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THE PETRIFYING FOREST

THE PETRIFYING FOREST

THE PETRIFYING FOREST

THE PETRIFYING FOREST

DEEP RIVER

DEEP RIVER

DEEP RIVER

DEEP RIVER

DEEP DOWN IN THE OCEAN

DEEP DOWN IN THE OCEAN

DEEP IN THE HEART OF.. BK353

DEEP IN THE HEART OF.. BK353

Jörgen Jersild: Music-Making In The Forest (Parts)

This is the set of parts for Jörgen Jersild's At Spille I Skoven or Music-Making In The Forest for Woodwind Quintet.

John Høybye: Deep Down In The Ocean (SSA/PFA)

Deep Down In The Ocean from 'The Little Mermaid'. Version for equal voices SSAA and Piano. Text: H.C. Andersen and Edward Broadbridge.

Niels Viggo Bentzon: In The Forest

Suite for French Horn in eight short movements.

Robert Schumann: Forest Scenes Op.82

Jörgen Jersild: Music Making In The Forest (Miniature Score)

Outi Tarkiainen: Siimes (Parts)

Siimes for Wind Quintet by Finnish composer Outi Tarkiainen (2017). Programme note Siimes is my second wind quintet and is based on the saxophone concerto Saivo . The title of the work suggests an allegorical hiding place deep in the forest, from where one can easily observe the surrounding reality. The first movement flows and swirls like diving under water, at times changing direction and always bubbling merrily. The second movement’s ethereal shimmering culminates into the last movement’s mighty chord pillars that pile up on one another like an ash cloud. Siimes is dedicated to Auriga Wind Quintet’s flautist Heli Haapala, who commissioned the work with the support of the Sibelius Foundation. Outi Tarkiainen Score: WH32984

Outi Tarkiainen: Siimes (Score)

Siimes for Wind Quintet by Finnish composer Outi Tarkiainen (2017). Programme note Siimes is my second wind quintet and is based on the saxophone concerto Saivo . The title of the work suggests an allegorical hiding place deep in the forest, from where one can easily observe the surrounding reality. The first movement flows and swirls like diving under water, at times changing direction and always bubbling merrily. The second movement’s ethereal shimmering culminates into the last movement’s mighty chord pillars that pile up on one another like an ash cloud. Siimes is dedicated to Auriga Wind Quintet’s flautist Heli Haapala, who commissioned the work with the support of the Sibelius Foundation. Outi Tarkiainen Parts are available: WH32984A

Ole Schmidt: Concerto For Tuba And Orchestra (Tuba/Piano)

This is a Piano reduction of Danish avant garde composer Ole Schmidt's terrific 1975 work for Tuba and Orchestra. It is dedicated to Michael Lind and is a bustling and expressive work, full of drama accentuated and emphasised by the deep tones of the Tuba.

John Høybye: The Little Mermaid - For Equal Voices SSAA And Piano

The Little Mermaid, made famous by Disney, is the story of a girl with a beautiful Voice and a consuming passion for the Prince.This full Vocal score was expertly composed by John Høybye. The seven movements include A Man Lives Only 70 Years, Deep Down in the Ocean, Sea Witch, Stand Up My Dear, You Dance the Best of All and Lift Up Your Eyes And Glorify.

Trees

The title 'Trees' should be regarded as a metaphor, even though the electronic sounds in the piece are actually derived from trees. The piece is a metaphor of the multifaceted nature of the leaves on the trees the 'united difference' as the trees of the forest, the 'life-giving', as trees, transform CO2 into Oxygen). It is a metaphor of the ever returning and optimistic foliation each spring), and in a broader sense a metaphor of organic nature. The violin concerto is a sounding organism, which in more or less gradual transition appears in different shapes and states of condition. At some points the music is round and flexible, and at others it is edged and hard. Sometimes it might remind us of something well known, and from time to time it changes into something intangible - an indefinite state of nature. In contrast to the sonorous extreme, the solo violin is portrayed as a manifestation of maximum (human) presence.

The Lustful Mother's Heart

Tarkiainen writes: The Lustful Mother’s Heart is a solo work that plumbs the depths of one of the most fundamental human instincts – the tie between a mother and her new-born child that, as day follows day, becomes less part of its mother’s body. The work develops themes from my song cycle The Lustful Mother in which long solo viola passages strike to the very heart of down-to-earth, natural womanhood. The Lustful Mother’s Heart was born at a very special moment in my life when my second child was spending his first weeks in this world. The viola song kept company with us night and day, dark and deep-rooted, at times broadening out into a hymn, weaving into our fate asthrough a dream. The Lustful Mother’s Heart is dedicated to violist Ellen Nisbeth, who also commissioned it.

