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Peter Bruun: Solhymne (Player's score)

Peter Bruun: Solhymne (Player's score)

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.

SEK 342.00
1

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

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.

SEK 514.00
1

Attacca, Kopi

Attacca, Kopi

Anders Brødsgaard JOKER, ATTACCA and REQUIEM'Joker' was inspired by Keith Jarret's piano style, parti-cularly as it unfolds in his famous concerts of solo improvisation. The title comes from the fact that a kind of 'joker effect' is built-in in the rhythmic play which disturbs the 'arithmetical problem' and forces the music to continue everytime a four-layered polyrhythm is about to come out.'Attacca' is a wild(ly) uncontrolled outburst, which startsin the highest layers of cloud of four rows of overtones and gradually falls down in a more differentiated diatonic domain.'Requiem' was composed in the memory of my father and the piece is about 'hearing voices'.

SEK 304.00
1

Claude Debussy: Children's Corner (Score) Arr.: Hans Abrahamsen

Claude Debussy: Children's Corner (Score) Arr.: Hans Abrahamsen

IIAll transposed instruments are notated in transposition.2 Clarinets in A and B (2nd db. Bass Cl. in B )2 Bassoons2 Horns in F2 Trumpets in CTimpaniPercussion (3 players)Orchestra2 Oboes (2nd db. Cor Anglais)2 Flutes (2nd db. Piccolo)2 Tenor Trombones1 Contrabass TubaTotal requirement: Glockenspiel, Tubular Bells, Xylophone, Cymbal Antique (Crotales),2 HarpsCelesta (db. Piano)Strings(the lowest C-string tuned down to B on both harps)Double Bass harmonics are octave transposed as well.Cymbals (suspended), Bass Drum (large), Tambourine, Tam-tam (large),Triangle, Castanets, Schellen (Sleigh Bells)Perc. 1: Glockenspiel, Tubular Bells, Xylophone, Crotales, Tambourine, Tam-tamPerc. 2: Tubular Bells, Castanets, CymbalsPerc. 3: Bass Drum, Triangle, Sleigh BellsThe M.M. metronome indications are suggestions (H.A.)

SEK 801.00
1

Hodkinson All My Friends... Electrn

Hodkinson All My Friends... Electrn

Electronics for All My Friends Really Are Superheroes by Juliana Hodkinson . All My Friends Really Are Superheroes was commissioned by Samuel Stoll, and first performed by him at Tate Britain, London, on 1st April 2011, as part of a Microtonal Projects/Late at Tate event. The electronics involved consist of 43 samples (some of which are recordings made by Samuel 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 and foot pedal e.g. Roland FC300 connected to computer. The left control pedal regulates downward pitch-shifts, the right control pedal regulates upward pitch-shifts. Samples and MaxMSP-patch are available on request.

SEK 342.00
1

Carl Nielsen: Chaconne Op.32

Carl Nielsen: Chaconne Op.32

Carl Nielsen is doubtlessly one of Denmark?s most important and popular composers. This is no more evident than in his 1916 work for Piano Solo, Chaconne Op.32, which followed a seventeen-year gap in his compositions for that instrument. It is a decidedly dynamic work, in constant motion from the moment the simple opening theme begins through the crescendo and to the winding down and end of this piece. The twenty variations that form the core of this piece themselves have a varied range, sometimes comparatively easy, showing Bach?s influence, other times he uses highly complex contrasts. This is a fine example of Nielsen?s work and uses mood and texture to great effect making it ideal for concert or recital performance whilst the variations make it a clever training manual.

SEK 257.00
1

The Lustful Mother's Heart

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.

SEK 257.00
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

Poul Ruders: Psalmodies (Full Score)

Poul Ruders: Psalmodies (Full Score)

Full score for this work for Guitar and Small Ensemble. Ruders writes: The word has its origin in ancient Greek: Psalmoidia i.e. ?singing to the harp?, and we find the word again in Psalter, derived from Psallein ?playing the strings with the fingers?. 'Psalmodies' written for and dedicated to David Starobin, has no specific religious content or aim; the collection of eleven pieces forms a concert-suite, displaying a wide range of emotions; from the jubilant to the dismal, the guitar playing the natural leading part ?inside? a chorus of woodwinds and strings. The title and each movement mirrors the variety of moods, from the secular feast of A Fanfare for All to the sacred introversion of A Prayer with Halo. 'Psalmodies' opens with a guitar-solo and closes down with one: the rejoicing Entrance for One and the hushed, melancholy Exit for One, thus exemplifying the emotional compass, which I, in an essay on my first symphony; ?Himmelhoch Jauchsend-zum Tode betrübt? entitle: Of Joy and Grief. Of Worship and Oblivion.

SEK 629.00
1

Poul Ruders: Paganini Variations- Guitar Concerto No.2

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.

SEK 1030.00
1

Bent Sørensen: 'La Notte' Piano Concerto (Score)

Bent Sørensen: 'La Notte' Piano Concerto (Score)

Score of the Danish Composer's Concerto for Piano and Orchestra written in 1996. Bent Sørensen writes: 'The title of this piano concerto came, as usual, very early to me, when my thoughts about the work had started to circulate, but before ?real? music was written down. I held on to the Italian title, even though its association with Vivaldi had no influence on my music, and even when German, French, English, and Danish titles covering almost the same content -?Nachtmusik?, ?Nocturne?, ?By Night?, ?Om Natten?, were just about to get the upper hand. The piano concerto has, then, in my opinion, something to do with night, but to describe this further is at least as difficult to me as it is to defend the final Italian title against those which were rejected. The Piano Concerto is in two movements. The first, swarming, is perhaps the mystery of the night, and the second perhaps the dreams of the night; with this, however, I have already given the concerto a more programmatic content than I can defend. Each movement ends with a cadenza and perhaps the last of those - the ending of the work that is - is inspired by a sequence from Bruce Chatwin?s wonderful book ?The Viceroy of Ouidah?: Or the Amazons howling. ?No, No, No. It was not the leopard that killed him. Not the buffalo that killed him. It was night. Night that killed him!?

