Pricemate

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

For Accordion and Strings.

SEK 686.00

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Intonation/Detonation

Intonation/Détonation (A gold- and silver waltz with snaps of champagne)For Arne Nordheim on his 70 years birthday (20 June 2001). Composed at the request from the Norwegian Radio - and from my own desire for large orchestra - but witt a duration of only approx. thirty seconds.

SEK 245.00

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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

SEK 1317.00

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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.

SEK 619.00

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Gitte Degn Calstrup: En Sang På Vejen 2 (CD/Booklet)

En Sang På Vejen 2 af Gitte Degn Calstrup - Lær at synge i bilen. Af alle "gør noget for dig selv"-ting jeg overhovedet har prøvet, er En sang på vejen absolut min favorit. Sådan siger en bruger af EN SANG PÅ VEJEN 1 - sang og stemmetræning i bilen og med denne nye dobbelt-cd EN SANG PÅ VEJEN 2 - lær at synge i bilen kan din stemme tage endnu et stort skridt. Cd'erne indholder 13 sangøvelser for: udligning af knæk/broer, støtte, intonation, hurtighed, vibrato, højden og bunden af stemmen m.m., samt syv udvalgte træningssange og et afspændningsprogram. 3 sange for kvinder: Angel (Sarah McLachlan) Fields Of Gold (Sting) Lay Your Head (Gitte Degn Calstrup) 3 sange for mænd: My Way (Frank Sinatra) The Book Of Love (Peter Gabriel) Time To Say Goodbye (Andrea Bocelli) Duet: Don't Give Up (Peter Gabriel) Øvelserne er udviklet til dig der har erfaring med sangteknik træning og hvis du er ny indenfor sangteknik, så anbefales det, at starte med begynderøvelserne fra EN SANG PÅ VEJEN 1 - sang og stemmetræning i bilen.

SEK 229.00

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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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Reveille, Kopi

REVEILLE RETRAITE for solo trumpetA joint commission between Håkan Hardenberger and Danmarks RadioDedicated to Håkan HardenbergerProgramme note:Everybody knows or has at least heard of the time honoured military bugle calls: Reveille Retraite, the awakening at sunrise the turning in at sunset. In a way it's the UR concept of the nature of the trumpet, an instrument capable of glorious panache as well as sublime, inward looking finesse. My piece is, as indicated in the title, a two fold composition in the form of two contrasting tone poems, each mirroring a fragment of original text, what one could call spiritual appetizers. At the end of chapter 8 of his high spirited Memoirs Hector Berlioz laments the murder of a man he admired, Prince Lichnowsky, who was stabbed to death in Frankfurt in September 1848 by German peasants: "Oh, I must get out, walk, run, shout under the open sky! " Now, there's a juicy bit of high strung romantic Sturm und Drang for you and the perfect motto for any awakening... Then night fall, Retraite, in which I've drawn upon the early, melancholy poem ALONE by Edgar Allan Poe and taken out one single line as 'subtitle' for this very hushed and withdrawn movement: "And all I lov?d, I lov?d alone. " I guess it won't hurt to quote the poem in its entirety:"From childhood's hour I have not beenAs others were I have not seenAs others saw I could not bringMy passions from a common spring.From the same source I have not takenMy sorrow; I could not awakenMy heart to joy at the same tone;And all1 lov?d, I lov?d alone.THEN in my childhood in the dawnOf a most stormy life was drawnFrom ev?ry depth of good and illThe mystery which binds me still:From the torrent, or the fountain,From the red cliff of the mountain,From the sun that 'round me roll`dIn its autumn tint of gold From the lightning in the skyAs it pass?d me flying by From the thunder and the storm,And the cloud that took the form(When the rest of Beaven was blue)Of a demon in my view."Edgar Allan PoeProgramme note by Poul Ruders, January 2004

SEK 750.00

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Bent Sørensen: String Quartet No.3 'Angel's Music' (Parts)

Score available: KP00250 The composer writes:'Even when I was writing "Adieu", I knew that I wished to write "Angel?s Music". The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on "Angel?s Music" was started in Rome, where I spent the autumn of 1987 staying at "The Danish Academy". Whether this stay has influenced the quartet or not is impossible to say. however, it is true to say that, in the Roman churches I visited, I saw countless angels playing in the top of frescoes and altars. Without these angels, together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico, (in fact there are only a few paintings by him in Rome, but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are, in the short rhythmic agitating part of the quartet, reminiscences of the Italian medieval Trotto dance, and in the most expressive part of the piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet, the distant, extremely muted sound in the high register which opens the piece, was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that "little songs" (maybe angel songs) could be created in this density, these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form, I felt, that not only should the "little songs" be created, played and die out in an echo, but also that the general pattern of the quartet should give the feeling of music which, from the distance, is getting closer and closer, culminates and at last disappears like an echo. Related to this, the general pattern of "Angel?s Music" is divided into three: a pre-echo, culmination and echo.. The relationship between the three part is 5: 6: 4. The reason why I can say this precisely and prosaically is that it was necessary to me to mark the overall guidelines before I started to compose. I had to do this in order to enable the relationships to crawl from the general pattern almost fractionally into the smallest cells of the music, or more correctly; crawl from the small cells into the general pattern.'

SEK 981.00

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