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Pelle Gudmundsen-Holmgreen: Body And Soul (Score)

Pelle Gudmundsen-Holmgreen: Body And Soul (Score)

Programme Note Posed some questions I can say: Each of us have our own reasons for finding a work successful - and each work has its own reasons for being successful, very different reasons and reasons of a different kind. Speaking for myself I have opposing and often conflicting views and wishes. Automatically (!) I am attracted by music of a strict and severe nature, but also by the unforseen, the provocative and the devil-may-dare. And a burst of laughter to and fro shall be welcomed - as a relief. Since the 1960's I have tried to condense the musical material as much as possible, to make it as simple as possible. Complexity arises when the simple "things" meet. "Things" indicate that the motives of the music often can be experienced as objects.As the late Poul Nielsen put it, speaking of my piece, REPRISER from 1965: 'there is sound as sound - and sound as expression" . and there is "a voice that speaks and a voice that is silent' The present new piece of mine, Body and Soul, is thus entitled because the brief first movement has a direct physical approach, while the second movement has a more intimate spiritual and softer touch. Don Juan, the Master of The Senses, can be supposed to have embodied both sides in his nature. And what is Don Juan doing here? - the second movement gives the answer - by and by. Pelle Gudmundsen- Holmgreen

SEK 485.00
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
1

Bent Lorentzen: Jupiter (The Planets)

Bent Lorentzen: Jupiter (The Planets)

The Planets is cast as a single unit, consisting of seven movements, varying greatly in character, each of which describes a planet or a celestial body. Written in 1995 for organist Jens E. Christenson who later gave the first performance, 'Jupiter' is the fifth title in 'The Planets' a suite of seven pieces for organ. Colossal is Jupiter, the mightiest of the planets, ruler of the Universe. Monumental sounds in heavy, block-like dispositions depict the overwhelming gravity of this giant.

SEK 284.00
1

Studium

Studium

Poul Ruders STUDIUM: Concerto for 2 percussionsoloists and OrchestraAs indicated in the Latin title STUDIUM, this concerto is a study or etude for virtuoso percussion and orchestra and a composer?s studium of the meticulous and patient building up a huge structure based on a very tight and sparse material. The title originally means and undertaking done with ardour and the wish to strive for the highest possible goal, a natural aim in any artistic endeavour. The orchestra and the soloists work in a body towards the off-centre placed climax, the technical level of the soloists increasing form ensemble status to stupefying virtuosic display, whereas the orchestra maintains its tightly composed surround-sound. What then happens shall remain a surprise.Poul Ruders

SEK 1124.00
1

Poul Ruders: Concerto For Oboe Solo And Small Orchestra (Score)

Poul Ruders: Concerto For Oboe Solo And Small Orchestra (Score)

The Small concerto for solo oboe and chamber orchestra was commissioned by The Royal Library of Copenhagen for the inauguration of a concert hall located at the new library annex, the so-called Black Diamond, September 1999. The work as such focuses more on the contemplative and sonorously introvert, rather than more virtuosity; it is in four movements, what could be called four little tone-poems on (and inspired by) the names of the four moon craters known as: Lake of Dream - Ocean of Storms - Sea of Tranquillity - Lake of Death, four enigmatic and deeply fascinating ancient conceptions of the landscape on this our closest, but at the same time most legendary and myth-shrouded celestial body. The work was composed in 1998 for Athelas-Sinfonietta Copenhagen and Swedish obo virtuoso Helen Jahren. The work was dedicated to Helen Jahren.

SEK 801.00
1

Songs Of The Ice (JÄÄN LAULUJA)

Songs Of The Ice (JÄÄN LAULUJA)

Songs of the Ice is an orchestral work about ice. In the Arctic region, the ice breathes with the seasons, swelling in winter and shrinking in summer. Its age-old movement sings a song of its own: slowly surging, unrelenting andcovering all beneath it. It tinkles and rumbles, squeaks and laments as our ever-warmer climate breaks Nature’s time-honoured laws, forcing the ice to give way. When I composed the piece, I was expecting our second child, due tobe born in the heart of winter when the bitter cold strengthens the ice, making it powerful and solid again, and I was vividly reminded of the time after our first-born. Songs of the Ice also describes the emptiness and reclosingprocess that begins in a woman’s body when she parts company with the life inside her in giving birth.

