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MACHINE A EAU

MACHINE A EAU

Soft Machine

Soft Machine for Percussion solo was composed by Anders Brødsgaard in 1995.

Coming Back

Søren Nils Eichberg: Nigh Machine (Score)

EnsembleFluteClarinet in BBaritone Saxophone in E(alternatively Bass Cl. in B or Bassoon)Percussion (one player):(Snare Dr., Crash Cymb., Bass Dr., 4 Tomtoms, Vibraphone)PianoViolin 1Violin 2ViolaVioloncelloThe score is notated in transposition

Henrik Hellstenius: Love Songs (Score)

Commissioned by Norland Music Festival with the financial support from The Norwegian Culture Council. Premiered by Bodo Sinfonietta and Christian Lindberg.InstrumentationFlute/PiccoloOboe/English HornBb ClarinetBassoonoHorn in FTrumpet in BbTrombonePercussion 1 - Vibraphone, Grand Cassa, 3 suspended metals, Crotales, 2 BongosPercussion 2 - Marimba, Timpani (F-C), 3 suspended metals, Glockenspiel, 2 BongosPiano2 ViolinsViolaCelloDouble Bass (5 String or with C extension)

Poul Ruders: Kafkapriccio for Large Ensemble (Full Score)

Five Paraphrases on the opera Kafka's Trial.For Large Ensemble:1 Flute dbl Alto Flute in G and Piccolo1 Oboe dbl English Horn in F1 Clarinet in Bb dbl Bass Clarinet in Bb1 Bassoon1 Horn in F1 Trumpet in Bb1 Trombone1 Percussion (one player)Tambourine, Police Whistle, Bass Drum, Castanets, Tubular Bells, Tamtam, Glockenspiel, Triangle, Guiro, Mark Tree, Xylophone, Spoons, Crotales, Snare Drum, Hi-hat, Kick Drum, Siren (hand-cranked), Ratchet, Lion's Roar.1 Piano1 Violin 11 Violin 21 Viola1 Cello1 Double Bass (with extension)

Per Nørgård: Three Motets

Per Nørgård?s setting of these sacred text for Mixed SATB chorus, dates back to 1983 and includes Agnus Dei, Qui Tollis Peccata Mundi and Dona Nobis Pacem.

Niels Marthinsen: Two Resurrections (Score And Part)

Two Resurrections for Violin and Piano, composed by Niels Marthinsen in 2015. Dedicated Signe Madsen and Erik Kaltoft. Programme note: Resurrection is the act of bringing something back to practise, notice, use or vibrancy - never mind raising the dead.I've brought new life to two forgotten works of mine by subtly merging them into each other and touching them up with 20 extra years of craftmanship.So they're reworked; reimagined - but still a Blast from the Past: I've remained true to the way we used to do it back in the 90ties.(Niels Marthinsen)

Per Nørgård: String Quartet No.9 - Into The Source (score)

PrefaceThe three movements of the quartet may be perceived as three different expressions of an unstable core: an inherent unrest leads to frequent changes of direction. The first movement is full of dramatic contrasts; it is followed by a second movement, whose basic mood of meditative rest is challenged by occasional centrifugal utbursts, while the third movement takes the inherent conflicts to a higher level, contrasting material of introspective lyricism with excessively pathetic moods.The final ?way out? is a retrograde one, (back) ?into the source?: through a constant accelerando-diminuendo the piece disappears into a vanishing point. The ?into the source? of the title may be visualized as a reversed fountain-action: the broad fan-like spread of the first movement, a more coherent-solid second movement, and finally - in the third movement - a return-run, ever more vehemently, like a suction into the spring itself ?The musical motifs are varied; there are traffic-situations (which I heard!) with stomping and machine-like rhythms in different, but simultaneous tempi, and there are more abstract upwards and downwards half-tone-scales, with changing accents, creating glimpses of melodies.INTO THE SOURCE, String Quartet No. 9, was composed on a double-commission from the Orion Quartet and the Vertavo Quartet. The premiere performances took places in Santa Fé in 2002 and in Oslo in 2003.Per Nørgård

Per Nørgård: String Quartet No.9 - Into The Source (parts)

