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Poul Ruders: Tattoo For One

Poul Ruders: Tattoo For One

Tattoo For One composed in 1984 is a virtuosic work for Clarinet Solo by important Danish composer Poul Ruders. Dedicated to Mette Bugge Madsen, this is a veritable tour de force, an impressive work imbued with Ruders? characteristic charisma and inexhaustible instrumental fantasy. With fanfare and militaristic motifs overlaying and intertwining, and a powerful rhythmic energy, this is a fabulous and entertaining performance and recital piece that can also be used as preparation for Ruders? later Clarinet Concerto.

SEK 257.00
1

Poul Ruders: String Quartet No.4 (score)

Poul Ruders: String Quartet No.4 (score)

Programme Note It might be of interest for some to note, that a gap of only six months separates the writing of my second and third quartets (1979), but a 33 year interval stands between the third and the present piece, String Quartet No. 4.Which is in five movements and is about nothing but itself. The first movement "Adagio - Presto alla breve - Adagio" is an overture of sorts, lifting the lid, as it were, on the odd bit of what happens later on in the other movements.A portal into: The second movement "Vivo scherzando", which is just that: a short (2 minutes only) fast and jocular piece leading up to the next movement: "Adagio sognante", a slow and hushed dream-world, paving the way for the pièce de resistance of the entire quartet: "Presto alla breve", a ferociously fast tour de force for the four players, who, with that one under their belts, can lean back a little (but only a little) and put the whole thing gently to bed in the fifth and final movement: a simple "Adagio". Off the record: my first string quartet (1972) has been withdrawn and is no more, a fact that renders the numbering of the subsequent quartets a matter of personal conviction. Poul Ruders, November 2012

SEK 686.00
1

Second Symphony

Second Symphony

Second Symphony is in four movements. The first movement opens with a scream. The subsequent parts of the movement form a unified but complex whole, where traces from the coming movements turn up – constantly in interaction with the scream and its echoes. The second movement is slow and rather melodious. It was actually performed in a “trailer version” – shortened and minimized in December 2018 in the Danish TV programme 'Deadline'. The third movement is a scherzo – teeming, rhythmic, with almost physical soft and violent meetings, like acts of love between the different layers of music. The last movement is a farewell song – a goodbye. A musical ship is approaching only todisappear again. Where the composer perceives the preceding movements as highly contemporary, there is a touch of the past in this last movement – the composer's past. Sørensen quotes his fourth string quartet 'Schreie und Melancholie', and in this movement he was also influenced by the fact that his mother passed away during the composition of this piece.

SEK 981.00
1

Poul Ruders: Wind-Drumming (Score)

Poul Ruders: Wind-Drumming (Score)

Programme Note Poul Ruders WIND-DRUMMINGWIND-DRUMMING was written in 1979 on a commission from The Danish Percussion Ensemble.The piece is a clash of two kinds of sound-associations; the mystic, exotic impact of Latin-American drumming, and the more well dressed reputation of Western concert-instruments, in this case a wind-quintet (w. electric flute).The two instrumental camps either melt into one soft humming ritual or are split wide apart, the winds tearing their way through the undergrowth of rainforest-drumming. There is more than one way of getting on to WIND-DRUMMING: obviously it is about the confrontation of two incongruent ways of living, a lament on the damage done to the tropical rainforests of the world by modern civilisation. One can hear it plainly as a direct rhythm-show, a downright number or a joyous homage to the most exiting kind of folkloristic music at all: the carnal spell of the Brazilian Samba.Poul Ruders

SEK 629.00
1

Bent Sørensen: Adieu For String Quartet

Bent Sørensen: Adieu For String Quartet

Study score to Bent Sørensen's Adieu for String Quartet. The slow choral-like music which initiates "Adieu" was the result of an image or almost a dream that I had. Without being able to explain why, I imagined a procession of people, maybe medieval monks, wearing large gray mantles with Ku-Klux-Klan-like white cowls on their heads, something like a funeral procession. The title Adieu is partly a comment on this funeral procession, but also used because the piece is split up by three slow-ascending glissandi, a kind of "farewell glissandi" which removes the intervening music. The first absorbing glissando is soft and removes both the slow funeral choral and the agitating figures in the first half of the piece. The second glissando is given only to the cello and crawls out from the elegiac melodies in the middle part. The third and "final" glissando is intense and agitating, and prepares the way for the end of the piece. This end primarily deals with the relationship fast - slow. This relationship is turned topsy turvy: the music gets faster and faster until it is so fast that it suddenly becomes slow, so slow in fact that it is very quickly able to become extremely fast again.Bent Sørensen

