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Outi Tarkiainen: Beaivi (Study Score)

Outi Tarkiainen: Beaivi (Study Score)

Beaivi is inspired by the Sami poet Nils-Aslak Valkeapää's poem "When that time approaches", where the first encounter with light after the lengthy polar night is described with exceptional significance. The word beaivi comes from the northern Sami language meaning sun or day. The play of light - its dawn, a brief shimmering before darkening again - are characterized throughout the textures and timbres of the piece. Beaivi is dedicated to the Danish chamber music ensemble Lydenskab , who also commissioned the work. "When that time approaches I notice how frequently I ski higher than necessary and when I finally see the peaks turn red I am not ashamed to admit that I go to a high place in order to see the sun" -Nils-Aslak Valkeapää English translation by Ralph Salisbury Parts are available: WH32985A

SEK 459.00
1

Second Symphony

Second Symphony

Second Symphony is in four movements. The first movement opens with a scream. The subsequent parts of the movement form a unified but complex whole, where traces from the coming movements turn up – constantly in interaction with the scream and its echoes. The second movement is slow and rather melodious. It was actually performed in a “trailer version” – shortened and minimized in December 2018 in the Danish TV programme 'Deadline'. The third movement is a scherzo – teeming, rhythmic, with almost physical soft and violent meetings, like acts of love between the different layers of music. The last movement is a farewell song – a goodbye. A musical ship is approaching only todisappear again. Where the composer perceives the preceding movements as highly contemporary, there is a touch of the past in this last movement – the composer's past. Sørensen quotes his fourth string quartet 'Schreie und Melancholie', and in this movement he was also influenced by the fact that his mother passed away during the composition of this piece.

SEK 981.00
1

Poul Ruders: Sonata No.1 For Piano- Dante Sonata

Poul Ruders: Sonata No.1 For Piano- Dante Sonata

The "Dante-Sonata" was composed in 1970, inspired by two quotations from Dante?s "La Divina Comedia", Inferno, each in its turn forming the program of the two movements. Movement 1: Wandering through Inferno Dante sees all those who during their life on earth were ill-tempered and discontented, and who are now doomed for all eternity to stand in mud up to their necks, fighting each other, tearing and scratching each other?s flesh. Movement 2: Here the doomed wretches recollect life on earth - the blessed sun and the green meadows; but it is too late to repent. Apart from having this connection with "La Divina Comedia" the title: "Dante-Sonata" has a dialectical and music-historical reference, a reference to Franz Liszt?s Dante Sonata, without quoting from it in any way. An elusive "air" of the music of bygone days can be percieved in the second movement, which with its many types of graces is reminiscent of a slow movement of a Baroque dance. "Dante-Sonata" is dedicated to Elisabeth Klein.

SEK 284.00
1

Triplis+

Triplis+

Asbjørn Schaathun TRIPLIS+ (1996-98)For mezzo-soprano, percussion, electric organ, alto flute, coranglais, clarinet, violin, viola , cello, double-bass and piano.Triplis+ consists of seven songs based on computer-manipulated text fragments from Wilhelm Müller?s ?Die schöne Müllerin?. The seven songs should be played without interruption:I) Warum nicht?II)Nicht so...III)AngstIV) Wohin?V) HeimatVI) StilleVII)RuhigThe score of TRIPLIS+ has a long history. The whole project began as a piece for piano and mezzo, DUALIS (1987), to which I added percussion instruments to the vocal and piano parts, which was deeply unsatisfying. (I also suggested certain ways of making different versions of the piece, a so-called ?open score?, but this was even worse...) From the ruins of this piece I carved out a new DUALIS (1991), using the same material, but with no percussion instruments added and in the form of a traditional ?frozen? score.In 1993 I was asked to include a separate percussion part for a trio-version of my first undertakings of DUALIS. In close collaboration with the Cikada Trio I created a new version, TRIPLIS (1993) which then in turn was taken as a point of departure for an extended version of the piece called TRIPLIS+ (1996-99). In this ?version integrale?, I - due to the requirements of the commission - added an ensemble of 8 instruments, sometimes elaborating material from the mezzo-line, sometimes contradicting or commenting upon it. The piano has a special role in both TRIPLIS+ and TRIPLIS; functioning as a kind of ?libro?, the piano textures, which have the feel of an accompanying part, are played ad lib throughout the work. In this way the pianist can change the actual dramatical flow of the piece.The first performance of TRIPLIS+ took place in the Bjergsted Music Centre in Stavanger, Norway in April 1999, with the commissioner, Stavanger Contemporary Music Ensemble under direction of the composer.The score is dedicated to B.Asbjørn Schaathun

