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Per Nørgård: Symphony No.8 (Score)

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

SEK 1030.00
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Juliana Hodkinson: Angel View

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)

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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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.

SEK 2005.00
1

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

SEK 456.00
1

Poul Ruders: Corpus Cum Figuris (Score)

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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