SEK 284.00
1

Bent Sørensen: String Quartet No.2 'Adieu' (Parts)

Bent Sørensen: String Quartet No.2 'Adieu' (Parts)

Score available: KP30120 The composer writes:The slow choral-like music which initiates "Adieu" was the result of an image or almost a dream that I had. Without being able to explain why, I imagined a procession of people, maybe medieval munks, wearing large gray mantles with Ku-Klux-Klan-like white cowls on their heads, something like a funeral procession. The title Adieu is partly a comment on this funeral procession, but also used because the piece is split up by three slow-ascending glissandi, a kind of "farewell glissandi" which removes the intervening music. The first absorbing glissando is soft and removes both the slow funeral choral and the agitating figures in the first half of the piece. The second glissando is given only to the cello and crawls out from the elegiac melodies in the middle part. The third and "final" glissando is intense and agitating, and prepares the way for the end of the piece. This end primarily deals with the relationship fast - slow. This relationship is turned topsy turvy: the music gets faster and faster until it is so fast that it suddenly becomes slow, so slow in fact that it is very quickly able to become extremely fast again.

SEK 619.00
1

Diferencias, Kopi

Diferencias, Kopi

Poul Ruders DIFERENCIASDIFERENCIAS was an old Spanish naming of musical compositions dealing with various techniques involving theme and variation. In modern Spanish it simply means differences. It?s a nice title, however, and as to the present piece, a very fitting one indeed, because I wrote it especially to The Elsinore Players for their South America-tour in 1981.Actually nothing happens to the clipping of wellknown Bach (the first four bars of the chorale: "jesu, Joy of Man?s Desiring", cantata No. 147), apart from the continuous changing of the succession-pattern of the 11 triplets and one duplet, the latter of which creates the recognizable 8/8 pattern amidst the flow of 9/8 "spinnrad-rolling". To put it popularly, I haven?t included anything that Bach does not have in the book himself.In addition to that, the unpredictable accents and various instrumental colours are the only means of "differences". There are no modulations, no tricky polyphony, nothing but a long, thoughtful tasting the beautiful piece of tune. Well, of course, the chorale itself enters the picture in the very last section, but that is merely for me to have the pleasure of tossing it away again before it comes to a proper end.Finally, I really do think, that the Cage/Morgan poem quoted below, is the most suitable prologue to DIFERENCIAS:14 variations on 14 wordsI have nothing to say and I am saying it and that is poetry. John CageI have to say poetry and is that nothing and I am saying itI am and I have poetry to say and is that nothing saying itI am nothing and I have poetry to say and that is saying itI that am saying poetry have nothing and it is I and to sayAnd I say that I am to have poetry and saying it is nothingI am poetry and nothing and saying it is to say that I haveTo have nothing is poetry and I am saying that and I say itPoetry is saying I have nothing and I am to say that and itSaying nothing I am poetry and I have to say that and it isIt is and I am and I have poetry saying say that to nothingIt is saying poetry to nothing and I say I have and am that Poetry is saying I have it and I am nothing and to say that And that nothing is poetry I am saying and I have to say itSaying poetry is nothing and to that I say I am and have itEdwin MorganPoul Ruders

