SIMPLE SAMBA

SIMPLE SAMBA

Two Simple Movements Stem.Kopi

Two Simple Movements Part.Kopi

6 Enkle Danske Sange

Six simple Danish songs arranged by Phillip Faber for upper voices (SSAA) and setting the texts of Tove Ditlevsen, Charlotte Strandgaard, Vagn Steen and Jess Ørnsbo

Sound And Simplicity

All music is sound, but not all music is simple. Simplicity is a virtue, especially in the arts, a fact which becomes increasingly and inescapably obvious to me the older I get. In Sound and Simplicity four out of the sevenmovements are very simple (as in the absence of any structural and metric complexity) indeed, in fact the second movement Trance, a sustained chord, employs only four notes, but gradually presented over three octaves.

Felix Mendelssohn: Lieder Ohne Worte (Songs Without Words)

This fantastic collection of simple miniatures contains over 45 of Mendelssohn's finest Lieder Ohne Worte or Songs Without Words, arranged for Piano Solo and edited by Ignaz Friedman. These pieces comprise some of the most alluring and poetic instrumental music ever written.

Claude Bolling: Jazz par le Piano

Cours d?initiation à la musique. La musique de jazz a ceci de particulier qu?elle permet à partir d?un même thème l?interprétation la plus simple ou la plus élaborée... Physique du son, gammes tempérée et majeures, doigtés, intervalles, altération des accords, l?accord de septième de, le

Leif Thomsen: Unendlicher Empfang

This is a fundamental introduction to Per Nørgård's music and thinking until Symphony no. 6. The writer keeps his own valutations in the background but his engagement in the project is clear and he describes the music in simple metaphors and subjective experiences, everything with elegance which can best be characterized as taste

Poul Ruders: String Quartet No.4 (score)

Programme Note It might be of interest for some to note, that a gap of only six months separates the writing of my second and third quartets (1979), but a 33 year interval stands between the third and the present piece, String Quartet No. 4.Which is in five movements and is about nothing but itself. The first movement "Adagio - Presto alla breve - Adagio" is an overture of sorts, lifting the lid, as it were, on the odd bit of what happens later on in the other movements.A portal into: The second movement "Vivo scherzando", which is just that: a short (2 minutes only) fast and jocular piece leading up to the next movement: "Adagio sognante", a slow and hushed dream-world, paving the way for the pièce de resistance of the entire quartet: "Presto alla breve", a ferociously fast tour de force for the four players, who, with that one under their belts, can lean back a little (but only a little) and put the whole thing gently to bed in the fifth and final movement: a simple "Adagio". Off the record: my first string quartet (1972) has been withdrawn and is no more, a fact that renders the numbering of the subsequent quartets a matter of personal conviction. Poul Ruders, November 2012

Pelle Gudmundsen-Holmgreen: Concord

With his musical influences beginning with Bartok and Stravinsky and after several years with Serialism, Pelle Gudmundesen-Holmgreen's music developed to form a sound, individual voice. His compositional style includes the use of radical reductions, repetitions, and simple or grotesque figures in polyrhythmic patterns, often combined with a rash use of instrumental colour. Concord is an exciting work for large ensemble.

Carl Nielsen: Salmer Og Aandelige Sange

Salmer Og Aandelige Sange ias a collection of Sacred Songs And Hymns by early 20th Century Danish composer, Carl Nielsen, who is one of the most important and free-spirited of the generation of composers who straddle the 19th and 20th centuries. If Nielsen's chamber and orchestral music epitomizes the exploratory, growth-orientated side of his nature, his songs contain the essence of his search for the ?simple original?. Arranged for Piano, Vocal and Guitar.

Poul Ruders: Occam?s razor

Poul Ruders: Occam?s razor contains 8 short pieces for Oboe and Guitar, expertly composed by Poul Ruders.The title Occam?s Razor dose not pay any direct correlation to the music itself, but to the term used by many physicists that describes the use of the simple solution over a more complex alternative.The Danish composer, Poul Ruders, has created a large body of music ranging from opera and orchestral works through chamber, vocal and solo music.

Bent Sørensen: Symphony (Score)

The composer writes:'My Symphony is in two movements which, however, are played without a break. Taken together they progress from the extremely high, almost unison screams and glissandi of the opening via blurred melodic and swarming rhythmic formations, towards the slow ending with its simple and more clearly out-lined melodic fragments. The designation 'symphony' is in this case much more a title than a genre indication. During my work on the piece I never considered having any other title than this magical and associative word: 'Symphony'.'

