SORT BRYLLUP

SORT BRYLLUP

SAMMEN, METAL

SAMMEN, METAL

SORT-HVID I AFRIKA MUA,16

SORT-HVID I AFRIKA MUA,16

Lamberth Betina (Englen I Sort) Pf

Tema fra filmen Englen i sort

Magnus Lindberg: Metal Work

Work for Accordion and Percussion.

Englen I Sort, Kopi

Juliana Hodkinson: Play (Player's Score)

For Horn, Trombone, Tuba and Audio Samples.Play is written for Zinc and Copper Work' Metal Games project, at the invitation of Robin Hayward.

Henrik Hellstenius: In Memoriam, Violin Concerto No. 2 (Score)

INSTRUMENTATIONSOLOVIOLIN6 VIOLIN I (4. and 5. also suspended finger cymbal)4 VIOLIN II(3. and 4. also suspended finger cymbal)4 VIOLA4 CELLI2 DOUBLE BASS(2. with C string attachment)PERCUSSION3 woodblocks1 guiro2 sandpaper blocks3 metal bars6 suspended metals (windchimes , fingercymbals etc.)3 tuned gongs ( #1,e1,c1,Bb) Vibraphone Tubular bells2 bongos1 conga2 tomsGrand Cassa score in C durata: ca 20 minutes

Per Nørgård: Symphony No.8 (Score)

2010-2011for OrchestraDuration: c. 35 min.Parts are for hire: hire@ewh.dkOrchestra4 Flutes (Fl.2&3 dbl. Alto Flute, Fl.4 dbl. Piccolo)3 Oboes1 English Horn3 Clarinets in Bb (Cl.3 dbl. Cl.in Eb)Bass Clarinet3 BassoonsContrabassoon4 Horns in F4 Trumpets in C (Tpt.1 dbl. Tpt. piccolo)3 TrombonesTubaTimpaniPercussion (4 players):Celesta, Glockenspiel, Vibraphone, Xylophone, Marimba, Crotales, Chimes (Tub.Bells), 8 Thai Gongs,Gong (low), Tam-tam, Wind Chimes, Oil Drum (Steel Drum), Suspended Cymbal, 3 Cymbals, Small Cowbells,Maracas, Woodblock, 2 Chinese Blocks, 2 Metal Staves, 2 Tambourines, 4 Bongos, 4 Small Drums,Military Drum, Bass DrumHarpPianoViolin 1Violin 2ViolaVioloncelloDouble BassThe score is notated in C

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

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

Harry Egediusen: De Yngste Spiller (Piano)

Indhold:1. Her vil jeg tegne ottetaller2. Mæ si'r det lille lam3. Vil du, vil du4. Nissen er en kunstig mand5. Stork, stork langeben6. Hvilket postbud 7. Tinge- linge- later8. En lille frø9. Lille Lise10. Tornerose var et vakkert barn11. Der bor en bager12. jeg gik mig over sø og land13. Skære, skære havre14. Så går vi rundt om en enebærbusk15. Save, save brænde16. Bro, bro brille17. En lille nisse rejste18. l en kælder sort som kul19. Drengen og lærken20. Vil du vide21. Haren hist i grøften22. Snehvide og dværgene23. Barnets farvel 24. l skoven skulde være gilde25. jeg elsker de grønne lunde26. Roselil og hendes moder27. Prinsessen sad i højeloft28. Kukkeren29. Op lille Hans30. Vente på far31. Ride, ride ranke32. Lille Peter edderkop33. Pjerrot og månen34. jeg vil sjunge om en helt35. Poul sine høns36. Og ræven han lakked37. Dagen går med raske fjed38. Giv tid39. Højt på en gren40. Sov sødelig41. På en grøn bakketop

Per Nørgård: Remembering Child - Version 2013 (Score)

This is the 2013 version (reduced strings) of Per Nørgård 's Remembering Child - Viola concerto No. 1 (1986) -  Two Movements for Viola Solo (or Cello solo) and Chamber Orchestra. Programme Note: The title refers to the original meaning of the word "remembering": Making whole. The work should not be considered as a sort of requiem for Samantha Smith - the late 13 years old fighter for nuclear disarmament - but as an evocation of the childish, creative forces in all people, young and old. Therefore the work applies thematic material of a certain "dawning" quality, including two Gregorian chants, appearing intertwined in the beginning of the 2. movement.  And therefore the work also may be considered as a tribute to the still living child-heretics, fighting against the global lunacy of grown-up, such as Eamon Burke, the Australian boy, continuing, independently, the work of Samantha.  REMBERING CHILD was commissioned by St. Paul Chamber Ochestra and dedicated to Pincas Zuckerman, soloist at the premiere performance (Sept. 12, 1986).  Per Nørgård   