SEK 1457.00
1

Norgard P Two Nocturner Satb

Norgard P Two Nocturner Satb

To Nocturner (2001) - for Chamber Choir (12 or 24 Voices). Texts by Ole Sarvig and Ib Michael. English version available: KP01444E Programme note: These two choral pieces for 12 voices consists of radical recompositions on of earlier themes: in Summer's Sleep we hear new combinations of two 'Sarvig melodies' from the 1970s (one of which is now in the Danish Hymnbook under the title "Året", The Year); Michael's Night is based on an earlier, simple choral song (Star Mirror,1987), now for 12 voices and composed such that an original idea of "simultaneously displaced, opposite motions" cf. the poem) comes out as desired. Of the Nocturnes Nørgård writes: "Summer's Sleep was composed to stanzas of Ole Sarvig's poem The Year (from the collection Forstadsdigte ('Suburban Poems')) and forms the picture of "the summer of life", which is asleep - while the "heaven seed" waits for the summer wind ("invisible to every mind"). The many layers of text are expressed musically in a multilayered choral texture with 'looks' up and down through the various tempo and time-worlds: summer sleep, summer dream. "The second nocturne, Michael's Night, takes its name from the author Ib Michael, whose poem Star Mirror (from the collection Himmelbegravelse ('Sky Funeral') (1986) I pushed/coaxed him to expand from one to nine stanzas. The four selected stanzas set in the nocturne focus on the pan-erotic elements of the moonlit, starlit night. With the titles I have chosen I have stressed the mythic layer of the text, the summer night not as a dream but as sensual reality. "The two nocturnes are dedicated to Ivan Hansen on the occasion of his fiftieth birthday on 25th February 2003, out of gratitude for over a quarter of a century of inspiring collaboration".

SEK 245.00
1

Hans Abrahamsen: Left, Alone (Score)

Hans Abrahamsen: Left, Alone (Score)

Left, Alone for Piano (left hand) and Orchestra was composed by hans Abrahamsen in 2014-15. Commissioned by Westdeutscher Rundfunk and co-commissioned by City of Birmingham Symphony Orchestra, Danish National Symphony Orchestra and Rotterdam Philharmonic Orchestra. Premiered by the WDR Sinfonieorchester and Alexandre Tharaud (piano) concducted by Ilan Volkov on January 29, 2016, Cologne. Programme Note: I was born with a right hand that is not fully functional, and though it never prevented me from loving playing the piano as well as I could with this physical limitation, it has obviously given me an alternative focus on the whole piano literature and has given me a close relationship with the works written for the left hand by Ravel and others. This repertoire has been with me since my youth.My very first public performance of one of my own works was in autumn 1969. The piece was called October and I played the piano with my left hand and the horn, my principal instrument (the only instrument that can be played with only the left hand). Part of the piece requires the performer to play natural harmonics of the horn directly into the open strings of the grand piano to create resonance. The pedal was kept down by an assistant lying on the floor.Through decades the idea of writing a larger work for piano left hand has been in my mind. This new work is not written for a pianist with only one hand, but rather by a composer who can only play with the left hand. The title Left, alone contains all kinds of references, not only to the obvious fact that the left hand is playing alone. Left, alone is divided into two large parts, each consisting of three smaller movements – in effect, six in total. The work was commissioned by Westdeutscher Rundfunk, and co-commissioned by City of Birmingham Symphony Orchestra, Danish National Symphony Orchestra and Rotterdam Philharmonic and written for Alexandre Tharaud. Hans Abrahamsen, 2015

SEK 1124.00
1

Hans Abrahamsen: Left, Alone (Piano Solo)

Hans Abrahamsen: Left, Alone (Piano Solo)

Left, Alone for Piano (left hand) and Orchestra was composed by Hans Abrahamsen in 2014-15. Commissioned by Westdeutscher Rundfunk and co-commissioned by City of Birmingham Symphony Orchestra, Danish National Symphony Orchestra and Rotterdam Philharmonic Orchestra. Premiered by the WDR Sinfonieorchester and Alexandre Tharaud (piano) concducted by Ilan Volkov on January 29, 2016, Cologne. Programme Note: I was born with a right hand that is not fully functional, and though it never prevented me from loving playing the piano as well as I could with this physical limitation, it has obviously given me an alternative focus on the whole piano literature and has given me a close relationship with the works written for the left hand by Ravel and others. This repertoire has been with me since my youth. My very first public performance of one of my own works was in autumn 1969. The piece was called October and I played the piano with my left hand and the horn, my principal instrument (the only instrument that can be played with only the left hand). Part of the piece requires the performer to play natural harmonics of the horn directly into the open strings of the grand piano to create resonance. The pedal was kept down by an assistant lying on the floor. Through decades the idea of writing a larger work for piano left hand has been in my mind. This new work is not written for a pianist with only one hand, but rather by a composer who can only play with the left hand. The title Left, alone contains all kinds of references, not only to the obvious fact that the left hand is playing alone. Left, alone is divided into two large parts, each consisting of three smaller movements – in effect, six in total. The work was commissioned by Westdeutscher Rundfunk, and co-commissioned by City of Birmingham Symphony Orchestra, Danish National Symphony Orchestra and Rotterdam Philharmonic and written for Alexandre Tharaud. Hans Abrahamsen, 2015

SEK 506.00
1