Bibalo Endless Longing Bar/Pfa

'Notturno' for Baritone and Piano. Composed in 1966

Rued Langgaard: Du som Troner

Du som Troner. Instrumentation: Bar solo, mixed choir SATB, Chamber Orchestra. BVN363Manuscript copy

Rued Langgaard: Antikrist "Fortabelsen" (endelig version)

Antikrist "Fortabelsen" (endelig version). Instrumentation: 3S, T, Bar, B soli + mixed choir + 4.3.3.4/4.7.7.1/2 timp/3 perc/org/str. BVN192

Bent Sørensen: It Is Pain Flowing Down Slowly On A White Wall

For Accordion and Strings.

Sunleif Rasmussen: Klar Op Vort Mod, Lys For Vor Fod (Parts)

Klar Op Vort Mod, Lys For Vor Fod was composed by Sunleif Rasmussen in 2016. Scored for Soprano and Baritone soli, Choir SATB and Baroque Ensemble, with lyrics by Helle S. Søtrup. Commissioned by the festival 'Himmelske Dage', Copenhagen. Instr.: S,Bar; SATB chorus; 2ob.org.2vn.va.vc.db

Sunleif Rasmussen: Klar Op Vort Mod, Lys For Vor Fod (Score)

Klar Op Vort Mod, Lys For Vor Fod was composed by Sunleif Rasmussen in 2016. Scored for Soprano and Baritone soli, Choir SATB and Baroque Ensemble, with lyrics by Helle S. Søtrup. Commissioned by the festival 'Himmelske Dage', Copenhagen. Instr.: S,Bar; SATB chorus; 2ob.org.2vn.va.vc.db

Niels Rosing-Schow: Nu Og Efter (Score)

Niels Rosing-Schows Nu og Efter for soli, kor og orkester (2017), til tekster af Theis Ørntoft (fra Digte 2014). Bestilt af Det Kongelige Danske Musikkonservatorium i anledning af 150-året. Instr.: 2 S, Bar, Speaker, SSAA kor-soli; SSAATTBB Chorus; 4(2pic).2+ca.2+bcl.2+cbn/4431/4perc/hp/str Parts are available on hire: hire@ewh.dk Vocal score: WH33036C

Peter Bruun: The Black Waters (Parts)

The initial and prevailing theme is from the song "Det Fagreste Træ" with lyrics by Ursula Andkjær Olsen and music by me. To this song I also owe the title of the piece. The melody in bar 187-217 is quoted from a pearl diver song from Bahrain, recorded by the composer and music ethnologist Poul Rovsing-Olsen. Peter Bruun

Peter Bruun: The Black Waters (Score)

The initial and prevailing theme is from the song "Det Fagreste Træ" with lyrics by Ursula Andkjær Olsen and music by me. To this song I also owe the title of the piece. The melody in bar 187-217 is quoted from a pearl diver song from Bahrain, recorded by the composer and music ethnologist Poul Rovsing-Olsen. Peter Bruun

Niels Rosing-Schow: Nu Og Efter (Vocal Score)

Klaverpartitur til Niels Rosing-Schows Nu og Efter for soli, kor og orkester (2017). Tekster af Theis Ørntoft (fra Digte 2014). Bestilt af Det Kongelige Danske Musikkonservatorium i anledning af 150-året. Instr.: 2 S, Bar, Speaker, SSAA kor-soli; SSAATTBB Chorus; 4(2pic).2+ca.2+bcl.2+cbn/4431/4perc/hp/str Parts are available on hire: hire@ewh.dk Full score: WH33036

Bent Sørensen: Schattenlinie (Score & parts)