Gudmundsen-holmgreen Triptykon Percussion Concerto Conductor's Score

Triptykon for Percussion and Orchestra was composed by Pelle Gudmundsen-Holmgreen in 1985. Dedicated to Gert Mortensen. Programme note: TRIPTYKON is inspired by the visual arts (a triptych is a painting on three panels, hinged side by side - for instance an altarpiece). The three movements of TRIPTYKON are composed in an eff ort to create clear contrasts of colour. The first movement employs only winds in the orchestra, the second movement only strings, and in the third movement the first two movements are repeated, on top of each other, played simultaneously. Tue percussion solo part has equally distinct colours: for the first movement: metal only, for the second movement: wood only, and then finally in the third movement- together with the orchestral tutti - skin! Other distinct features in TRIPTYKON are block-like dispositions, polyrhythmic layers and simplicity of tonal colours. Tue often crude articulation of motifs and the frequent use ofrepetition lend a ritual character to the music. TRIPTYKON was composed in close collaboration with percussionist Gert Mortensen and the work is dedicated to him.

Niels Rosing-Schow: Alliage I (Player's score)

Programme note:Alloy I for Tenor Saxophone and Classical AccordionThe two instuments of this duo have some common features, i.e. is the tone in both cases produced by air.The air is activated by the lungs of the saxophone player and by the bellow of the accordion. The stream ofair makes a blade of respectively wood and metal vibrate. Both instruments are also associated with thepopular musical tradition. But nevertheless the differences regarding the sound are more prominent thanthe similarities, and contrary to the monophonic saxophone (a ?melody? instrument), the accordion is apolyphonic instrument, which can produce several simultanious melodic lines and chords.At first glance this might call for a music, which distributes distinct, even contrasting, musical roles to thetwo instruments, such as melody versus accompaniment. But I refrain from this obvious ?casting?, since Ihave always been fascinated by the less evident, by transitions and gradual displacement, by the intangibleplaces between one and the other. I search for this ?terrain vague? of fruitfull incertainty and permanentgenesis.To arrive here, I have in this piece written a music, which makes the possible relations and sonorous pathscome forward between the sound worlds of the two instruments. Bringing together the musical substances,I look for an ?air-driven? musical organism with a glossy and shining appearance. The lively and brightsound world I associate to alloys, in particular the silvery amalgamations of mercury.Niels Rosing-Schow

Poul Ruders: Manhattan Abstraction (Score)

New York is the city which fascinates and inspires Ruders. Time and again he goes back there to work. 'Manhattan Abstraction' (1982) subtitles - a symphonic skyline for large orchestra - was conceived there. Ruders? Brittish colleague Oliver Knussen defines the piece as: - a performance of an extraordinary Morden-Times-like construction. It is a sort of symphonic sculpture, which in the composer?s own words words propels forth from one particular inspiration: the New York profile, as seen from Liberty Island, one icy cold January day with it?s open, clear sky and dazzling sun light. 'Manhatten Abstraction' appears as an amalgam of some of the compositorical habits found in present pieces. For instance, are present here compositorical ideas and melodic loans from 'Capriccio Pian?e Forte', 2nd String Quartet(1979), 'Four Compositions' (1980), and 2nd Piano Sonata(1982). The question at hand is mainly concerned with the enhanced elaboration of Ruders? use of the classic English change-ringing system: a permuting method pre-determining the order of tone-appearances and /or tone groups; a serial technique in other words. In spite of the rigidly fixed material, Ruders somehow manages to chisel out a personal expression by way of emphasising contrasting elements already existing within the material itself. The spiky, repetitive sections form a counterpart to a more human violin-solo. This dialectical tension is - as hinted by the title - a symphonic abstraction of a fascinating metropolis; the most beautiful and the ugliest. The subtitle: a symphonic skyline reflects the musical erection of the Manhattan profile, which under the clear sky, materializes into the most powerful and compelling man-made sculpture on earth. Thus 'Manhattan Abstraction' is a homage to, as well as a vision of, this giant contraption of concrete, glass, and chrome.