PrefaceThe three movements of the quartet may be perceived as three different expressions of an unstable core: an inherent unrest leads to frequent changes of direction. The first movement is full of dramatic contrasts; it is followed by a second movement, whose basic mood of meditative rest is challenged by occasional centrifugal utbursts, while the third movement takes the inherent conflicts to a higher level, contrasting material of introspective lyricism with excessively pathetic moods.The final ?way out? is a retrograde one, (back) ?into the source?: through a constant accelerando-diminuendo the piece disappears into a vanishing point. The ?into the source? of the title may be visualized as a reversed fountain-action: the broad fan-like spread of the first movement, a more coherent-solid second movement, and finally - in the third movement - a return-run, ever more vehemently, like a suction into the spring itself ?The musical motifs are varied; there are traffic-situations (which I heard!) with stomping and machine-like rhythms in different, but simultaneous tempi, and there are more abstract upwards and downwards half-tone-scales, with changing accents, creating glimpses of melodies.INTO THE SOURCE, String Quartet No. 9, was composed on a double-commission from the Orion Quartet and the Vertavo Quartet. The premiere performances took places in Santa Fé in 2002 and in Oslo in 2003.Per Nørgård

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  

Sunleif Rasmussen: Flow (Parts)

FLOWThe placement of the musicians.The recorder player is placed in the middle of the stage in all three movements.The cello is placed behind the audience in all three movements.In 1st and 3rd movement the violin is placed on the recorders right side and theviola on the recorders left. At the and of the 1st movement the violin and the violaare walking slowly in respective sides in the middle of the hall, and stay there during2nd movement. Before the 3rd movement they walk back to their position in the 1stmovement.SR

Sunleif Rasmussen: Flow (Score)

FLOWThe placement of the musicians.The recorder player is placed in the middle of the stage in all three movements.The cello is placed behind the audience in all three movements.In 1st and 3rd movement the violin is placed on the recorders right side and theviola on the recorders left. At the and of the 1st movement the violin and the violaare walking slowly in respective sides in the middle of the hall, and stay there during2nd movement. Before the 3rd movement they walk back to their position in the 1stmovement.SR

Poul Ruders: Tattoo For Four (Score)

Tattoo For Four - A drill for Clarinet in Bb, Violin, Violoncello & Piano (2017).  Dedicated to Ensemble Nordlys. Parts are available: WH32974A Programme note TATTOO FOR FOUR is in reality the same piece as TATTOO FOR THREE from 1984, but with a fourth voice - for violin - added. For performances of the older piece, just omit the violin part. The "hidden" 1984 piece has been slightly revised, so the original performing material is now obsolete. The first piece in the TATTOO series was TATTOO FOR ONE for solo clarinet, also written in  1984. Reaching back to its 1984 origins, TATTOO FOR FOUR follows standard accidental procedure. (Poul Ruders)

Jean Sibelius: Humoresque IV Op.89b (Score)

Among the best of Jean Sibelius? oeuvre are his 1917 compositions The Humoresques. This fabulous and charming concerto was divided into two groups for publication, Opus 87 and Opus 89, and demonstrates his sublime skill with the Violin. He uses a considerably smaller Orchestra accompaniment to the Violin in the second group but maintains the subtlety of depth and texture. Though there are traditional elements to all parts of this opus, Humoresque No. 4 harks back to the past the most, reminiscent of the delicacy of mid-nineteenth century musical miniatures. Virtuosic and challenging, the soloist has the opportunity to indulge in a more traditionally exhibitionistic display.Score for String Orchestra and Violin Solo.

Kaija Saariaho: Petals

This composition was written quickly in a matter of days, however the composer describes the longer process of writing the piece as unconscious preparation. There are opposite elements on display within the piece, fragile coloristic passages give birth to energetic events with clear rhythmic and melodic charachter.More sharpely focused figures pass through different transformations then finally merge back to less dynamic but no less intensive filigration. In bringing these compositional elements together and by forcing opposite modes of expression, the composer has aimed to force the listener to stretch their own sensibility. Work for Cello and Electronics which was premiered by Anssi Karttunen at the Musica Nova Festival, Bremen in May 1988.

Jean Sibelius: Humoresque IV Op.89 No.2 (Violin/Piano)

Among the best of Jean Sibelius? oeuvre are his 1917 compositions, the Humoresques. This fabulous and charming concerto was divided into two groups for publication, Opus 87 and Opus 89, and demonstrates his sublime skill with the Violin. He used a considerably smaller Orchestra accompaniment to the Violin in the second group but maintained the subtlety of depth and texture. Though there are traditional elements to all parts of this opus, Humoresque No. 4 harks back to the past the most, reminiscent of the delicacy of mid-nineteenth century musical miniatures. Virtuosic and challenging, the soloist has the opportunity to indulge in a more traditionally exhibitionistic display. This work features a seperate Violin part with a Piano reduction of the String Orchestra by Karl Ekman.