Per Nørgård: Pastorale 1988 (Score)

version for string orchestra(the original version from 1997 is for string trio)Duration: ca. 6 min.Parts are for hire: hire@ewh.dkPreface l Programme N o teMy PASTORALE is melodicallyutterly simple, almost "ear-catching". The simplicity stems frommy hymn-tune JERUSALEM, the theme ofwhich permeates my ineideutal music for Oscarwinningfilm (Best F oreign Film.1987), BABETTE' S FEAST, by Danish director GabrielAxeLThe film is based on a shortstory by another reknown Dane, Karen Blixen; i t is the story o f twosisters who aremernhers o f a very Puritan congregation, but deeide to have a hig feast of earthly(gastronomic) delights; the PASTORALE is heard during the sumptuous meal.Bel o w the song-like surface of my PASTORALE the metrical implications arerather ambiguous;the changes between marked and un-marked beats forces the ear to perceive a phrase to beo nthe beat at one moment, and offthe beat at the next moment. In this w a y, the simple lines o flyrical pastoral serenity conjure the listener to be lulled into an artificial Paradise, which is exactlythe mood ofthe guests at the banquet, the feast, in the central scene ofthe movie.The original PASTORALE is scored for string trio; the present version for string orchestra camealong in 1988 and was premieredin New York City that year.Per Nørgård, 1999

Per Drud Nielsen: A Christina Rosetti Song Book

This collection presents five Christina Rosetti poems set by Per Drud Nielsen for unaccompanied SATB choir."Had Christina Rossetti lived 40 years earlier and not written in English but in German, I am convinced that the many Lied-composers in the first half of the 19th century would have gathered around her. And in many ways I have set her poems to music in the spirit of the Lied tradition: I have made use of simple, modified strophic forms. And if you hear a loan from a well-known Schumann-Lied in one of my Rossetti-songs, you are not mistaken. - Per Drud Nielsen

Pelle Gudmundsen-Holmgreen: Body And Soul (Score)

Programme Note Posed some questions I can say: Each of us have our own reasons for finding a work successful - and each work has its own reasons for being successful, very different reasons and reasons of a different kind. Speaking for myself I have opposing and often conflicting views and wishes. Automatically (!) I am attracted by music of a strict and severe nature, but also by the unforseen, the provocative and the devil-may-dare. And a burst of laughter to and fro shall be welcomed - as a relief. Since the 1960's I have tried to condense the musical material as much as possible, to make it as simple as possible. Complexity arises when the simple "things" meet. "Things" indicate that the motives of the music often can be experienced as objects.As the late Poul Nielsen put it, speaking of my piece, REPRISER from 1965: 'there is sound as sound - and sound as expression" . and there is "a voice that speaks and a voice that is silent' The present new piece of mine, Body and Soul, is thus entitled because the brief first movement has a direct physical approach, while the second movement has a more intimate spiritual and softer touch. Don Juan, the Master of The Senses, can be supposed to have embodied both sides in his nature. And what is Don Juan doing here? - the second movement gives the answer - by and by. Pelle Gudmundsen- Holmgreen

Per Nørgård: Cantica (Score and part)

Programme Note CANTICA for cello and piano (1977)When in 1975 I had finished composing my ?Symphony no. 3? (begun in 1973), I wrote three simple melodies for two psalm texts by Ole Sarvig: ?The Year? and ?Choral Hymn?. These three tunes were derived from the same material as the second movement of the symphony and could be harmonized together in several different tempo relationships, like proportional canons. For this reason they inspired me to write several choral and instrumental works in the following decade: ?Frost Psalm?, ?Winter Cantata?, the tuba octet ?Now all the earth is white with snow, ?Canticles? (and others).?Cantica?, meaning song or singing, was composed (for the Danish musicians Hans Erik Dechert og Kjeld Hansen) as a instrumental little brother the long, polyphonic choral pieces. As in these the canonical melodies in Cantica drift from foreground to background, from cello to piano. The melodies are simple, diatonic and in traditional rhythms and the surface of the music in a way traditional. The intention of the composer with this easily understood expression is to lead the listeners ears to the many internal, proportional developments. The story is in a way hidden ?between the lines?. In the myriads of rhythmic and tempo relations the Golden Mean (near to 2:3:5:8: et cetera) plays an important role, like in nature. Among the experiences giving by this natural phenomenon are ? perhaps - the musical points to be found (?).Per Nørgård(1997)

Carl Nielsen: Chaconne Op.32

Carl Nielsen is doubtlessly one of Denmark?s most important and popular composers. This is no more evident than in his 1916 work for Piano Solo, Chaconne Op.32, which followed a seventeen-year gap in his compositions for that instrument. It is a decidedly dynamic work, in constant motion from the moment the simple opening theme begins through the crescendo and to the winding down and end of this piece. The twenty variations that form the core of this piece themselves have a varied range, sometimes comparatively easy, showing Bach?s influence, other times he uses highly complex contrasts. This is a fine example of Nielsen?s work and uses mood and texture to great effect making it ideal for concert or recital performance whilst the variations make it a clever training manual.

