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Britta Byström: Screen Memories, Trumpet Concerto No.2 (score)

Britta Byström: Screen Memories, Trumpet Concerto No.2 (score)

2012for Trumpet Solo and OrchestraDuration: c. 23 min.Parts are for hire: hire@ewh.dkOrchestra:Flauto piccoloFlauto grandeOboe 1Oboe 2Clarinetto piccolo in EbClarinetto in BbFagotto 1Fagotto 2Corno 1 in FCorno 2 in FTromba piccola in ATromba in C1 Percussione: vibrafono, campanelli, campane, triangolo,blocco di legno, piatto sospeso, rainstick, frusta, sonagliTromba solo in CArchiScore in Csee below for terms in EnglishPercussion instruments:Vibr., Glsp., Tub. Bells, Triangle, Wood Blocks,Susp. Cymbal, Rainstick, Whip, Sleigh Bells

DKK 1102.00
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Sofus Kornebæk: Ska' Vi Spille Sammen? (Score And Parts)

Sofus Kornebæk: Ska' Vi Spille Sammen? (Score And Parts)

Beskrivelse: Ska' vi spille sammen? indeholder 15 satser arrangeret for ensembler af variabel størrelse og instrumentsammensætning, bl.a.violin(er), bratsch, klarinet, klaver, guitar og bas Fra forordet Satserne i denne bog er tænkt som et supplement til eksisterende materiale for begyndere og øvede i alle aldre. Der er ikke sat mange fingersætninger, strøg eller lignende, da jeg vil overlade dette til underviserens opfattelse. Satserne kan spilles med mindre besætning, eller man kan erstatte enkelte instrumenter med et keyboard. Bas stemmen i Norwegian Wood kan være for svær for nogle elever, men ligger nemt på et keyboard. Satserne er blevet til på baggrund af mit virke som musiker og underviser i mere end 50 år, heraf 41 år i Roskilde Musiske Skole. De fleste af melodierne er nogle børnene har haft lyst til at spille, og jeg har derfor arrangeret dem for de elever der var tilstede, hvilket også fremgår af de skiftende besætninger i satserne. INDHOLD A B C Fætter Mikkel Ka' du gætte hvem jeg er? Jens Hansens bondegård Puff The Magic Dragon Norwegian Wood Polka til Skovstine Vals fra "Den glade enke" Vem kan segla förutan vind In the Dusk Gånglåt från Mockfjärd My Heart Will Go On Donauwellen Wien, du Stadt meiner Träume Vuggevise

DKK 343.00
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Come Together The Song Book - Beatles

Come Together The Song Book - Beatles

31 sange fra teaterkoncerten Come Together I forbindelse med Gasværkets teaterkoncert Come Together har Wilhelm Hansen udgivet et nodehæfte med alle sangene fra showet. Her får du 31 Beatles-klassikere flankeret af Anja Vang Kraghs originale kostumetegninger til forestillingen. Becifret melodilinie med underlagt tekst. Gennemillustreret i farver INDHOLD Across The Universe All My Loving All You Need Is Love Baby's In Black Back In The Ussr Because Carry That Weight Come Together Day Tripper Dig a Pony Eight Days a Week Eleanor Rigby Get Back Getting Better Golden Slumbers Happiness Is A Warm Gun Hello Goodbye Help! Helter Skelter Here Comes The Sun I Am The Walrus I Me Mine I'm So Tired Norwegian Wood (The Bird Has Flown) Nowhere Man Revolution She Came In Through The Bathroom Window Strawberry Fields Forever Why Don't We Do It In The Road World Without Love Yesterday You've Gotta Hide Your Love Away Your Mother Should Know  

DKK 73.00
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Gudmundsen-holmgreen Triptykon Percussion Concerto Conductor's Score

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.

DKK 1608.00
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Poul Ruders: String Quartet No.4 (score)

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

DKK 550.00
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Poul Ruders: Listening Earth - A Symphonic Drama for Orchestra (Score)

Poul Ruders: Listening Earth - A Symphonic Drama for Orchestra (Score)

Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra, conducted by David Robertson, 29th November 2002.3 Flutes, 1st and 2nd also Alto Flutes in G, 3rd also Piccolo3 Oboes, 3rd also Cor Anglais in F3 Clarinets in Bb, 3rd also Bass Clarinet in Bb3 Bassoons, 3rd also Contra Bassoon4 Horn in F3 Trumpets in Bb3 Trombones1 TubaTimpani4 Percussion, four playersPlayer 1 - Vibraphone, Glockenspiel, Water Chime, Bell Tree, Japanese Wood Blocks, Cymbal (Suspended), TamTam (Medium)Player 2 - Triangle, Tubular Bells, Crotales, Marimba, Chinese CymbalPlayer 3 - TamTam (Large), Java Gong (Large, very low), Bell Lyra (Handheld), Sizzle CymbalPlayer 4 - Bass Drum, Glockenspiel, Xylophone1 Harp1 Piano, also CelestaStrings - 16/14/12/10/8All transposing instruments are notated in their relevant transpositions.Any accidental apply only to the note that it immediately precedes, except tied notes.Naturals appear occasionally 'for safety'."LISTENING EARTH" is a symphonic drama, a one- movement composition in four parts based on the work by two writers, Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English, a classical scholar, essayist, poet and politician, but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon.The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems, nature, paintings, I was immediately convinced when I carne across the Addison hymn, that here was exactly what I wanted to use as my major source of inspiration for this piece, commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety, but have chosen the following 3 excerpts, all acting as mottos for the first three sections of the piece, thus turning the piece into a straightforward tonepoem in the classical sense:The spacious firmament on high,With all the blue ethereal sky,And spangled heavens, a shining frame,Their great original proclaim. The title of the piece presents itself in the following verse: Soon as the evening shades prevailThe moon takes up the wondrous tale,And nightly to the listening earthRepeats the story of her birth;The third part of the piece follows these dramatic lines: Whilst all the stars that round her bum,And all the planets in their turn,Confirm the tidings, as they role,And spread the truth from pole to pole. Then 11 September, 2001 happened and personally - and as an artist - I quite simply couldn't end the piece on such a happy and glorious note, however beautiful, so, when the American modem-music web site sequenza2I.com in the days following the attack on New York City and Washington D.C. brought W.H.Auden's poem "September 1, 1939", I found the appropriate text on which to base the fourth and final section of 'listening Earth", which now turns into "Angry Earth'. Auden wrote the poem on the eve of 1 September, the day Hitler and his hordes rolled into Poland:... Waves of anger and fearCirculate over the brightAnd darkened lands of the earth,Obsessing our private lives;The unmentionable odour of deathOffends the September night. (From Another Time by W.H.Auden, published by Random House. Co

DKK 1286.00
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Niels Rosing-Schow: Alliage I (Player's score)

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

DKK 366.00
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Sonatas

Sonatas

Poul RudersSONATAS2011for Large Wind Ensemble,Percussion, Harp and PianoPreface / Programme NoteNormally, when being confronted with the term ´sonata´, we tend tothink of a substantial composition for piano solo in three movements,predominantly by Mozart or Beethoven. The word, however, derivesfrom the Italian ´sonare´ meaning ´to play´. In the 16th. Century acomposition entitled ´sonata´ merely indicated a piece of music forinstruments, as opposed to the ´cantata´ - a piece involving voices.The Italian cantare simply means ´to sing´.The present suite SONATAS is a composition subtitled ´six piecesof music for large wind ensemble, percussion, piano and harp´. Itopens with a REVEILLE, a short ´wake-up call´, a fanfare openingthe gate into what follows. The second movement is calledPASTORALE and certainly is that, a peaceful unfolding of gentlechords and sounds of a bucolic nature. Nothing dramatic happens,whereas in the third movement SCHERZO the wood winds chaseeach other in a wild relay run.Then, all of a sudden, the mood changes, and we are plunged rightinto the middle of the darkest night. In the NOCTURNE, unnervinglysubtitled sinistro, the low rumbling chords in the trombones andprickly outburst in oboes and horns form the sinister back drop tothis wordless Grand Guignol. Which merges seamlessly intoPANORAMA, an unfolding festive, almost pageant like ´sound-scape´of dancing rhytms and jubilant scales. Slowly, however, the tempodrops and the former boisterous body of sound is being slowly andmercilessly ´skeletonized´ - and at the end there is nothing left.RETRAITE - "the last post". The day is over, the sun sets.

