TWAS NA HER BONNIE BLUE, SATB

TWAS NA HER BONNIE BLUE, SATB

Eivind Buene: Blue Mountain (Score)

Blue Mountain for 2 Actors and Orchestra by Eivind Buene (2014). Commissioned by Ultima - Oslo Contemporary Music Festival.

Anders Nordentoft: Five Leaves From A Blue Lotus

Five Leaves From A Blue Lotus by the Danish composer Anders Nordentoft , scored for Chamber Orchestra.

Blue Skies

Finn Roar: Blue Book

Der er myrer i mit øre

Antonio Bibalo: Study In Blue

For Solo Guitar.

Rainger Bl· Hawaii / Blue Hawaii Pv

Text: Leo Robin Danish text: K. Pheiffer

Whiting/Harling Beyond The Blue.. Pv

Text: Leo Robin

Johann Strauss II: Kunstlerleben (Piano)

Kunstlerleben Op.316 , or Artist's Life, by Johann Strauss II, is often regarded as the 'twin' of the Blue Danube Waltz. Arranged here for solo Piano.

Livet Skal Jo Leves - John Mogensen-Sangbogen

Livet Skal Jo Leves - John Mogensen-Sangbogen af Henrik Smith-Sivertsen og Jakob Faurholt. Sangeren, komponisten og Danmarks dansktop-rebel, John Mogensen (1928-1977), skrev sig direkte ind i den danske folkesjæl med tekster og melodier, som stadig hænger i ører og danseben. På forunderlig vis beherskede han både det livsfilosofiske og det umiddelbare, glade udtryk, som gjorde ham til en ener i dansk populærmusik. Vi kan synge med på rigtig mange af John Mogensens ikoniske sange, og det er ikke tilfældigt - John kunne sit håndværk, og han sled for sagen, endda i dobbelt forstand: spillejobs og indspilninger dag og aften - og hjem og skrive sange i nattens stille timer. I løbet af en professionel karriere, der strakte sig over 25 år, nåede han at være en del af de populære vokalkvartetter Blue Boys og Four Jacks for derefter i 1970erne at blive til solisten John Mogensen, som lagde landet ned med sine medrivende og vedkommende sange, der stadig sætter ord på tanker og følelser, som de fleste kan nikke genkendende til. I denne bog kan du opleve John i alle sammenhænge: tant, fjas, nedtur, optur, kærlighed og politik - og uanset sammenhængen som nærværende og ærlig. Musikformidler og -forsker Henrik Smith-Sivertsen sætter John Mogensen i perspektiv i en længere introduktion samt forsyner de enkelte sange med fyldige noter. Jakob Faurholt har tilrettelagt noderne og desuden transskriberet de sange, som ikke tidligere har været udgivet på tryk. Sangene er gengivet som becifret melodilinje med underlagt tekst og ledsages af fotografier fra hele John Mogensens karriere.  

Reveille, Kopi

REVEILLE RETRAITE for solo trumpetA joint commission between Håkan Hardenberger and Danmarks RadioDedicated to Håkan HardenbergerProgramme note:Everybody knows or has at least heard of the time honoured military bugle calls: Reveille Retraite, the awakening at sunrise the turning in at sunset. In a way it's the UR concept of the nature of the trumpet, an instrument capable of glorious panache as well as sublime, inward looking finesse. My piece is, as indicated in the title, a two fold composition in the form of two contrasting tone poems, each mirroring a fragment of original text, what one could call spiritual appetizers. At the end of chapter 8 of his high spirited Memoirs Hector Berlioz laments the murder of a man he admired, Prince Lichnowsky, who was stabbed to death in Frankfurt in September 1848 by German peasants: "Oh, I must get out, walk, run, shout under the open sky! " Now, there's a juicy bit of high strung romantic Sturm und Drang for you and the perfect motto for any awakening... Then night fall, Retraite, in which I've drawn upon the early, melancholy poem ALONE by Edgar Allan Poe and taken out one single line as 'subtitle' for this very hushed and withdrawn movement: "And all I lov?d, I lov?d alone. " I guess it won't hurt to quote the poem in its entirety:"From childhood's hour I have not beenAs others were I have not seenAs others saw I could not bringMy passions from a common spring.From the same source I have not takenMy sorrow; I could not awakenMy heart to joy at the same tone;And all1 lov?d, I lov?d alone.THEN in my childhood in the dawnOf a most stormy life was drawnFrom ev?ry depth of good and illThe mystery which binds me still:From the torrent, or the fountain,From the red cliff of the mountain,From the sun that 'round me roll`dIn its autumn tint of gold From the lightning in the skyAs it pass?d me flying by From the thunder and the storm,And the cloud that took the form(When the rest of Beaven was blue)Of a demon in my view."Edgar Allan PoeProgramme note by Poul Ruders, January 2004

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