Pelle Gudmundsen-Holmgreen: Incontri (Score)

For Orchestra.Score.Commissioned by The Danish National Symhony Orchestra / DROrchestration3 Flutes, 3rd dbl. Piccolo3 Oboes, 3rd dbl. Cor Anglais3 Clarinets in Bb, 3rd dbl. Bass Clarinet in Bb3 Bassoons, 3rd dbl. Contra Bassoon4 Horns in F3 Trumpets in C3 Trombones1 Tuba2 Percussion (2 players)TimpaniStringsThe Score is written in CPreface / Programme NoteINCONTRI is a kind of orchestral prelude presenting some of the orchestra?s timbralpossibilities. The timbres of the instrument groups emerge either clear on their ownor in various blends. There are no doublings between the three main groups ? winds,strings and percussion ? each group maintains its own individual character, evenduring the encounters; as in a forest where different kinds of birds continue theirterritorial song without yielding or altering their signals.The joint musical project is not unlike a Baroque concerto grosso, not only in theway the form plays the groups off against each other, but also in the musical languageitself.I have previously written a concerto grosso which I called ?Jungle Baroque? becauseof its savage and wild sounds. The same thing can be said about INCONTRI ? bydegrees.Pelle Gudmundsen-Holmgreen

Poul Ruders: Nightshade (Full Score)

Ruders writes: NIGHTSHADE is an instrumental dark-room, a grave-yard of low-pitched, tight-knitted, crawling chords sliced asunder by the cold extremely high positioned movements of the oboe and violin in particular: tones sustained to near-immobility and then scared into startling velocity, like geckoes on a Southern garden wall. Shades in the night are pale and gloomy phenomenons to behold; treacherous beauties in the mighty realm of invisibility and blackness. Belladonna (beautiful lady) is the morbid christening of that fearsome variety of flora: the deadly nightshade. The piece is, on one hand, a study in extreme sonorities; the infrequently used contrabass clarinet is being employed along with the contra-bassoon, forming the ultra-low foundation of the score and the bottom-register of the French horn and the trombone is set against the serene clarity of high violin and oboe. On the other hand, the piece is a tone-poem of sorts, on the various associations as they form within the mind of the individual listener when confronted with the very word NIGHTSHADE. Personally, I come to think of pale moonlight, tombstones, the compelling as well as frightening spell of a dark forest. A Study in black the piece has been called.

Poul Ruders: The Thirteenth Child - A Fairytale Opera In Two Acts (Score)

The Thirteenth Child - A Fairytale Opera In Two Acts by Poul Ruders (2014-15). Libretto by Becky Starobin and David Starobin. Scenario by Becky Starobin. Suggested by 'The Twelve Brothers' by the Brothers Grimm. SYNOPSIS Act 1, Scene 1 The neighboring Kingdoms of Frohagord and Hauven are in crisis. Following a warning by his embittered cousin Drokan, Regent of Hauven, King Hjarne of Frohagord is convinced that his twelve sons are plotting to overthrow him. The twelve princes, oblivious to their father's paranoia, play in the courtyard. The enraged King threatens the safety of his sons, telling his pregnant wife, Queen Gertrude, that she must provide him with a female heir, as "only she shall wear the crown".  Gertrude calms Hjarne and they sing of the Lilies of Frohagord, magical flowers that protect the kingdom.  When Benjamin, the youngest prince, innocently plucks a lily from the garden, Hjarne flies into a mad rage and strikes Gertrude.  Drokan, observing the encounter, admits his love for Gertrude and feels "the trembling of the earth". Act 1, Scene 2 Eighteen years have passed and King Hjarne has just died. At Hjarne's funeral Frederic, Drokan, and the mourners tell of the mysterious disappearance of the King's thirteen children and the shadows that haunt the kingdom. Queen Gertrude, now mortally ill, and her daughter, Princess Lyra, enter the Royal Chapel. Gertrude is repelled by the sight of Drokan, while Frederic is drawn to Lyra. Drokan plots to usurp the Kingdom of Frohagord and Frederic dreams of the day when Lyra will be his. Act 1, Scene 3 Queen Gertrude is on her deathbed, attended by Princess Lyra.  Lyra asks her mother why she was sent away.  Gertrude has Lyra open a secret drawer where Lyra finds twelve shirts embroidered with the red Lilies of Frohagord. Gertrude reveals that the shirts belong to her missing brothers, who were sent to the forest, taking the lily bulbs with them.  Before dying, Gertrude begs Lyra to find her brothers and heal the family's wounds.  Lyra vows to find the twelve Princes.   Act 2, Scene 1 Lyra wanders through an enchanted forest, coming upon a cottage with twelve lilies in bloom. She encounters Benjamin, whom she learns is the youngest of her brothers. In the distance the older brothers are heard as they return home from a hunt.  Benjamin, who fears that his brothers will seek revenge against Lyra, hides her. After his brothers assure him that they will do no harm, Benjamin reveals Lyra, much to the joy of all. Preparing for a celebratory feast, Lyra cuts the red lilies, unintentionally casting a spell that transforms her brothers into ravens. She is devastated by her tragic mistake. Act 2, Scene 2 Queen Gertrude appears as an apparition and tells Lyra that in order for her brothers to return to human form, she must remain mute for seven years. Act 2, Scene 3 Almost seven years have passed, and Frederic's search for Lyra is rewarded. A great wedding celebration is planned by the people of Hauven. Drokan jealously plots to destroy the couple and gain the throne of