Per Nørgård: Between - Cello Concerto No. 1 (Score)

Between - Cello Concerto No. 1 - 3 movements for Violoncello and Orchestra, composed by Per Nørgård in 1984-85. Premiered by Frances-Marie Uitti and the Danish Radio Symphony Orchestra conducted by Michael Schönwandt, August 30th 1985. Programme note: 1. In Between 2. Turning point 3. Among The title of each movement suggests one aspect of the relationship between soloist and orchestra. In the first movement the solist is caught up in a conflict between the expression of inner feelings (solo) and influences from external sources (orchestra), the latter of which the soloist in a simple accompanying role, but after a turning point in the middle of the movement the soloist assumes a dominating role. In the final movement a balance is finally achieved, with the soloist at last being on equal terms with the orchestra. 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

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

Asbjørn Schaathun: Actions Interpolations And Analyses (Score)

ACTIONS, INTERPOLATIONS AND ANALYSES, symphonies for bass-clarinet and large ensemble (1987-90), is what is commonly termed a work in progress. So far Schaathun has completed three of five parts. The is the composer's first large-scale attempt to investigate possible connections between ostensibly unrelated material. Explained in simple terms, it involves taking two of Schaathun's "own" type of texture (composed by means of different techniques) and letting them "rotate" around a familiar musical object (in this case a short excerpt from Stravinskij's Symphonies of Wind instruments in which he employs the famous "frozen" chords). In the course of the piece the elements takes over various characteristics from one another and the form progresses from fairly clear-cut textures to a situation where the various textures are superimposed, creating a dramatic flow. On a more advanced level, the piece is about trying to mediate between different musical textures as metaphors for the different levels of the sound itself. One of the main questions in this context is; What is size in music? Is it possible to take a small chord(i.e. narrow register, few instruments, simple tone colours) and then blow it up (wide register, many instruments, advanced mixtures) in such a way that the listener still perceives it as the same chord? You have simply moved closer to the sound. At any rate, when Schaathun composed the piece, he himself travellig into the sound, as if were viewing a texture from a distance. He then recomposed the same situation and drew closer, and then recompose it a third time and simply get close enough to discover the world of sounds that thus emerged. A world of sounds capable of travelling at a tremendous speed... However, like all concertos, the piece is of course about the individual and his relationship to his surroundings (society). Schaathun has often pondered on the reason for this preoccupation wih solo concertos. The answer derives from his firm conviction that nothing would ever happen if it weren't for the initiative, the Action, of the individual.

Per Nørgård: To H.C. Andersen Poesier

1. ?The Native Land of Light? (for mixed chorus, SATB)2. ?Come lift me up? (for mixed chorus, SATB *) *) the second movement may be performed by a children?s chorus or by the female voices (SSA) from a mixed chorusProgramme NoteFrom my very first aquaintance with these Andersen poems, I was deeply moved by the simple, almost naive, yet evocative imagery, with which Andersen realized his visions, images like: ?The Melody of the Heart?, ?The Poem of Beauty?, ?A Spiritual Hindustan?, ?Fly, Death, over the Sea of Time, fly to Eternal Summer?. Along with this ?childishness? Hans Christian Andersen?s poetry encompasses enormous ? almost Willim Blake-ish ? cosmic visions, in the interpolations between e.g. ?reaching the Heaven? as opposed to ?you?ll find it in a Rosebud?, or the juxtaposition of ?Everyday Life? and ?Eternal Poetry? - which become one. Thus the music came to life in my immediate encounter with these words, which almost sang themselves into my Musical Furnace ? if you will. Per Nørgård

Pelle Gudmundsen-Holmgreen: Still. Leben (Organ)

STILL. LEBENOrganist Eva Feldbc:ek had been asking me for a long time to write for the organ without the use of iron blocks, extra stopping assistants etc .... unusual difficulties that belonged to my earlier organ music. I setmyselfthe task of Miting a ''handier'' kind of music for the organ.Once I had finished STILL. LEBEN, I didn't think I had achieved what I was looking for. True, the two movements did not involve odd things, but "handy" isn't really the word for them either. So I wrote the three movements in COUNTERMOVE to tidy up even more.And since I didn't think that was enough either, I wrote the really simple pieces under the title IN TRIPLUM.The three series (eight pieces in all, 2 + 3 + 3) sound very different, but they all take their point of departure from the nature and tonal resources ofthe organ.Everywhere there is polyrhythm or hierarchical layering, polychromaticism, diatonics and melody (the last of these only sparingly and in some of the movements).Pelle Gudmundsen-Holmgreen

Hans Abrahamsen: Stratifications (Full Score)

Stratifications was composed by Hans Abrahamsen in 1973-75 and was premiered in the summer 1977 by the Iceland Symphony Orchestra at the Young Nordic Music Festival in Reykjavik. Programme note: The stratifications referred to in the title unfold two different levels. There is the stratification of the time dimension produced by the opposition of contrasting parts; at the same time the polyphony, the presence of several simultaneously sounding layers, is of great importance to the music. By garish colours and clear-cut outlines a polyrhythmic simultaneousness of simple melodies is produced with more gestic music and other material which give a peculiar “set piece-like” effect in the sound picture. The “new simplicity” details are here woven together in a new kind of complex whole.“Stratifications” begins with a series of concretistic masklike “pictures of the music”. It is like seeing lantern slides. But this “fictive” form crackles and the music gets attentive and real. The music is in a night-mare condition, where it is not getting anywhere in spite of a great dynamic display. But finally is liberating itself and rising “in triumph”.