About the whispering in movement No. IV(The movement ?Kirschgarten?)The word ?stemmer? is whispered by the musicians in movement IV, as marked in the parts (marked whisper inthe music). The word ?stemmer? is Danish for ?voices?. The Danish letter ?e? is here pronounced approximatelylike the ?e? in the English word ?stem?.The whisper should be ?airy? and barely audible, not as loud as to be mistaken for talking/singing.If you prefer the German word ?Stimmen? (same meaning and approximate same ?sound?) you may substitutethat word for ?stemmer? - at your discretion. If you make the substitution then all occurences must be changed.In bar 7 the clarinet player whispers ?stemmer? after the last forte note of the piano has died away enough tomake the whispering audible.In bar 12 the pianist initiates the whispering, and is immediately followed by the viola player, creating an ?echo?effect.In bar 19 follow the same procedure as in bars 7 and 12.Further whispering, two possibilities/options:1)) AUDIENCE PARTICIPATION(this option is preferred by the composer and was used at the premiere performance of this movement at RisørFestival 8 July 2008). The special circumstances surrounding this particular performance (see last paragraph)allowed a number of people (approx. 10) from the attending audience to be instructed in advance to participatein the whispering from their position amongst the audience in the hall.It is not necessary for the audience ?whisperers? to have a score at hand, they will whisper on cue from themusicians on stage.The first occurrence of this feature appears in bar 21-22 where the especially prepared members of the audiencebecome part of the whispering echo.When the clarinet player has whispered ?stemmer? the audience follows immediately, creating a multi-voicedecho effect. It is very important that the audience does not coordinate their whispers in rhythmic unison, theeffect should be one of random echos from various directions. In bar 27, 36 and 38 the audience should follow thesame procedure, on cue from the musician(s) on stage.2)) WITHOUT AUDIENCE PARTICIPATIONThis option leaves out audience participation, which might prove difficult to organize in advance in ordinaryperformance. The echo effect should then be created solely by the musicians on stage, also in bars 21+22, 27, 36and 38. The whispers among the musicians can ?bounce? back and forth, ?echo-like? between the musicians, attheir discretion.The movement ?Kirschgarten? is dedicated to the Risør Festival of Chamber Music, just like the other movementsof SCHATTENLINIE. However, this movement is in particular dedicated to the many enthusiastic volunteers, onwhom the Festival rely. Hopefully the volunteers have enjoyed the opportunity to be involved as ?musicians?,although only for a single night, a brief moment, where they can relax ? by whispering ?stemmer?.Bent Sørensen, april 2008 (rev. 2012)

Public Behaviour : 2(pic).2.2(bcl).2(cbn)/4.3.2+btbn/3perc/hp.pf(syn)/str and solist perc, S,S,A,T,Bar,B

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.

Per Nørgård: Zigzag (Score)

Programme Note Zigzag ? percussion sextet (1981)ZIGZAG (1981, earlier entitled just SEXTET) is the second of my three percussion sextets (the other being RONDO (1964) and SQUARE AND ROUND (TWO DANCES) (1986)). ZIGZAG derives its characteristic rhythmic impulse from the establishing of simple metres (for instance four-bar patterns) that are abruptly cut off before completion, only to start over again immediately. This creates a sort of "cubistic" rhythmic effect, present also in my ISTERNIA (1979) for marimba solo and SONORA (1981) for flute and harp.Several percussion ensembles have performed SQUARE AND ROUND together with ZIGZAG, the latter played attacca as a third movement. I find the result of this combination convincing and satisfactory and I recommend it in performance ? with the title?Square, Round and Zigzag ? 3 pieces for percussion sextet? (1981/86).However, SQUARE AND ROUND as well as ZIGZAG may still be played separately.Per Nørgård

Per Nørgård: Zigzag (Parts)

Programme Note Zigzag ? percussion sextet (1981)ZIGZAG (1981, earlier entitled just SEXTET) is the second of my three percussion sextets (the other being RONDO (1964) and SQUARE AND ROUND (TWO DANCES) (1986)). ZIGZAG derives its characteristic rhythmic impulse from the establishing of simple metres (for instance four-bar patterns) that are abruptly cut off before completion, only to start over again immediately. This creates a sort of "cubistic" rhythmic effect, present also in my ISTERNIA (1979) for marimba solo and SONORA (1981) for flute and harp.Several percussion ensembles have performed SQUARE AND ROUND together with ZIGZAG, the latter played attacca as a third movement. I find the result of this combination convincing and satisfactory and I recommend it in performance ? with the title?Square, Round and Zigzag ? 3 pieces for percussion sextet? (1981/86).However, SQUARE AND ROUND as well as ZIGZAG may still be played separately.Per Nørgård

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

Hans Abrahamsen: Double Concerto for Violin, Piano and String Orchestra

Commissioned by The Royal Danish Orchestra and The Swedish Chamber Orchestra.Full Score.EnsembleViolin SoloPiano Solobring a Marimba mallet for playing inside the PianoString Orchestra (6-6-4-4-2)the number of string players may be doubled; 12-12-8-8-4if doubling the strings then Desk 1 means Desk 1+2, Desk 2 means 3+4 etc.Performance NotesGeneral:The set-up on stage is important, with two Violin groups on each side on the platform: Vilin 1 lefts and Violin 2 right, as seen from the audience1st Movement:In bar 1 & 7 the entire string group should adjust their intonation to the Double Basses and their natural harmonics. In the rest of the movement normal intonation should be used.The slow and rhythmical vibrato pulse should follow the accents2nd Movement:The 10/5 meter is divided into two beats, and the dotted lines show the position of the second beat in each bar3rd Movement:no comment4th Movement:The very high harmonics are intended as mostly a high 'airy' sound. The small gliss/portamenti that will invariably occur in the fast shofts of positions are intended

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.