Per Nørgård: Tribute To Bali (player's score)

Programme Note TRIBUTE TO BALI is a 5-6 minutes piece for 3 percussionists, but also the original version for piano solo under the title ?Many returns to Bali? might be called a percussion piece (the piano being a percussive instrument too, at least since Bartok?s ?Allegro Barbaro?) ? referring in sound and attack to Balinese gamelan music.In gamelan orchestras the fastest layers of music are played by high pitched instruments, the slowest layers by instruments with deep octaves. The same idea is present in my piece, and gives the music a Balinese touch, although no Balinese themes or motifs are used. The motives and rhythms are my own brew, especially the snake-like rhythm called ?Pischop?, which ? played in many layers at the same time ? avoids the strong beats in a bar. The music might be described as a ?Tribute to Pischop?. It also refers to my piece ?Returns? for guitar (1976), composed after my first visit to Bali in 1975.The piece was composed as a hommage to the cultural rich civilization of Hindu Bali, after the bombings on the island in 2002. Percussionist Jacob Weber has, with my accept, arranged the original piano piece for percussion trio ? for his debut in 2005 at the Queens Hall at the Royal Library, Copenhagen.Per Nørgård (2005)

Fundal Figure & Ground Study 1

The image and concept of this piece is easiest to describe by using the visual images of the Dutch artist M. C. Escher. He made many woodcuts where the whole surface of the picture has a figurative function, often just in black and white. For example, a row of white ducks 'transversing' the painting which are described by black ducks transversing in the opposite direction. In this way, the two figures describe each other, so to speak. In this piece, melody has been approached in a similar way: a melody is used which can be framed in rhythmically different groupings - in groups of fours or fives etc- thus, creating new hierarchical melodies which grow more and more obvious to the ear. The initial melody then becomes background to the new melody until disappearing, and a new rhythmical pattern is imposed on the second melody, and so forth. Later the different 'rhythm melodies' are woven together, creating a new perceptual image, one that is, at the same time, actually a 'holographic' reproduction of the initial melody. The latter situation is similar to the way Bach makes hidden 3- or 4-part counterpoints in his Cello suites by intersecting the parts successively into beautifully interwoven patterns. The very static sections of the piece are chiefly inspired by the powerful singing of the buddhist-monks of Tibet who are able to relax their vocal chords to such an extent that they create an overpowering deep note, not normally thought to be produced by a human voice. Figure and Ground Study I was first performed by Mats Olofson at the Numus Festival 1995.

Denmark Revisited - Danish Choral Works (CD)

Denmark Revisited - Danish choral works for mixed voices a cappella. The University Choir Lille MUKO and soprano Else Torp, conducted by Jesper Grove Jørgensen. For many years now there has been a broad international interest in performing Danish choral works, not least from the 20th century, but often the Danish lyrics have been a hindrance in realising this goal outside Denmark. With this in mind we have thought it important to make Danish choral music more available through the release of selected works in which the Danish text is translated into English. With the present choice we have endeavoured to present works which fully demonstrate the wide range and originality of Danish choral music: the particular, lyrical Danish tone of Svend S. Schultz and Jørgen Jersild; the original simplicity of Pelle Gudmundsen-Holmgreen; the characteristically Danish late romanticism of P.E. Lange-Müller and Rued Langgaard; and the music of composers with their own particular musical idiom, such as Vagn Holmboe, Bernhard Lewkovitch, and Bo Holten. We have also tried to choose works with lyrics by writers that are specifically Danish in origin, including Hans Christian Andersen, Johannes V. Jensen, and Tove Ditlevsen. We hope that this release will help to spread knowledge and understanding of Danish choral music outside Denmark. (Jesper Grove Jørgensen) Content P. E. Lange-Müller: 3 Madonna Songs Rued Langgaard: 3 Rosengaard Songs Svend S. Schultz: Denmark Revisited Vagn Holmboe: Songs Towards the Deep of Spring, op. 85 Jørgen Jersild: Three Danish Love Songs Bernhard Lewkovitch: 3 Motets, op. 11 Pelle Gudmundsen-Holmgreen: 6 Simple Danish Songs Bo Holten: Rain and Rush and Rosebush

