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Per Nørgård: Pastorale 1988 (Score)

Per Nørgård: Pastorale 1988 (Score)

version for string orchestra(the original version from 1997 is for string trio)Duration: ca. 6 min.Parts are for hire: hire@ewh.dkPreface l Programme N o teMy PASTORALE is melodicallyutterly simple, almost "ear-catching". The simplicity stems frommy hymn-tune JERUSALEM, the theme ofwhich permeates my ineideutal music for Oscarwinningfilm (Best F oreign Film.1987), BABETTE' S FEAST, by Danish director GabrielAxeLThe film is based on a shortstory by another reknown Dane, Karen Blixen; i t is the story o f twosisters who aremernhers o f a very Puritan congregation, but deeide to have a hig feast of earthly(gastronomic) delights; the PASTORALE is heard during the sumptuous meal.Bel o w the song-like surface of my PASTORALE the metrical implications arerather ambiguous;the changes between marked and un-marked beats forces the ear to perceive a phrase to beo nthe beat at one moment, and offthe beat at the next moment. In this w a y, the simple lines o flyrical pastoral serenity conjure the listener to be lulled into an artificial Paradise, which is exactlythe mood ofthe guests at the banquet, the feast, in the central scene ofthe movie.The original PASTORALE is scored for string trio; the present version for string orchestra camealong in 1988 and was premieredin New York City that year.Per Nørgård, 1999

SEK 353.00
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Per Nørgård: Cantica (Score and part)

Per Nørgård: Cantica (Score and part)

Programme Note CANTICA for cello and piano (1977)When in 1975 I had finished composing my ?Symphony no. 3? (begun in 1973), I wrote three simple melodies for two psalm texts by Ole Sarvig: ?The Year? and ?Choral Hymn?. These three tunes were derived from the same material as the second movement of the symphony and could be harmonized together in several different tempo relationships, like proportional canons. For this reason they inspired me to write several choral and instrumental works in the following decade: ?Frost Psalm?, ?Winter Cantata?, the tuba octet ?Now all the earth is white with snow, ?Canticles? (and others).?Cantica?, meaning song or singing, was composed (for the Danish musicians Hans Erik Dechert og Kjeld Hansen) as a instrumental little brother the long, polyphonic choral pieces. As in these the canonical melodies in Cantica drift from foreground to background, from cello to piano. The melodies are simple, diatonic and in traditional rhythms and the surface of the music in a way traditional. The intention of the composer with this easily understood expression is to lead the listeners ears to the many internal, proportional developments. The story is in a way hidden ?between the lines?. In the myriads of rhythmic and tempo relations the Golden Mean (near to 2:3:5:8: et cetera) plays an important role, like in nature. Among the experiences giving by this natural phenomenon are ? perhaps - the musical points to be found (?).Per Nørgård(1997)

SEK 506.00
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Poul Ruders: Gong (Score)

Poul Ruders: Gong (Score)

The word GONG is saturated with associations: the splendour of the Orient, mysticism, drama, loud metallic clangour, violent impact, etc. The present piece draws upon all those connotations, but it is primarily a symphonic drama about the life and behaviour of the sun, our closest star and prime source of life on Earth. Describing the sun in music is not a new idea, of course; during a visit to Greece, Carl Nielsen was inspired by the orbit of the sun and its very un-Danish ferocity and thus wrote the "Helios Overture". GONG is a "Helios Overture" too, of sorts, albeit more abstract. Recent astronomical research shows, that the surface of the sun reverberates like a gong, in four different, simultaneous tempi (not directly depicted in the score, though); the sun looks like a GONG, - the O in the written work looks like the sun; there is even a solar research group called GONG (Global Oscillation Network Group). Formally the composition follows the life and fate of the sun, from the initial explotional birth through the hyper-activity as energy source as we know it today to the final, predicted flaring up and collapse into a so-called "white dwarf". But - being a musical composition, not an astrophysical thesis - GONG is brought to its compositional conclusion by a "real concert-ending", a chord taken from the middle of the piece and sustained over several bars, from virtual nothingness to full force.

SEK 1457.00
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Bent Sørensen: Minnewater (Score)

Bent Sørensen: Minnewater (Score)

Work for Chamber dating from 1988.The composer writes:MINNEWATER means ?love water?/?love lake?, but when I began to compose the work, this direct meaning of the title was not very important to me. Rather the word itself had a magical sound. Later on, however, it occurred to me that the piece was full of mumbling swells and swarming cascades, and the sensation of water is perhaps most perceptible towards the end where lots of falling water movements are felt behind the emphasized rhythmic surface. Falls that moreover, quite literally at the end, sinks into the water. MINNEWATER has a subtitle: THOUSANDS OF CANONS, which directly refers to a compostion technique where all layers and elements in the music constantly are imitated; possibly waves imitating each other? The mudded and impalpable beginning of the work takes its starting point in one of my earlier pieces, the sextett LES TUCHINS (in fact the first 5 or 6 pages of the two pieces are quite identical but in MINNEWATER it is all ?blown up? to a larger ensemble). Quite soon, however, the thread to LES TUCHINS is cut off and it goes its own way; From the mumbling in the start - through swarming trills and pointilistic staccato movements - to a long section where the trumpet appears as a soloist and in a way conducts the movements of the remaining ensemble right to the rhythmic final section of the piece. MINNEWATER was commissioned by the Danish Radio for the German Ensemble Modern