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)

Poul Ruders: Paganini Variations - Piano Concerto No.3 (Score)

Paganini Variations - Piano Concerto No.3 (The original guitar-part arranged for piano and pianist Anne-Marie McDermott by the composer, 2014). Programme note: In 1999 my friend, American guitar virtuoso David Starobin, wanted me to write a concerto for guitar and orchestra. It quickly dawned on me, that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on Nicolo Paganini´s famous 24th Caprice for violin solo, a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate, but its inherent simplicity and logic just grow on you, almost to the point of distraction - and the secret behind it being hauled through "the wringer" by composers as disparate as Liszt, Brahms, Rachmaninoff and Lutoslawski is perhaps found in its - what I´ll call, with a quick nervous look over my shoulder: brilliant banality. You can do anything with that tune, it´ll always be recognizable and just there, however much you maul it. The piece (subtitled Guitar Concerto no 2) was written pretty quickly, premiered and subsequently recorded for Bridge Records with David and the Odense Symphony Orchestra conducted by Jan Wagner, and everybody was happy. But the story didn´t end there, and it must be the ultimate proof of the durability of the theme, not to mention the flexibility and far-sightedness of David Starobin , when he 14 years later suggested "why not transcribe the solo part for piano?". The idea appealed to me immediately. One thing was clear from the beginning: the new version could in no way sound like a transcription. My aim was to end up with a solo-part sounding like were it "the one-and-only", the "real thing", if you like. The orchestral score remains exactly the same in both cases. Both versions, the two Paganini Variations, are comparable to a set of twins, not quite identical, but almost. And both each others´s equal. Poul Ruders  

Poul Ruders: Paganini Variations - Piano Concerto No.3 (Piano Solo)

Piano solo part for Paganini Variations - Piano Concerto No.3 by Poul Ruders (2014). Score available: WH32201 Programme note: In 1999 my friend, American guitar virtuoso David Starobin, wanted me to write a concerto for guitar and orchestra. It quickly dawned on me, that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on Nicolo Paganini´s famous 24th Caprice for violin solo, a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate, but its inherent simplicity and logic just grow on you, almost to the point of distraction - and the secret behind it being hauled through "the wringer" by composers as disparate as Liszt, Brahms, Rachmaninoff and Lutoslawski is perhaps found in its - what I´ll call, with a quick nervous look over my shoulder: brilliant banality. You can do anything with that tune, it´ll always be recognizable and just there, however much you maul it. The piece (subtitled Guitar Concerto no 2) was written pretty quickly, premiered and subsequently recorded for Bridge Records with David and the Odense Symphony Orchestra conducted by Jan Wagner, and everybody was happy. But the story didn´t end there, and it must be the ultimate proof of the durability of the theme, not to mention the flexibility and far-sightedness of David Starobin , when he 14 years later suggested "why not transcribe the solo part for piano?". The idea appealed to me immediately. One thing was clear from the beginning: the new version could in no way sound like a transcription. My aim was to end up with a solo-part sounding like were it "the one-and-only", the "real thing", if you like. The orchestral score remains exactly the same in both cases. Both versions, the two Paganini Variations, are comparable to a set of twins, not quite identical, but almost. And both each others´s equal. Poul Ruders  