Denmark Revisited - Danish Choral Works (SATB)

Denmark Revisited - Danish choral works for mixed voices a cappella. Edited by Jakob Faurholt and Jesper Grove Jørgensen. Transl. by Edward Broadbridge and Mikael Gjesing. The present release contains a number of Danish choral works with Danish lyrics translated into English. For many years now there has been a broad international interest in performing Danish choral works, not least from the 20th century, but often the Danish lyrics have been a hindrance in realising this goal outside Denmark. With this in mind we have thought it important to make Danish choral music more available through the release of selected works in which the Danish text is translated into English. With the present choice we have endeavoured to present works which fully demonstrate the wide range and originality of Danish choral music: the particular, lyrical Danish tone of Svend S. Schultz and Jørgen Jersild; the original simplicity of Pelle Gudmundsen-Holmgreen; the characteristically Danish late romanticism of P.E. Lange-Müller and Rued Langgaard; and the music of composers with their own particular musical idiom, such as Vagn Holmboe, Bernhard Lewkovitch, and Bo Holten. We have also tried to choose works with lyrics by writers that are specifically Danish in origin, including Hans Christian Andersen, Johannes V. Jensen, and Tove Ditlevsen. Finally, we have at all times been aware of the musical degree of difficulty, so that the collection contains both easily approachable works as well as relatively complex ones. We hope that this release will help to spread knowledge and understanding of Danish choral music outside Denmark and thus offer the opportunity to expand the current choral repertoire that many choirs have wished. (Jesper Grove Jørgensen)   Contents P. E. Lange-Müller: 3 Madonna Songs Rued Langgaard: 3 Rosengaard Songs Svend S. Schultz: Denmark Revisited Vagn Holmboe: Songs Towards the Deep of Spring, op. 85 Jørgen Jersild: Three Danish Love Songs Bernhard Lewkovitch: 3 Motets, op. 11 Pelle Gudmundsen-Holmgreen: 6 Simple Danish Songs Bo Holten: Rain and Rush and Rosebush  

Vinterkantate, Kopi

Winter Cantata / Vinterkantate (1976) by Per Nørgård for a variable ensemble of soloist, mixed choir and instruments (minimum: vocalist and organ). Programme Note: When in 1975 I had finished composing my 3rd Symphony (begun in 1973), I wrote three simple melodies for two psalm texts by Ole Sarvig: “The Year” and “Choral Hymn”. These three tunes were derived from the same material as the second movement of the 3rd Symphony and could be harmonized together in several different tempo relationships at the same time - like fractals – which inspired me to write several choral and instrumental works in the following decade based on these melodies: “Frost Psalm”, “Winter Cantata”, “ Winter Hymn”, “Cantica” and others. One of these ´Sarvig melodies´ is now included in the new Danish Hymnbook, under the title “Året”(The Year). Ole Sarvig´s poem “Året” (The Year) is Danish, perhaps Scandinavian in character, but its symbolic atmosphere is global (now snow is covering the whole earth). The basic composition of this cantata – based on Sarvig´s many verses – was done by letting soloist, choir and instruments change in feelings and moods: from the almost silent, inward-looking beginning (I: Chorale dolorosa) to a dancelike and happy optimism (II: A heaven germ on winged foot thrust deep into the earth its root), followed by nightmarish tone rows as the “year-wheel of fortune” is turning (III: Sacrifice – The Year) and the temptations of the snake (IV: In Paradiso) – to the allegorical fights between egoism and altruism (V:The Cycle – Autumn. Purgatory) before the “waiting for a disaster”- atmosphere at the end of this choral Odyssé. Winter Cantata was from the beginning (1976) designed as an open work, to be arranged by different combinations of soloists, choir and (different) instruments. The printed version by Per Nørgård and Ivan hansen for soloist, mixed choir and instruments (obo, violin, trombone, vibraphone/percussion and organ) is from 1990. The work is available in both the (original) Danish version (“Vinterkantate”) and an English version (Winter Cantata), translated by Helen and Ole Sarvig. (Per Nørgård)