SEK 471.00
1

The Lustful Mother's Heart

The Lustful Mother's Heart

Tarkiainen writes: The Lustful Mother’s Heart is a solo work that plumbs the depths of one of the most fundamental human instincts – the tie between a mother and her new-born child that, as day follows day, becomes less part of its mother’s body. The work develops themes from my song cycle The Lustful Mother in which long solo viola passages strike to the very heart of down-to-earth, natural womanhood. The Lustful Mother’s Heart was born at a very special moment in my life when my second child was spending his first weeks in this world. The viola song kept company with us night and day, dark and deep-rooted, at times broadening out into a hymn, weaving into our fate asthrough a dream. The Lustful Mother’s Heart is dedicated to violist Ellen Nisbeth, who also commissioned it.

SEK 257.00
1

Poul Ruders: Break-Dance (Score)

Poul Ruders: Break-Dance (Score)

Break-Dance is an obvious next of kin to the two Clarinet trios Vox In Rama and Tattoo For Three. This piece, however, combines the roaring despair of the first trio with the twisted rhythmical display of the latter. The title, of course, is a reference to the modern street-dance electric boogie, but the very music itself takes the naming most literally indeed: formally and rhythmically, after a straightforward head-on opening, it breaks into isolated, jagged fragments, winding up in a bouncing piano cadenza. Albeit not an obvious piano concerto, the piano part hovers in the front line, the same way the horizontal guy, ringing himself on the pavement, is doubtless an eye-catcher to passers-by. The springy 'body-language' that kicks off the piece suddenly stiffens and freezes into hard-edged blocks and the real 'dance of breaks' emerges into focus. Break-dance is commissioned by and dedicated to Yvar Mikhashoff and Spectrum. Arranged for 2 Trumpets, 3 Trombones, and Piano.

SEK 399.00
1

Poul Ruders: Break-Dance (Parts)

Poul Ruders: Break-Dance (Parts)

Break-Dance is an obvious next of kin to the two Clarinet trios Vox In Rama and Tattoo For Three. This piece, however, combines the roaring despair of the first trio with the twisted rhythmical display of the latter. The title, of course, is a reference to the modern street-dance electric boogie, but the very music itself takes the naming most literally indeed: formally and rhythmically, after a straightforward head-on opening, it breaks into isolated, jagged fragments, winding up in a bouncing piano cadenza. Albeit not an obvious piano concerto, the piano part hovers in the front line, the same way the horizontal guy, ringing himself on the pavement, is doubtless an eye-catcher to passers-by. The springy 'body-language' that kicks off the piece suddenly stiffens and freezes into hard-edged blocks and the real 'dance of breaks' emerges into focus. Break-dance is commissioned by and dedicated to Yvar Mikhashoff and Spectrum. Arranged for 2 Trumpets, 3 Trombones, and Piano.

SEK 981.00
1

Franz Schubert: Fantasy 'the Wanderer' Op.15

Franz Schubert: Fantasy 'the Wanderer' Op.15

The Fantasie in C major, Op. 15, popularly known as the Wanderer Fantasy , is a four-movement fantasy for solo Piano composed by Franz Schubert  in 1822. The whole work is based on one single basic motive from the lied “The Wanderer” and the four movements are played without a break.  It is widely considered to be  Schubert 's most technically demanding composition for the Piano. Schubert  himself said "the devil may play it," in reference to his own inability to do so properly. It is the perfect challenge for any proficient pianist, and the effort will be appreciated by audiences upon hearing this marvellous piece! Franz Schubert  was an Austrian composer who was extremely prolific during his short lifetime(he died at the age of 31). His output consists of over six hundred secular vocal works, seven complete symphonies,sacred music, operas, incidental music and a large body of chamber and Piano music. Today  Schubert  is ranked among the greatest composers of the late Classical era and early Romantic era and is one of the most frequently performed composers of the early nineteenth century.

