Digital synlighed. Målbart afkast.

MACHINE A EAU

MACHINE A EAU

Soft Machine

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

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

Coming Back

Jensen/Jãrgensen She's Back.. Mlc

Text: Al Dickinson Danish transl.: Jensen & Jºrgensen

Mcdewitt Green Back Dollar Pv

Text: Cater (Pseudonym for Mc Dewitt) Danish text:Jens Hansen

Travis Seksten Tons Pv

Eng. text printet on the back page. 'Sixteen Tons'

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

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  

Småbørnenes favoritter

50 wonderful songs that tell toddlers about the course of the day and the year, about animals from city and countryside, songs about senses and concepts - collected by Lind Lehun. The songs are accompanied by large, colourful illustrations by Anne Lassen, with lots of fun details so the kids can sing, point and talk. You will probably know most songs, but if you need help in the form of notes, they can be found at the back of the book along with the lyrics.

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

Ellen Heiberg: Ferdinands Verden

Ferdinand''s world - Ferdinand is a boy, like all boys, no - that''s nonsense! Every child is different. There are naughty, funny, crazy, wild, happy, lazy and curious children and very quiet children who do not say much. Follow Ferdinand''s happy whereabouts in the author Ellen Heiberg''s colloquial text and catchy tunes on the CD at the back of the book, recorded by a number of obvious singers and musicians. Jarl Egeberg has contributed to it all with beautiful pictures of Ferdinand and his friends. The CD is arranged and produced by Ivan Pedersen.

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)

Poul Ruders: Alarm

Work for Solo Percussion dating from 1983. Ruders writes: The extraordinary title is a typical example of Poul Ruder?s (b. 1949) peculiar and bizarre sense of humour - Ruders, together with Hans Abrahamsen and Bo Holten, being one of the most important names within new Danish music after the Nørgård-Holmgreen-Nørholm generation. Although Ruders is influenced by Holmgreen?s absurd simplicity, he takes up an original place in new Danish music to which he has conveyed humour and liveliness as well as theatre and virtuosity. Quotations, ?found objects?, play an important part in Ruders? music, for instance in his chamber work MEDIEVAL VARIATIONS (1974), but the old material is being varied with adequate audacity and liveliness so as to yield new qualities, not unlike Peter Maxwell Davies? ?music on music?. ALARM is ?a short shocker, a kind of film soundtrack without the pictures?, based on the horror in victor Hugo?s THE BELL RINGER OF NOTRE DAME. To produce the right atmosphere of uneasiness and nervousness Ruders uses, among other things, the Balinese cymbal-machine ?ching-ching? and the snore of the ?didjeridoo? from Australia.