Pricemate

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

For Accordion and Strings.

SEK 686.00

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Hans Abrahamsen: Concerto For Piano And Orchestra (Score)

Abrahamsen's Concerto For Piano And Orchestra was composed in 1999, by commission for the BIT-20 Ensemble. A complex and multi-layered work, opening with highly minimal material and very slowly building to an ecstatic frenzy across the four movements. As the piece progresses Abrahamsen has also included some significant nods towards composers Gyorgy Ligeti (a former teacher of the composer) and Gustav Mahler.The work was premiered at the Ultima Festival in Oslo in 2000 with Anne Marie Abildskov as soloist.

SEK 910.00

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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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Kaija Saariaho: Lichtbogen (Score)

The Full Score of Kaija Saariaho's Lichtbogen For Nine Musicians and Live Electronics. The title for this work stems from the composer's experience of seeing the Northern lights whilst starting work on writing the piece, this experience also shaped the form and language of the piece. Lichtbogen was the first time Saariaho had worked with a computer in the context of purely instrumental music, this new compositional element led to harmonic material being created by analysing short transitions played with a violin and cello, starting with artificial harmonic sounds and ending up with complex multi-phonic sounds. The rhythmic elements of this piece were created using a network of computer programmes, allowing the composer to construct interpolations and transitions for different musical parameters, rhythmic interpolations created through sets of musical patterns that are repeated but each time slightly modified in character. Lichtbogen is the commission of the French ministry of culture and is dedicated to Paul Mefanc. A splendid work for Ensemble (Flute, Percussion, Harp, Piano, 2 Violins, Viola Cello, Double Bass) and Live Electronics by this inimitable Finnish composer.

SEK 1396.00

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Per Nørgård: Abendlied Und Märchenfarben (Parts)

Programme Note ABENDLIED & MÄRCHENFARBEN for accordion ensemble ? incl. choir and percussion ad lib. (1980).MÄRCHENFARBEN is a virtuoso piece for accordion ensemble, based on Nørgård´s ?infinity series?, and a special multi-layered rhythm also heard in the composers well known choral work ?Wie ein Kind? (second movement) from the same year, 1980.This rhythm, with the onomatopoeic nickname ´pischop´, has a swaying and breathing quality, which seems well suited for an ensemble of accordions. Two percussion parts ? to be added ad lib. - are composed into the tone music of the accordions in ?Märchenfarben?.The piece was composed in 1980 for the very talented Det Danske Harmonika Ensemble and its leader Jeanette Dyremose ? an ensemble that enlarged the instrumental piece with an introduction (as suggested by the composer), singing and playing Nørgård´s choral song ?Abendlied? (1980) to a sunset idyllic poem by Adolf Wölfli (1864-1930), including here the word ´märchenfarben´, the title of the shimmering and colorful instrumental music to follow with Märchenfarben. The duration of Abendlied & Märchenfarben is around 15-17 minutes (5-6´ + 10-11´).Per Nørgård

SEK 750.00

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Per Nørgård: Abendlied Und Märchenfarben (Score)

Programme Note ABENDLIED & MÄRCHENFARBEN for accordion ensemble ? incl. choir and percussion ad lib. (1980).MÄRCHENFARBEN is a virtuoso piece for accordion ensemble, based on Nørgård´s ?infinity series?, and a special multi-layered rhythm also heard in the composers well known choral work ?Wie ein Kind? (second movement) from the same year, 1980.This rhythm, with the onomatopoeic nickname ´pischop´, has a swaying and breathing quality, which seems well suited for an ensemble of accordions. Two percussion parts ? to be added ad lib. - are composed into the tone music of the accordions in ?Märchenfarben?.The piece was composed in 1980 for the very talented Det Danske Harmonika Ensemble and its leader Jeanette Dyremose ? an ensemble that enlarged the instrumental piece with an introduction (as suggested by the composer), singing and playing Nørgård´s choral song ?Abendlied? (1980) to a sunset idyllic poem by Adolf Wölfli (1864-1930), including here the word ´märchenfarben´, the title of the shimmering and colorful instrumental music to follow with Märchenfarben. The duration of Abendlied & Märchenfarben is around 15-17 minutes (5-6´ + 10-11´).Per Nørgård

SEK 284.00

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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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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)