SEK 173.00
1

Poul Ruders: glOrIA (Score)

Poul Ruders: glOrIA (Score)

Ruders writes: "gl0rIA" is subtitled: "a relique for large chorus and 12 brass-instruments. At the same time it is an exercise for chorus because only vowels do occur, or virtually no consonants are heard. The second part of the Missa Ordinarium, the Gloria in Exelcis Deo makes the literary basis of "g10rIA", but I employ only the vowels, which in their full context form a "non-language", - fragments of a tradition. A less dim vision of the "severed body" appears in the center of the piece, where the Domini Fili-section surfaces in its original shape. "gl0rIA" is a 20th century composer?s hommage to the innocent faith of bygone days and a fanfare in honour of Claudio Monteverdi; thus the ever present elaborations of the introduction to the Vespro Della Beate Vergine. Superimposed on the "torso" of Latin, I wedge in a quotation from the Spanish renaissance poet Gonzalo de Berceo?s "Duelo de la Virgen", a surrealistic Lamento, in which the Jews, sent by Pilate to stand guard at the tomb of Christ, mock and ridicule Maria, Jesu mother. Thus a shadow has been cast over the jubilant religious appraisal of the past, which today?s knowledge of atrocities and enormities engineered by Mankind, has - alas - made so hard to repeat.

SEK 1065.00
1

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.

SEK 915.00
1

Planeterne Op.80

Planeterne Op.80

The Planets, op. 80 for mezzo-soprano, flute, viola and guitar, was composed in spring 1978 and given its first performance on 30 July the same year at the Lerchenborg Music Days. The occasion which led to the composition of the work was the 50th anniversary of the finding of a block book from the second half of the 15th century with texts on the planets. The inspiration came from Louise Lerche-Lerchenborg, who organised the Lerchenborg Music Days, and the work is dedicated to her. In connection with the concert at Lerchenborg, Poul Rovsing Olsen wrote the following about his opus: “The Planets derives from the block book found in Lerchenborg’s library in 1928. Seven fine,coloured drawings tell of the seven celestial bodies which in many European languages have given the weekdays their names. Each drawing is accompanied by a Latin text, under which there is a two-line dictum that briefly – though very concisely – gives an account of the characteristics of the children who belong to that particular celestial body. And these concentrated portrayals form the basis for the music. In the music I have attempted to give indications of my own experience of the particular power and nature characterizing each one of the heavenly bodies, just as I have allowed this cycle of planet songs to pass like a journey through the ethereal realms with motifs that appear, are repeated, are varied and disappear (but only so as to be replaced by new ones), until we finally return to the point of departure. The introduction – Aether – is purely instrumental. Two of the planets – Venus and Luna – are female; in the music written for them small (Indian) cymbals are used that are also present in Aether.” The Planets, op. 80 for mezzo-soprano, flute, viola and guitar, was composed in spring 1978 and given its first performance on 30 July the same year at the Lerchenborg Music Days. The occasion which led to the composition of the work was the 50th anniversary of the finding of a block book from the second half of the 15th century with texts on the planets. The inspiration came from Louise Lerche-Lerchenborg, who organised the Lerchenborg Music Days, and the work is dedicated to her. In connection with the concert at Lerchenborg, Poul Rovsing Olsen wrote the following about his opus: “The Planets derives from the block book found in Lerchenborg’s library in 1928. Seven fine,coloured drawings tell of the seven celestial bodies which in many European languages have given the weekdays their names. Each drawing is accompanied by a Latin text, under which there is a two-line dictum that briefly – though very concisely – gives an account of the characteristics of the children who belong to that particular celestial body. And these concentrated portrayals form the basis for the music. In the music I have attempted to give indications of my own experience of the particular power and nature characterizing each one of the heavenly bodies, just as I have allowed this cycle of planet songs to pass like a journey through the ethereal realms with motifs that appear, are repeated, are varied and disappear (but only so as to be replaced by new ones), until we finally return to the point of departure. The introduction – Aether – is purely instrumental. Two of the planets – Venus and Luna – are female; in the music written for them small (Indian) cymbals are used that are also present in Aether.”

SEK 595.00
1