Portrait - Part. (1999 Vers.)

Anders Koppel PORTRAIT?Portrait? was written in the spring 1998, at a time when I was a regular visitor in a rest home in an old back building in the town centre of Copenhagen. There I came to know an old lady whose daily life was darkened by despair. She would stand in the corridor in the grey winter light and silently knock at the window frames. Or one could hear her knock at a door at the distance - almost furiously. ?It is screaming inside me?, she said. She then could change into a little girl when I went with her into her room and stayed a little. This piece is an attempt to sketch a portrait of Caya.Anders Koppel

Portrait - Part.(Original Ver)

Programme note: Portrait was written in the spring 1998, at a time when I was a regular visitor in a rest home in an old back building in the town centre of Copenhagen. There I came to know an old lady whose daily life was darkened by despair. She would stand in the corridor in the grey winter light and silently knock at the window frames. Or one could hear her knock at a door at the distance - almost furiously. ’It is screaming inside me’, she said. She then could change into a little girl when I went with her into her room and stayed a little. This piece is an attempt to sketch a portrait of Caya. (Anders Koppel)

Quartetto Breve - Partitur

String Quartet No.1 - 'Quartetto Breve' (1952) by Per Nørgård. Programme note:  The spectrum of sound, the gesticulation – in short, the very nature of the strings – has always had a central place in my output, demonstrated by the numbers of string quartets, concertos with string soloist, chamber and solo works. The interest dates back to my school years, when I was fortunate to be able to compose for a cello-playing schoolmate and to accompany him on the piano. I discovered then the innumerable nuances of sound and playing varieties offered by just one bow, four strings and five fingers..  My first string quartet – Quartetto Breve – has a firm root in the Nordic tradition and is strongly inspired by Jean Sibelius (1865-1957) and my teacher Vagn Holmboe (1909-96).  Per Nørgård (1998) 

Peter Bruun: Quest (Full Score)

The composer writes: The piece is in three movements: the first movement present three different types of music juxtaposed, meeting in the end in a chaotic, brutal sound. The second movement is the longest, consisting of an expressive opening and a gradual build-up of an exstatic, motoric motion until a climax; the opening then comes back and the music dies away. The third movement is a very short pianissimo echo. The primary focus of the piece is the element of sound. Polyphony is absent, and the instruments are always "packed together", playing in a very narrow register, merging into a dense, monophonic or occasionally heterophonic sound. The harmony is based on drones and the tonality is G#, modulating only once (in the climax of the second movement) and all the motivic material is derived from a kind of G#-Phrygian scale. All in all this gives associations to the sound-world of oriental ethnic music.

Per Nørgård: String Quartet No.6 'Tintinnabulary' - Score

Programme note The spectrum of sound, the gesticulation – in short, the very nature of the strings – has always had a central place in my output, demonstrated by the numbers of string quartets, concertos with string soloist, chamber and solo works. The interest dates back to my school years, when I was fortunate to be able to compose for a cello-playing schoolmate and to accompany him on the piano. I discovered then the innumerable nuances of sound and playing varieties offered by just one bow, four strings and five fingers..  The bell-like association if the title reflects the special texture of the work. Like the continously changing overtones of a struck, resonating bell the four parts are unified through one single basic line, broken up in a multitude of changing dynamics, of a multifacetted rhythm and resulting in an ever transforming harmony.  The duration of the work is ca 12 minutes.  Per Nørgård (1998)     

Nocturnal - Partitur

Nocturnal (1998-2001) for Trombone and String Quartet was composed by Bent Sørensen . Progamme note: The two movements of ”Nocturnal” were written with a gab of three years. The last movement, which bears the title ”The Wings of Night”, was commisioned by Warsaw Autumn in 1998, while the first movement – ”Mondnacht” – was commisioned for Ultima Festival in Oslo in 2001.Despite the three years gab, these are not two separate pieces which have been linked together. The sketches for the first movement were begun immediately after the first performance of the second movement in Warsaw 1998.As the title suggests, there is a nocturnal atmosphere in the work. In the first movement we are perhaps in a park and notice the shadows of the clouds passing the bright moon. In the short second movement we are perhaps with Shakespeare’s Juliet, calling for love, calling for the night: ”Come night; come Romeo; come, thou day in night;For thou wilt lie upon the wings of nightWhither than snow upon a raven’s back.” ...perhaps we are elsewhere – at night! Nocturnal was written for Christian Lindberg and the Arditti Quartet and premiered in Oslo in 2001.

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

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.