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Bent Sørensen: Schattenlinie (Score & parts)

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)

SEK 686.00
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Poul Ruders: Paganini Variations- Guitar Concerto No.2

Per Nørgård: Zigzag (Parts)

Per Nørgård: Zigzag (Score)

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

Juliana Hodkinson: Angel View

Poul Ruders: Nightshade (Full Score)

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

Poul Ruders: Corpus Cum Figuris (Score)

Poul Ruders: Corpus Cum Figuris (Score)

Corpus Cum Figuris is a uniform composition in three major parts. The first part is a slow marche funébre, a kind of prologue with dark and sombre sounds and a massive wall of chords which leads us to the other part of the works where the static and solemn atmosphere is suddenly stopped and replaced by a rhythmic/melodic ritual which accelerates the music. In the third part the block structure is softened gradually, different figurations and stylistic elements arise to live their own lives: distant waltzes and pictures from the Middle Ages appear in this gigantic sonorous body. After a wild percussion orgy a short flash-back and a scream from the edge end Corpus cum Figuris. The piece has no literal content at all, even though the title leads the thought to Adrian Leverkühn?s Apocalipsis cum Figuris from Thomas Mann?s Doctor Faustus. More likely, my piece will arouse associations as with all my music. It has to be heard in it?s own conditions, in this case as a big body of music or perhaps as a great screen where the details, of course, are part of the whole body but at the same time are foreign and odd. It is as if one climbs a mountain and from the top of that mountain discovers a world which is completely different from expected. Corpus cum Figuris for 20 musicians was composed in 1984, commissioned by Ensemble InterContemporain and the Danish Radio. Ensemble InterContemporain world premiered the work in April 1985 conducted by Peter Eötvös. The piece was also played at the ISCM-festival in Amsterdam by Netherland Radio Chamber Orchestra conducted by Ernest Bour.

SEK 1432.00
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Poul Ruders: Paganini Variations - Piano Concerto No.3 (Piano Solo)

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  

SEK 488.00
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