SEK 679.00
1

Animals In Concert

Animals In Concert

Animals In Concert - Three pieces for Piano solo by Per Nørgård. Programme Note  1. A Tortoise´s Tango (1984) - dur.: 4´  2. Light of a Night - Paul meets bird (1989) - dur.: 6´  3. Hermit Crab Tango - Esperanza (1997) - dur.: 5´   The pieces can be performed together or one by one. In the1980s, quite a few "finds" turned up in Per Nørgård's music. The material could be, say, a number of song birds' equilibrist melodic lines, the overtones of the ocean surf, or waltzing themes by the schizophrenic artist Adolf Wölfli (1864-1930). Or again, as heard here, it can be the rhythms and motifs of the tango and a Beatles song (with bird), explored in three independent piano pieces that form the Animals in Concert suite, about which the composer writes:  "A Tortoise´s Tango": The tortoise as tango dancer must presumably possess certain rhythmic peculiarities, which I have chosen to express by letting the tune of the tortoise shuffle broadly, tripartite through the strict four partite time of tango.  Tortoise Tango was the original title of this piece, "written for Achilles" (the pianist Yvar Mikhashoff), for his so called tango project", including new tangos for piano by composers from all over the world.  "Light of a Night (Paul meets bird)" was commissioned by pianist Aki Takahashi. It is a "reworked" arrangement for piano of the Beatles song "Blackbird". As some of us will recall, the Beatles on "The White Album" let the beautiful song to the blackbird be accompanied by an (apparently) live blackbird song. It is this authentic bird-motif world that in "Light of a Night" weaves itself into the Beatles melody and in turn is gradually infected by it, so that a completely new third entity ensues: a kind of Bird-rock ballad (or maybe it is a Beatle-bird?).  "Hermit Crab Tango (Esperanza)": The tango situation is quite special for a Hermit Crab. It is a well-known fact that the hermit crab - this soft animal - must run the gauntlet among the many perils at the bottom of the sea when it must move hose. I have chosen to express the angers by a tango pattern - sharp as a cactus - through which the tune, optimistic, slips to its new shelter. I have borrowed the tune from songwriter Hanne Methling´s "Introduction": ´I want to get through this time!' she sings in a ecstatically ascending melody line - and I believe that these words must correspond very well to the mood of the hermit crab: ´Esperanza´- the green runners of hope wind among the latticework formed by the tango rows.

SEK 488.00
1

Esperanza (Eremitkrebsetango)

Esperanza (Eremitkrebsetango)

Esperanza - Eremitkrebs-Tango (1997) Hermit Crab Tango, Esperanza is part of Nørgård´s Animals in Concert, a suite of piano pieces, so far comprised of:  1. A Tortoise´s Tango (1984) – dur.: 4´  2. Light of a Night – Paul meets bird (1989) - dur.: 6´  3. Hermit Crab Tango – Esperanza (1997) - dur.: 5´  The pieces can be performed together or one by one.  In the1980s, quite a few “finds” turned up in Per Nørgård’s music. The material could be, say, a number of song birds’ equilibrist melodic lines, the overtones of the ocean surf, or waltzing themes by the schizophrenic artist Adolf Wölfli (1864-1930). Or again, as heard here, it can be the rhythms and motifs of the tango and a Beatles song (with bird), explored in three independent piano pieces that form the Animals in Concert suite, about which the composer writes:  Programme note for "Animals in Concert":  1. A Tortoise´s Tango (1984) – dur.: 4´  2. Light of a Night – Paul meets bird (1989) - dur.: 6´  3. Hermit Crab Tango – Esperanza (1997) - dur.: 5´  The pieces can be performed together or one by one.  In the1980s, quite a few “finds” turned up in Per Nørgård’s music. The material could be, say, a number of song birds’ equilibrist melodic lines, the overtones of the ocean surf, or waltzing themes by the schizophrenic artist Adolf Wölfli (1864-1930). Or again, as heard here, it can be the rhythms and motifs of the tango and a Beatles song (with bird), explored in three independent piano pieces that form the Animals in Concert suite, about which the composer writes:  “A Tortoise´s Tango”: The tortoise as tango dancer must presumably possess certain rhythmic peculiarities, which I have chosen to express by letting the tune of the tortoise shuffle broadly, tripartite through the strict four partite time of tango.  Tortoise Tango was the original title of this piece, “written for Achilles” (the pianist Yvar Mikhashoff), for his so called tango project”, including new tangos for piano by composers from all over the world.  “Light of a Night (Paul meets bird)” was commissioned by pianist Aki Takahashi. It is a “reworked” arrangement for piano of the Beatles song ”Blackbird”. As some of us will recall, the Beatles on “The White Album” let the beautiful song to the blackbird be accompanied by an (apparently) live blackbird song. It is this authentic bird-motif world that in “Light of a Night” weaves itself into the Beatles melody and in turn is gradually infected by it, so that a completely new third entity ensues: a kind of Bird-rock ballad (or maybe it is a Beatle-bird?).  “Hermit Crab Tango (Esperanza)”: The tango situation is quite special for a Hermit Crab. It is a well-known fact that the hermit crab - this soft animal - must run the gauntlet among the many perils at the bottom of the sea when it must move hose. I have chosen to express the angers by a

SEK 150.00
1