SEK 915.00
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Fundal Figure & Ground Study 1

Fundal Figure & Ground Study 1

The image and concept of this piece is easiest to describe by using the visual images of the Dutch artist M. C. Escher. He made many woodcuts where the whole surface of the picture has a figurative function, often just in black and white. For example, a row of white ducks 'transversing' the painting which are described by black ducks transversing in the opposite direction. In this way, the two figures describe each other, so to speak. In this piece, melody has been approached in a similar way: a melody is used which can be framed in rhythmically different groupings - in groups of fours or fives etc- thus, creating new hierarchical melodies which grow more and more obvious to the ear. The initial melody then becomes background to the new melody until disappearing, and a new rhythmical pattern is imposed on the second melody, and so forth. Later the different 'rhythm melodies' are woven together, creating a new perceptual image, one that is, at the same time, actually a 'holographic' reproduction of the initial melody. The latter situation is similar to the way Bach makes hidden 3- or 4-part counterpoints in his Cello suites by intersecting the parts successively into beautifully interwoven patterns. The very static sections of the piece are chiefly inspired by the powerful singing of the buddhist-monks of Tibet who are able to relax their vocal chords to such an extent that they create an overpowering deep note, not normally thought to be produced by a human voice. Figure and Ground Study I was first performed by Mats Olofson at the Numus Festival 1995.

SEK 319.00
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Per Nørgård: Tributes - Album For Strings (Score)

Per Nørgård: Tributes - Album For Strings (Score)

Programnote TRIBUTES - ALBUM FOR STRINGS (1994-95)I: FOUR OBSERVATIONS ? FROM AN INFINTE RAPPORT ? hommage a Bartok (1995)II: OUT OF THIS WORLD ? hommage a Lutoslawski (1994)III: VOYAGE INTO THE BROKEN SCREEN - hommage a Sibelius (1995)Please notice that Per Nørgård wrote 2 programme notes for the work.You may use what might be useful for the concert.SHORT VERSION: ?TRIBUTES ? album for strings? (1994-95) includes three hommages, which might also be performed separately.The shared point of departure was the hommage to three major composers of the 20th century ? Bartok, Lutoslawski and Sibelius.In FOUR OBSERVATIONS the hommage is to Bartok (on the occasion of the 50th anniversary of his death 1995). Hungarian Radio asked me to write a piece in his honor, but apart from the very last unison string figure , which is - I think - very Bartokian, the work in no way intends to evoke, even less to imitate, the musical style of the great Hungarian master. This would be an act of impudence against a composer who was such an exceptionally integrated personality, and who has himself shown (in 'Mikrokosmos') the worthy way to pay a personal tribute to highly respected colleagues: In 'Hommage á J.S.B.' and 'Hommage à R. Sch.' Bela Bartok composes in his own manner but lets the music reflect some qualities of the said composers, as perceived in Bartok's mind. In a similar way my 'Observations from an infinite Rapport' reflects as well the timeless proportions of the 'golden section' - which seem to have inspired Bartok so much, - in his great respect for perceptive, structural patterns. "OUT OF THIS WORLD" was composed at the request of a group of Lutoslawski's friends, as a symbol of parting to a great composer and a noble man. The title quotes a poem by Yunus Emre, the Turkish 14th century poet. The opening line of the poem 'Biz dünyadan' reads as follows in English translation: 'We are on the way out of this world, we send our greetings to those left behind...'"VOYAGE INTO THE BROKEN SCREEN" is a hommage to Sibelius. The title refers to my 27 years older work, in which the title-ending 'into the golden Screen' suggests a blank surface. Here the 'broken screen' refers to the multilayered 'broken' harmonic partials, quasi-chaotic in their rhythmic multiplicity of golden proportions. In Sibelius' music I've always admired the unique sense of the 'natural sound', the harmonic partials among others.This concluding movement of my "Book for Strings" was composed as a dedication to Juha Kangas, the leader of the Easter Bothnic Chamber Orchestra - on the occasion of his 50th birthday in November 1995.The total duration of "Tributes, Album for Strings": appr. 18 min. (5 min. ? 7 min. ? 5 min.)Per Nørgård----LONGER VERSION:"TRIBUTES ? album for strings? (1994-95) includes three hommages, which might also be performed separately.The shared point of departure was the hommage to three major composers of the 20th century ? Bartok, Lutoslawski and Sibelius.My ?Tributes? has a somewhat ?cool? attitude, motivated by the reasons for their creation.But how can a composer make a real tribute to a colleague without falling in the pit of ´pale pastiche production´?My answer to the question was expressed in the comment to the first tribute ?Four observations ? from an infinite rapport? ? to Bela Bartok ? a commission from the Hungarian radio to commemorate the 5oth year of his death: the way that Bartok himself musically showed his

SEK 686.00
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