En Landsbydegns Melodibog: Ole Ugilt Jensen

En Landsbydegns Melodibog - 419 salmemelodier i 3-stemmige satser for klaver/orgel, arrangeret af Ole Ugilt Jensen.   - Melodihenvisninger til salmer uden egen melodi - Dybe tonearter - Markering af linieskift i salmebogen - Markering af midterstemme ved skift mellem de to systemer   Af dybsens nød, o Gud, til dig  Af højheden oprunden er  Ak Gud, fra Himlen se herned  Ak, Fader, lad dit ord og Ånd  Ak, vidste du, som går i syndens lænke Aldrig er jeg uden våde  Aleneste Gud i Himmerig  Alle mine kilder skal være hos dig  Alle ting er underfulde  Almagts Gud, velsignet vær  Almindelig er Kristi kirke  Almægtige og kære Gud  Alt står i Guds faderhånd (Laub) Alt står i Guds faderhånd (Rung) Alt, hvad som fuglevinger fik  Arbejd til natten kommer  Barn Jesus i en krybbe lå  Befal du dine veje  Betesda-søjlernes buegange  Bliv hos os, når dagen hælder  Blomstre som en rosengård  Blåt vælded lys frem  Bryd frem, mit hjertes trang  Brødre og søstre, vi skilles  Dagen går med raske fjed  Dagen viger og går bort  De dybeste lag i mit hjerte  De hellig tre konger så hjertensglad  Dejlig er den himmel blå  Dejlig er jorden  Den klare sol går ned  Den lyse dag forgangen er  Den mørke nat forgangen er  Den signede dag med fryd vi ser  Den skønne jordens sol gik ned  Den snævre vej er bred nok  Den store hvide flok vi se  Den store mester kommer  Den store, stille nat går frem  Den yndigste rose er funden  Der er en vej, som verden ikke  Der er en vej, som vi alle går alene  Der sad en fisker så tankefuld  Der stander et hus i vort høje Nord  Der står et slot i vesterled  Det dufter lysegrønt af græs  Det er den daglig trøst, hvormed  Det er så yndigt at følges ad (Laub)  Det er så yndigt at følges ad (Weyse)  Det første lys er Ordet  Det hellige kors, vor Herre selv bar  Det kimer nu til julefest  Det koster ej for megen strid  Det koster mer, end man fra først  Det livets ord vi bygger på  Det mulmer mod den mørke nat  Det var ikke en nat som de andre  Det var kun en drøm  Dig rummer ej himle  Dig ske al ære, Herre Krist  Dig vil jeg elske, du min styrke  Dig være ære  Din Himmel-krone ser vi stråle  Din rigssag, Jesus, være skal  Dommer over levende og døde  Drag ind ad disse porte  Drag, Jesus, mig  Du er, opstandne sejershelt  Du fylder mig med glæde  Du fødtes på jord  Du gav mig, o Herre, en lod  Du kom til vor runde jord  Du satte dig selv i de nederstes sted  Du, Herre Krist  Du, som gik foran os  Du, som gir os liv og gør os glade  Du, som går ud fra den levende Gud  Du, som har tændt millioner  Du, som ud af intet skabte  Dybe, stille, stærke, milde  Dybt fornedres skal enhver  Dybt hælder året i sin gang  Eja, min sjæl, ret inderlig  En dag skal Herrens skaberdrømme  En rose så jeg skyde  En sædemand gik ud at så  En sød og liflig klang  En vej eller anden, vor Herre ved råd  Et barn er født i Betlehem  Et fornødent er; det ene  Et kors det var det hårde trange leje  Et lidet barn så lysteligt  Et trofast hjerte, Herre min  Far, verden, far vel  Flammerne er mange  For alle helgen, som i Kristi tro  For dig, o Herre, som dage kun  Forlen os freden, Herre, nu  Fra Himlen højt kom budskab her  Fred hviler over land og by (Laub) Fred hviler over land og by (Bay) Fred til bod for bittert savn  Frelseren er mig en hyrde god  Fryd dig, du Kristi brud  Frydeligt med jubelkor  Frydetonen går mod tronen  Fuglen har rede, og ræven har grav  Fyldt af glæde over livets under  Gak ud, min sjæl, betragt med flid (Geneve) Gak ud, min sjæl, betragt med flid (Söderblom) Giv mig, Gud, en salmetunge  Glade jul, dejlige jul  Gladelig vil vi halleluja kvæde  Glæd dig, Zion, glæd dig, Jord  Glæden hun er født i dag  Gode Gud, din engleskare  Gud er her til stede  Gud Helligånd! o kom  Gud Helligånd, opfyld med lyst  Gud skal alting mage  Gud ske lov for nattero  Gud ske tak og lov  Gud, du, som lyset og dagen oplod  Gud, efter dig jeg længes  Gud, vi er i gode hænder  Guds godhed vil vi prise  Guds igenfødte, ny-levende sjæle  Guds menighed er jordens største  Guds menighed, syng  Guds ord blev aldrig bundet  Guds Søn har gjort mig fri  Guds Søn kom ned fra Himmerig  Gør døren høj, gør porten vid  Går det, Herre, som jeg vil  Han, som på jorden bejler  Har hånd du lagt på Herrens plov  Hav tak, o Herre, for evig trøst  Hellig, hellig, hellig  Helligånd, de frommes glæde  Her kommer, Jesus, dine små  Her ser jeg da et lam at gå  Her vil ties, her vil bies  Herre Gud! Dit dyre navn og ære  Herre Jesus, vi er her  Herre, du vandrer forsoningens vej  Herre, fordi du  Herre, jeg har handlet ilde  Herre, når din time ...