SEK 981.00
1

Animals In Concert

Animals In Concert

Animals In Concert - Three pieces for Piano solo by Per Nørgård. Programme Note  1. A Tortoise´s Tango (1984) - dur.: 4´  2. Light of a Night - Paul meets bird (1989) - dur.: 6´  3. Hermit Crab Tango - Esperanza (1997) - dur.: 5´   The pieces can be performed together or one by one. In the1980s, quite a few "finds" turned up in Per Nørgård's music. The material could be, say, a number of song birds' equilibrist melodic lines, the overtones of the ocean surf, or waltzing themes by the schizophrenic artist Adolf Wölfli (1864-1930). Or again, as heard here, it can be the rhythms and motifs of the tango and a Beatles song (with bird), explored in three independent piano pieces that form the Animals in Concert suite, about which the composer writes:  "A Tortoise´s Tango": The tortoise as tango dancer must presumably possess certain rhythmic peculiarities, which I have chosen to express by letting the tune of the tortoise shuffle broadly, tripartite through the strict four partite time of tango.  Tortoise Tango was the original title of this piece, "written for Achilles" (the pianist Yvar Mikhashoff), for his so called tango project", including new tangos for piano by composers from all over the world.  "Light of a Night (Paul meets bird)" was commissioned by pianist Aki Takahashi. It is a "reworked" arrangement for piano of the Beatles song "Blackbird". As some of us will recall, the Beatles on "The White Album" let the beautiful song to the blackbird be accompanied by an (apparently) live blackbird song. It is this authentic bird-motif world that in "Light of a Night" weaves itself into the Beatles melody and in turn is gradually infected by it, so that a completely new third entity ensues: a kind of Bird-rock ballad (or maybe it is a Beatle-bird?).  "Hermit Crab Tango (Esperanza)": The tango situation is quite special for a Hermit Crab. It is a well-known fact that the hermit crab - this soft animal - must run the gauntlet among the many perils at the bottom of the sea when it must move hose. I have chosen to express the angers by a tango pattern - sharp as a cactus - through which the tune, optimistic, slips to its new shelter. I have borrowed the tune from songwriter Hanne Methling´s "Introduction": ´I want to get through this time!' she sings in a ecstatically ascending melody line - and I believe that these words must correspond very well to the mood of the hermit crab: ´Esperanza´- the green runners of hope wind among the latticework formed by the tango rows.

SEK 488.00
1

Esperanza (Eremitkrebsetango)

Esperanza (Eremitkrebsetango)

Esperanza - Eremitkrebs-Tango (1997) Hermit Crab Tango, Esperanza is part of Nørgård´s Animals in Concert, a suite of piano pieces, so far comprised of:  1. A Tortoise´s Tango (1984) – dur.: 4´  2. Light of a Night – Paul meets bird (1989) - dur.: 6´  3. Hermit Crab Tango – Esperanza (1997) - dur.: 5´  The pieces can be performed together or one by one.  In the1980s, quite a few “finds” turned up in Per Nørgård’s music. The material could be, say, a number of song birds’ equilibrist melodic lines, the overtones of the ocean surf, or waltzing themes by the schizophrenic artist Adolf Wölfli (1864-1930). Or again, as heard here, it can be the rhythms and motifs of the tango and a Beatles song (with bird), explored in three independent piano pieces that form the Animals in Concert suite, about which the composer writes:  Programme note for "Animals in Concert":  1. A Tortoise´s Tango (1984) – dur.: 4´  2. Light of a Night – Paul meets bird (1989) - dur.: 6´  3. Hermit Crab Tango – Esperanza (1997) - dur.: 5´  The pieces can be performed together or one by one.  In the1980s, quite a few “finds” turned up in Per Nørgård’s music. The material could be, say, a number of song birds’ equilibrist melodic lines, the overtones of the ocean surf, or waltzing themes by the schizophrenic artist Adolf Wölfli (1864-1930). Or again, as heard here, it can be the rhythms and motifs of the tango and a Beatles song (with bird), explored in three independent piano pieces that form the Animals in Concert suite, about which the composer writes:  “A Tortoise´s Tango”: The tortoise as tango dancer must presumably possess certain rhythmic peculiarities, which I have chosen to express by letting the tune of the tortoise shuffle broadly, tripartite through the strict four partite time of tango.  Tortoise Tango was the original title of this piece, “written for Achilles” (the pianist Yvar Mikhashoff), for his so called tango project”, including new tangos for piano by composers from all over the world.  “Light of a Night (Paul meets bird)” was commissioned by pianist Aki Takahashi. It is a “reworked” arrangement for piano of the Beatles song ”Blackbird”. As some of us will recall, the Beatles on “The White Album” let the beautiful song to the blackbird be accompanied by an (apparently) live blackbird song. It is this authentic bird-motif world that in “Light of a Night” weaves itself into the Beatles melody and in turn is gradually infected by it, so that a completely new third entity ensues: a kind of Bird-rock ballad (or maybe it is a Beatle-bird?).  “Hermit Crab Tango (Esperanza)”: The tango situation is quite special for a Hermit Crab. It is a well-known fact that the hermit crab - this soft animal - must run the gauntlet among the many perils at the bottom of the sea when it must move hose. I have chosen to express the angers by a

