1999, by commission for the BIT-20 Ensemble. A complex and multi-layered work, opening with highly minimal material and very slowly building to an ecstatic frenzy across the four movements. As the piece progresses Abrahamsen has also included some significant nods towards composers Gyorgy Ligeti (a former teacher of the composer) and Gustav Mahler.The work was premiered at the Ultima Festival in Oslo in 2000 with Anne Marie Abildskov as soloist.

SEK 910.00
1

Per Drud Nielsen: Tre Motetter Til Kærligheden (SATB)

Per Drud Nielsen: Tre Motetter Til Kærligheden (SATB)

for blandet kor a cappellabaseret på Paulus? Første Brev til KorintherneKapitel 13 om KærlighedenOm jeg så taler med menneskers og engles tunger s. 3Kærligheden er tålmodig s. 8Størst er kærligheden s. 11Når én mann kan forårsake så mye ondt ?tenk hvor mye kjærlighet vi kan skape sammen.Helle Gannestad, Oslo på Twitter den 23. juli 2011For mixed chorus a cappella. Based on Paul's First Letter to the Corinthians, Chapter 13 on Charity.Though I speak with the tongues of men and of angelsLove is patientThe greatest is love

SEK 158.00
1

Nocturnal - Partitur

Nocturnal - Partitur

Nocturnal (1998-2001) for Trombone and String Quartet was composed by Bent Sørensen . Progamme note: The two movements of ”Nocturnal” were written with a gab of three years. The last movement, which bears the title ”The Wings of Night”, was commisioned by Warsaw Autumn in 1998, while the first movement – ”Mondnacht” – was commisioned for Ultima Festival in Oslo in 2001.Despite the three years gab, these are not two separate pieces which have been linked together. The sketches for the first movement were begun immediately after the first performance of the second movement in Warsaw 1998.As the title suggests, there is a nocturnal atmosphere in the work. In the first movement we are perhaps in a park and notice the shadows of the clouds passing the bright moon. In the short second movement we are perhaps with Shakespeare’s Juliet, calling for love, calling for the night: ”Come night; come Romeo; come, thou day in night;For thou wilt lie upon the wings of nightWhither than snow upon a raven’s back.” ...perhaps we are elsewhere – at night! Nocturnal was written for Christian Lindberg and the Arditti Quartet and premiered in Oslo in 2001.

SEK 589.00
1

Christian Sinding: Piano Sonata In B Minor Op.91

Christian Sinding: Piano Sonata In B Minor Op.91

Christian August Sinding, born in 1856, studied music in addition to his academic studies throughout his school years, taking violin with Gudbrand Bøhn and music theory with L.M. Lindeman, one of the most important musicians in Christiana (later renamed Oslo). In 1874 he followed the path of his famous countryman Edvard Grieg by going to Leipzig to study. There, his violin teacher was Schradieck and his theory and composition teacher was Jadassohn. It became obvious that his major talent was for composition, so he gave up his violin studies in favor of it. Piano sonata written in 1909.

SEK 560.00
1

Violin Concerto

Violin Concerto

Arne Nordheim VIOLIN CONCERTOThe Violin Concerto was composed in 1996 as a commission from the Oslo Philharmonic Orchestra for Arve Tellefsen. The solo part has the leading role in the work and is very difficult to play. The composer and Arve Tellefsen, therefore, were very much in contact with each other during the composition of the work.Arne Nordheim says that for this concerto like in other works he has composed, ideas have come to him so to speak out of nowhere. ?It is as if parts of me are extreme; that which is low down or high up, that which is very weak or very strong?.The composer has himself told how he has worked with gradual condensation and dissolution in the concerto. It is possible to hear continuous changes of mood in the work but the fundamental mood is, according to Nordheim, sadness.

SEK 1087.00
1

Tale Of Lead And Light : String Quartet Version - Parts)

Tale Of Lead And Light : String Quartet Version - Parts)

The composer writes: "The backdrop for this commission was to complement music by the great Ludwig van Beethoven. Beethoven’s scores for string quartet are cornucopias 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 writingthis 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! The piece was commissioned by the Engegård Quartet in 2011 and appears the recording String Quartets vol IV: Schubert-Ratkje-Britten-Haydn. A later piece was composed for string orchestra: 'Tale of Lead and Frozen Light' (2014)". The composer writes: "The backdrop for this commission was to complement music by the great Ludwig van Beethoven. Beethoven’s scores for string quartet are cornucopias 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 writingthis 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! The piece was commissioned by the Engegård Quartet in 2011 and appears the recording String Quartets vol IV: Schubert-Ratkje-Britten-Haydn. A later piece was composed for string orchestra: 'Tale of Lead and Frozen Light' (2014)".

SEK 459.00
1

Per Nørgård: String Quartet No.9 - Into The Source (parts)

Per Nørgård: String Quartet No.9 - Into The Source (parts)

PrefaceThe three movements of the quartet may be perceived as three different expressions of an unstable core: an inherent unrest leads to frequent changes of direction. The first movement is full of dramatic contrasts; it is followed by a second movement, whose basic mood of meditative rest is challenged by occasional centrifugal utbursts, while the third movement takes the inherent conflicts to a higher level, contrasting material of introspective lyricism with excessively pathetic moods.The final ?way out? is a retrograde one, (back) ?into the source?: through a constant accelerando-diminuendo the piece disappears into a vanishing point. The ?into the source? of the title may be visualized as a reversed fountain-action: the broad fan-like spread of the first movement, a more coherent-solid second movement, and finally - in the third movement - a return-run, ever more vehemently, like a suction into the spring itself ?The musical motifs are varied; there are traffic-situations (which I heard!) with stomping and machine-like rhythms in different, but simultaneous tempi, and there are more abstract upwards and downwards half-tone-scales, with changing accents, creating glimpses of melodies.INTO THE SOURCE, String Quartet No. 9, was composed on a double-commission from the Orion Quartet and the Vertavo Quartet. The premiere performances took places in Santa Fé in 2002 and in Oslo in 2003.Per Nørgård

SEK 981.00
1

Per Nørgård: String Quartet No.9 - Into The Source (score)

Per Nørgård: String Quartet No.9 - Into The Source (score)

PrefaceThe three movements of the quartet may be perceived as three different expressions of an unstable core: an inherent unrest leads to frequent changes of direction. The first movement is full of dramatic contrasts; it is followed by a second movement, whose basic mood of meditative rest is challenged by occasional centrifugal utbursts, while the third movement takes the inherent conflicts to a higher level, contrasting material of introspective lyricism with excessively pathetic moods.The final ?way out? is a retrograde one, (back) ?into the source?: through a constant accelerando-diminuendo the piece disappears into a vanishing point. The ?into the source? of the title may be visualized as a reversed fountain-action: the broad fan-like spread of the first movement, a more coherent-solid second movement, and finally - in the third movement - a return-run, ever more vehemently, like a suction into the spring itself ?The musical motifs are varied; there are traffic-situations (which I heard!) with stomping and machine-like rhythms in different, but simultaneous tempi, and there are more abstract upwards and downwards half-tone-scales, with changing accents, creating glimpses of melodies.INTO THE SOURCE, String Quartet No. 9, was composed on a double-commission from the Orion Quartet and the Vertavo Quartet. The premiere performances took places in Santa Fé in 2002 and in Oslo in 2003.Per Nørgård

SEK 750.00
1

Per Nørgård: Symphony No. 6 (Score)

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

SEK 2134.00
1