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Rued Langgaard: In domum Domini [I] (Præludium ved 1000 Aars Bispejubilæet i Ribe Domkirke 25 Maj 1948)

In domum Domini [I] (Præludium ved 1000 Aars Bispejubilæet i Ribe Domkirke 25 Maj 1948). BVN350

Rued Langgaard: Ved 1000-Aars Bispejubilæet i Ribe 1948

Pelle Gudmundsen-Holmgreen: Traffic (Score)

Preface / Programme NoteTRAFFIC is indebted to Satie, Varese and Spike Jones. Havingthe title in mind you will hardly be surprised to hear a sometimeschaotic music. Surviving contemporary metropolitan traffic is aquestion of your position ? standing, walking, running or sitting.And survival is also a question of being aware of ? and keepingyour eyes and ears open for ? the hidden rules and regulations,systems and structures.Pelle Gudmundsen-Holmgreen, 2009

Pelle Gudmundsen-Holmgreen: Ad Cor (Score)

Ad Cor for Double Choir and Orchestra was composed by Pelle Gudmundsen-Holmgreen in 2015.Text: Ursula Andkjær Olsen (spoken text) and the Old Testament (sung text). This work was commissioned by The Crossing Chamber Choir and Donald Nally, conductor, with major support from The Pew Center for Arts & Heritage. First performance: Philadelphia Episcopal Cathedral (as part of "Seven Responses") on April 24, 2016. Instr.: 2x SSSAAATTTBBB chorus; 1.0+ca.1.1/1000/perc/hp.pf/str

Niels Rosing-Schow: Voix Interieures (Score)

Work for Clarinet, Violin, Cello and Piano. The composer writes: VOIX INTERIEURES (1990-92). The title has a double reference: to the ?inner voices? of the mind, expressing our (hardly conscious) impulses, feelings, dreams and to the ?inner voices? of the music in the sense of internal parts and relations. Thus the title points to the obscure reflections of the ones in the others. During the piece, there is a gradual transformation of the internal parts, such as interval patterns, sonorities and dynamics - running alongside the easily perceptible expansion of register. The music is so to say ?turned inside out?.

Niels Rosing-Schow: Voix Interieures (Parts)

Work for Clarinet, Violin, Cello and Piano. The composer writes: VOIX INTERIEURES (1990-92). The title has a double reference: to the ?inner voices? of the mind, expressing our (hardly conscious) impulses, feelings, dreams and to the ?inner voices? of the music in the sense of internal parts and relations. Thus the title points to the obscure reflections of the ones in the others. During the piece, there is a gradual transformation of the internal parts, such as interval patterns, sonorities and dynamics - running alongside the easily perceptible expansion of register. The music is so to say ?turned inside out?.

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

Juliana Hodkinson: Angel View

Angel View by Juliana Hodkinson , scored for seven or more performers and electronics. 'Angel View is an assemblage of urban and musical debris, somewhere between a wordless live radio play, enacted film soundtrack and instrumental theatre. Chiseling cement, falling debris, scraping cutlery, breaking glass, criss-crossing cables, squealing tram-wheels, an upturned bicycle, a grid of cables, a travel souvenir, a shop window, a revolving carousel, a brace of monkeys, a wall under siege, a dining table laid for an ancestral dinner ? it is a sonic bazaar. Made up of over 20 parts, each designed to overlap, the work?s architecture is full of of non-sequiturs and arbitrary cross-relations between imagined streets intersecting and running parallel, reflecting the surrealism of everyday life described in Walter Benjamin?s Einbahnstrasse and still present in the contemporary dilemmas and opportunities of Berlin today. All this is heard as if from an aerial perspective, perhaps the Victory Column where angels sit in Wings of Desire, from where Berlin below is observed as a series of tragedies.' Juliana Hodkinson

Karsten Fundal: Hush (Score)

Orchestration: 3(pic)(afl).2+ca.1+2bcl.2+cbn/4.3.3.1/timp.2perc/hp/pf/strParts are for hire: hire@ewh.dkProgramnote Hush er et studie i mørke og lys, kold og varm lyd. Jeg har også i dette stykke forsøgt at introducere stærke følelsesmæssige udtryk, ved brug af instrumentale farver og tonale virkemidler. Titlen Hush er forbundet med et slags ?indre digt? jeg har haft i tankerne medens jeg komponerede. Da jeg jo ikke er digter i ord, er det ufuldstændigt og utilstrækkeligt i sin form, men derfor alligevel meget godt beskrivende for stykkets væsen. Det lyder nogenlunde sådan her i mit hoved:Hush little heart- hush.!!was time running too fast or did the hours sometimes seem long?,Were your beats too many or were they too few in the end?Hush little heart- hushdid you see too little or did you sometimes see too much?,was life too small or was it sometimes larger than life?was your thirst quenched or did you end up drained?hush, hush, little heart- hush!!,Don't be afraid, maybe you knew all the time:that one day you would have to be still-or maybe you didn't?Is that why you were beating so fast?hush, hush little heart-hush,- be comforted, 'cause even as you feel so small Your very existence is strange and beautiful - so, hush, hush, be comforted, be still my beating heart.