SEK 150.00
1

Poul Ruders: Listening Earth - A Symphonic Drama for Orchestra (Score)

Poul Ruders: Listening Earth - A Symphonic Drama for Orchestra (Score)

Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra, conducted by David Robertson, 29th November 2002.3 Flutes, 1st and 2nd also Alto Flutes in G, 3rd also Piccolo3 Oboes, 3rd also Cor Anglais in F3 Clarinets in Bb, 3rd also Bass Clarinet in Bb3 Bassoons, 3rd also Contra Bassoon4 Horn in F3 Trumpets in Bb3 Trombones1 TubaTimpani4 Percussion, four playersPlayer 1 - Vibraphone, Glockenspiel, Water Chime, Bell Tree, Japanese Wood Blocks, Cymbal (Suspended), TamTam (Medium)Player 2 - Triangle, Tubular Bells, Crotales, Marimba, Chinese CymbalPlayer 3 - TamTam (Large), Java Gong (Large, very low), Bell Lyra (Handheld), Sizzle CymbalPlayer 4 - Bass Drum, Glockenspiel, Xylophone1 Harp1 Piano, also CelestaStrings - 16/14/12/10/8All transposing instruments are notated in their relevant transpositions.Any accidental apply only to the note that it immediately precedes, except tied notes.Naturals appear occasionally 'for safety'."LISTENING EARTH" is a symphonic drama, a one- movement composition in four parts based on the work by two writers, Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English, a classical scholar, essayist, poet and politician, but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon.The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems, nature, paintings, I was immediately convinced when I carne across the Addison hymn, that here was exactly what I wanted to use as my major source of inspiration for this piece, commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety, but have chosen the following 3 excerpts, all acting as mottos for the first three sections of the piece, thus turning the piece into a straightforward tonepoem in the classical sense:The spacious firmament on high,With all the blue ethereal sky,And spangled heavens, a shining frame,Their great original proclaim. The title of the piece presents itself in the following verse: Soon as the evening shades prevailThe moon takes up the wondrous tale,And nightly to the listening earthRepeats the story of her birth;The third part of the piece follows these dramatic lines: Whilst all the stars that round her bum,And all the planets in their turn,Confirm the tidings, as they role,And spread the truth from pole to pole. Then 11 September, 2001 happened and personally - and as an artist - I quite simply couldn't end the piece on such a happy and glorious note, however beautiful, so, when the American modem-music web site sequenza2I.com in the days following the attack on New York City and Washington D.C. brought W.H.Auden's poem "September 1, 1939", I found the appropriate text on which to base the fourth and final section of 'listening Earth", which now turns into "Angry Earth'. Auden wrote the poem on the eve of 1 September, the day Hitler and his hordes rolled into Poland:... Waves of anger and fearCirculate over the brightAnd darkened lands of the earth,Obsessing our private lives;The unmentionable odour of deathOffends the September night. (From Another Time by W.H.Auden, published by Random House. Co

SEK 1604.00
1