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Fundal K Circadian Pulse Score

7-9-13, Kopi

7-9-13 was expertly composed by Danish composer Anders Brødsgaard . Brødsgaard began by writing rigorously structured pieces, inspired by the serial composers of the 50s. In his more recent pieces, Brødsgaard has been working with more fundamental musical phenomenon like tonality and pulse, still inspired by the post-Pythagorean idea of a musical continuum between the musical parameters.

Hymne, Kopi

Hyme was expertly composed by Danish composer Anders Brødsgaard . Brødsgaard began by writing rigorously structured pieces, inspired by the serial composers of the 50s. In his more recent pieces, Brødsgaard has been working with more fundamental musical phenomenon like tonality and pulse, still inspired by the post-Pythagorean idea of a musical continuum between the musical parameters.

Anders Brødsgaard: Joker

Joker was expertly composed by Danish composer Anders Brødsgaard. Brødsgaard began by writing rigorously structured pieces, inspired by the serial composers of the 50s. In his more recent pieces, Brødsgaard has been working with more fundamental musical phenomenon like tonality and pulse, still inspired by the post-Pythagorean idea of a musical continuum between the musical parameters.

Bacchanal, Kopi

Bacchanal was expertly composed by Danish composer Anders Brødsgaard . Brødsgaard began by writing rigorously structured pieces, inspired by the serial composers of the 50s. In his more recent pieces, Brødsgaard has been working with more fundamental musical phenomenon like tonality and pulse, still inspired by the post-Pythagorean idea of a musical continuum between the musical parameters.

Niels Rosing-Schow: Nu Og Efter (Score)

Niels Rosing-Schows Nu og Efter for soli, kor og orkester (2017), til tekster af Theis Ørntoft (fra Digte 2014). Bestilt af Det Kongelige Danske Musikkonservatorium i anledning af 150-året. Instr.: 2 S, Bar, Speaker, SSAA kor-soli; SSAATTBB Chorus; 4(2pic).2+ca.2+bcl.2+cbn/4431/4perc/hp/str Parts are available on hire: hire@ewh.dk Vocal score: WH33036C

Niels Rosing-Schow: Nu Og Efter (Vocal Score)

Klaverpartitur til Niels Rosing-Schows Nu og Efter for soli, kor og orkester (2017). Tekster af Theis Ørntoft (fra Digte 2014). Bestilt af Det Kongelige Danske Musikkonservatorium i anledning af 150-året. Instr.: 2 S, Bar, Speaker, SSAA kor-soli; SSAATTBB Chorus; 4(2pic).2+ca.2+bcl.2+cbn/4431/4perc/hp/str Parts are available on hire: hire@ewh.dk Full score: WH33036

Concertino

?Concertino for chamber ensemble? was composed in May 1999 for the Esbjerg Ensemble to whom it is also dedicated. The two groups of the ensemble - winds and strings - meet each other in a concertating play along with and against each other - with the drums in the middle to control the battle. The piece - which is in one movement - is subject to the unity of time in the sense that it is urged by a rhythmic motor, which is ticking from beginning to end. A pulse and a tempo. The composition borrows traits of the classic sonata form - and it is own way it tries to - during the continuous conversation of the instruments - to blow life, drama and pleasure in a rhythmic structure - and get the music moving.A.K.

Hans Abrahamsen: Three Little Nocturnes (Score)

Three Little Nocturnes was composed by Hans Abrahamsen in 2005. Commissioned by the Cikada Ensemble, with support from NOMUS, and written for Frode Haltli and the Cikada String Quartet. Programme Note: In the first nocturne a slow, falling music emerges on an irregular pulse, filled with high harmonics in the strings. The second nocturne is fast and unrestful music, with a lot of passion, which in a moment runs into a glimpse of a tango. In this movement the accordion is employed in its traditional fashion, using the chord bass, with its “oom-pah-pah” standard chords. The third nocturne is again slow, indeed very slow, and it has German tempo and expression markings. The piece ends with a lullaby in the accordion, played with an unusual technique, imitating the string portato. This is accompanied by high harmonics in the strings, while the first violin slowly and softly plays a melody from the second nocturne. Hans Abrahamsen

Hans Abrahamsen: Double Concerto for Violin, Piano and String Orchestra

Commissioned by The Royal Danish Orchestra and The Swedish Chamber Orchestra.Full Score.EnsembleViolin SoloPiano Solobring a Marimba mallet for playing inside the PianoString Orchestra (6-6-4-4-2)the number of string players may be doubled; 12-12-8-8-4if doubling the strings then Desk 1 means Desk 1+2, Desk 2 means 3+4 etc.Performance NotesGeneral:The set-up on stage is important, with two Violin groups on each side on the platform: Vilin 1 lefts and Violin 2 right, as seen from the audience1st Movement:In bar 1 & 7 the entire string group should adjust their intonation to the Double Basses and their natural harmonics. In the rest of the movement normal intonation should be used.The slow and rhythmical vibrato pulse should follow the accents2nd Movement:The 10/5 meter is divided into two beats, and the dotted lines show the position of the second beat in each bar3rd Movement:no comment4th Movement:The very high harmonics are intended as mostly a high 'airy' sound. The small gliss/portamenti that will invariably occur in the fast shofts of positions are intended

Per Nørgård: Sonata No.3 (cello)

I - Lento II - Imposante III - Andante Programme Note In my early television remembrance I recall a broadcast with Samuel Beckett, one of the fathers of the absurd play and drama. At one time Beckett looked the viewer (the camera) in the eye and said:"What! - is the Word". I have not since been able to forget it, obviously, having borrowed this ambiguous sentence as title for this short cello sonata. The fact that it is conceived as a unity is obvious from the fact that the two outer movements are closely related. The long, immediately recognizable melodic line which dominates the first movement appears in the third movement as well, first in an inverted version and then almost identical to its original appearance, only shorter. In contrast, the middle movement is a fast one, constantly and intensely on the move, with many changes of pulse and meters, as well as large melodic leaps. And while the outer movements each are composed as a single melodic line, the middle movement makes extensive use of the cello as a polyphonic instrument employing lots of chords, double stops and flageolet effects. Per Nørgård (2010)