DKK 734.00
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Voyages Extraordinaires

Voyages Extraordinaires

A work for orchestra commissioned by Gothenburg Symphony Orchestra. The composer writes "I have borrowed the title 'Voyages extraordinaires' from the writer Jules Verne and his famous novel series depicting fantastic or in reality impossible journeys. The title seemed fitting as my work is intended as fantastical musical voyages on which the listener encounters new worlds of sound through recurring orchestral transformations. I see the work somewhat as a tribute to how art has the abilities to transcend the limits of life. Some years ago I composed a horn trio, 'Diagonal Musik' (2017), inspired by the Swedish artist Olle Baertling. Baertling’s paintings consist of large, brighttriangular shapes, and although the lines gradually approach one another, the intersecting point is often placed outside the frame. Consequently, the spectator will try to complete the angle in their own head. In my horn trio, I wanted to transfer this to music: the lines that gradually approach each other but rarely meet, except perhaps in the listener’s head. In 'Voyage Extraordinaires' I have tried to develop these techniques even further, this time for orchestral forces, and combine them with the magical transformations, an important structural element of the piece. The fantastic journeys also refer to travels in our own imagination: what we believe and picture in our mind. The sudden musical transformations that occur are also reminiscent of dream logic and the dreamscape itself. Here it is possible to wander in and out through worlds in a way that feels consistent within the framework of the dream." A work for orchestra commissioned by Gothenburg Symphony Orchestra. The composer writes "I have borrowed the title 'Voyages extraordinaires' from the writer Jules Verne and his famous novel series depicting fantastic or in reality impossible journeys. The title seemed fitting as my work is intended as fantastical musical voyages on which the listener encounters new worlds of sound through recurring orchestral transformations. I see the work somewhat as a tribute to how art has the abilities to transcend the limits of life. Some years ago I composed a horn trio, 'Diagonal Musik' (2017), inspired by the Swedish artist Olle Baertling. Baertling’s paintings consist of large, brighttriangular shapes, and although the lines gradually approach one another, the intersecting point is often placed outside the frame. Consequently, the spectator will try to complete the angle in their own head. In my horn trio, I wanted to transfer this to music: the lines that gradually approach each other but rarely meet, except perhaps in the listener’s head. In 'Voyage Extraordinaires' I have tried to develop these techniques even further, this time for orchestral forces, and combine them with the magical transformations, an important structural element of the piece. The fantastic journeys also refer to travels in our own imagination: what we believe and picture in our mind. The sudden musical transformations that occur are also reminiscent of dream logic and the dreamscape itself. Here it is possible to wander in and out through worlds in a way that feels consistent within the framework of the dream."

DKK 901.00
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Per Nørgård: I Ching

Per Nørgård: I Ching

Per Nørgård I CHING Programme Note I CHING (1982) for Percussion Solo I. Thunder Repeated: The Image of Shock (hexagram no. 51) II. The Taming Power of the Small - 9 sounds (hexagram no. 9) III. The Gentle, the Penetrating (hexagram no. 57) IV. Towards Completion: Fire over Water (hexagram no. 64) I Ching (The Book of Changes), four movements for solo percussion, was written in 1982 and dedicated to the Danish percussionist Gert Mortensen. I Ching is the thousand-year-old Chinese oracle book, whose 64 combinations of six "Yang" or "Yin" lines (bright or dark) represent 64 different states of being for all living things including human beings. The 64 states of being should be thought of as an eternal, hidden cycle which lies behind everything that we do: for example the supreme, the enthusiastic, initiative (combination or "hexagram" no. 1, the creative) or the despair of the moment, the warm and friendly, and so on. The states of being exist on all levels - the official, the private etc. - at the same time in many speeds. From these I selected four, the sequence of which progresses from a situation from which there is apparently no solution, to a (temporary) relief. In the first movement ´Thunder repeated, the Image of Shock´, a vicious circle of claustrophobic, closed circuits is represented by the tom-tom part. This is followed by tam-tams and wood sounds, but returns full-circle to the tom-toms. The second movement ´The taming Power of the small´has its origins in the violence of the first movement, but this time lets it resolve in a long glide upwards which stars with voice sounds ´borrowed´from the Beatles´´Revolution no 9´which are then transmitted to the other instruments. The third movement is ´The Gentle, The Penetrating´in which lyrical poetry dominates with gentle bell-like sounds and delicate tunes. Finally the sovereign, many-layered world of rhythm triumphs in the fourth movement: ´Towards Completion. Fire over Water´, the main movement of the work. Over a period of six years, since 1975, I have in about 10 works worked with a percussion version of my "infinity series", which has since 1960 been the basis of my compositional method. Since it was precisely bright and dark sounds (yang and yin) that permeated these percussion pieces in a multitude of layers in tempo and texture, the concept of I Ching was a natural source of inspiration for me, when Gert Mortensen prompted me to write my second piece for solo percussion ("Waves" from 1969 being the first). Even if the composer recommends a total performance in the shown order, choice is left up to the musician in connection with performance of the four movements. Per Nørgård (1982)

DKK 468.00
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