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IT'S ALL HIS FANCY

IT'S ALL HIS FANCY

FOR ALL AGES Torben Enghoff

16 Pieces for Piano Solo. As the title indicates these charming pieces can be used for all ages and levels, and are well suited for educational purposes.

Pelle Gudmundsen-Holmgreen: All In One (Parts)

Set of parts for All In One for 3 String Quartets by Pelle Gudmundsen-Holmgreen , composed in 2013(String Quartets No.12, 13 and 14 played simultaneously). Commissioned by the Kronos Quartet.

Vagn Holmboe: Prelude To The Unsettled Weather

Juliana Hodskinson: All My Friends Really Are Superheroes (Horn + Electronics)

The electronics involved consist of 43 samples (some of which are recordings made bySamuel Stoll, others taken from the internet), and pitch-shifts in the range +12/-12 (i.e.one octave up and one octave down). This all requires a close microphone andfootpedal e.g. Roland FC300 connected to computer. The left control pedal regulatesdownward pitch-shifts, the right control pedal regulates upward pitch-shifts. Samples andMaxMSP-patch are available on request.

Carsten Morch: All Of These Things

Vocal Score. For Soprano and Children's Choir with Piano accompaniment.

Gudmundsen-Holmgreen All In One Sc

String Quartet No.12,13,14 played simultaneously Strygekvartet 12,13 og 14 spillet samtidigt

Kornebïk Play Piano With Finn

20 melodies arranged for piano . For beginners and experience d of all ages

Juliana Hodkinson: All That We Cannot Say (For Oboe and Cello, with two assistants)

For Oboe and Cello (with two assistants)

Cathrine Legardh: NullerNix For Sjov - Noder Og Sange (SSA)

NullerNix for sjov - Noder og sange - choral arrangements for equal voices by Cathrine Legardh . Songs for children of all ages.

Carl Flesch: Studies And Exercises For Violin Solo - Volume 1

51 studies and exercises for the intermediate to advanced violinist. Bowing technique, shifting positions and left-hand finger agility are all covered in this volume.

Alle Ting Er Hans Spejl

Peter Bruun's Alle Ting Er Hans Spejl (All Things Are His Mirror) for Mezzo-Soprano and Chamber Ensemble. Text in Danish by Jørgen Gustava Brandt. Manuscript copy.

Sange Uden Ord

Sange Uden Ord translates to Songs Without Words is a mixed album of songs by various Danish composers, all expertly played by Henrik Metz on solo Piano.

Sound And Simplicity

All music is sound, but not all music is simple. Simplicity is a virtue, especially in the arts, a fact which becomes increasingly and inescapably obvious to me the older I get. In Sound and Simplicity four out of the sevenmovements are very simple (as in the absence of any structural and metric complexity) indeed, in fact the second movement Trance, a sustained chord, employs only four notes, but gradually presented over three octaves.

Ejnar Kampp: Diguedondaine

Diguedondaine has been expertly composed by Ejnar Kampp.This is a revised, expanded and renewed version of the French songbook Diguedondaine and caters to all lovers of French poetry and songs.

Flemming Weis: Serenade For Woodwind Quintet (Score)

Fleming Weis' wonderful composition in all its glory! This full score for Wind Quintet is a moving and dynamic work. The set of individual parts is also available ref: WH45473.

Sunleif Rasmussen: Flow (Parts)

FLOWThe placement of the musicians.The recorder player is placed in the middle of the stage in all three movements.The cello is placed behind the audience in all three movements.In 1st and 3rd movement the violin is placed on the recorders right side and theviola on the recorders left. At the and of the 1st movement the violin and the violaare walking slowly in respective sides in the middle of the hall, and stay there during2nd movement. Before the 3rd movement they walk back to their position in the 1stmovement.SR

Sunleif Rasmussen: Flow (Score)

FLOWThe placement of the musicians.The recorder player is placed in the middle of the stage in all three movements.The cello is placed behind the audience in all three movements.In 1st and 3rd movement the violin is placed on the recorders right side and theviola on the recorders left. At the and of the 1st movement the violin and the violaare walking slowly in respective sides in the middle of the hall, and stay there during2nd movement. Before the 3rd movement they walk back to their position in the 1stmovement.SR

Peter Bruun: Quest (Full Score)

The composer writes: The piece is in three movements: the first movement present three different types of music juxtaposed, meeting in the end in a chaotic, brutal sound. The second movement is the longest, consisting of an expressive opening and a gradual build-up of an exstatic, motoric motion until a climax; the opening then comes back and the music dies away. The third movement is a very short pianissimo echo. The primary focus of the piece is the element of sound. Polyphony is absent, and the instruments are always "packed together", playing in a very narrow register, merging into a dense, monophonic or occasionally heterophonic sound. The harmony is based on drones and the tonality is G#, modulating only once (in the climax of the second movement) and all the motivic material is derived from a kind of G#-Phrygian scale. All in all this gives associations to the sound-world of oriental ethnic music.

All Right!? (A Talk Of Our Time) : 1(pic).1.1.1(cbn)/1.1.1.0/2perc/acn/str 1.1.1.1.1, Solo piano (Right hand only)

All Right!? (A Talk Of Our Time) : 1(pic).1.1.1(cbn)/1.1.1.0/2perc/acn/str 1.1.1.1.1, Solo piano (Right hand only)

Arne Nordheim: Tre Voci For Soprano and Chamber Ensemble

Three compostions completed in 1988, by Arne Nordheim, for Soprano voice and Chamber Ensemble, featuring Flute, Piccolo, Clarinet, Bass Clarinet, Violin, Cello Percussion and Piano. This edition also contains texts for all three songs in Dansih and with an English translation.

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.

Fiasali Dreaming

It is my intention that this piece should represent a dream sequence. The text is therefore non-intelligible in any semantic sense, in the same way that most dreams are. It is also my ambition that the actual music is unintelligible (irrational), which is a very different matter alltogether. It could easíly be maintained that all music is irrational and therefore unintelligible. It is my hope that the text in connection with the four delays create a spacial musical unreality or distance, which ceases at the very end of the piece where all delays and amplification stop and we again can "wake up".Andy Pape.

Fiasali Dreaming

It is my intention that this piece should represent a dream sequence. The text is therefore non-intelligible in any semantic sense, in the same way that most dreams are. It is also my ambition that the actual music is unintelligible (irrational), which is a very different matter alltogether. It could easíly be maintained that all music is irrational and therefore unintelligible. It is my hope that the text in connection with the four delays create a spacial musical unreality or distance, which ceases at the very end of the piece where all delays and amplification stop and we again can "wake up".Andy Pape.