NORGARD PER MOMENTUM CELLO CONCERTO NO2 CELLO & ENSEMBLE SCORE

NORGARD PER MOMENTUM CELLO CONCERTO NO2 CELLO & ENSEMBLE SCORE

NORGARD PER EN LYS TIME A LIGHT HOUR 2008 PERCUSSION SCORE

NORGARD PER EN LYS TIME A LIGHT HOUR 2008 PERCUSSION SCORE

Per Nørgård: Piano Concerto - Concerto In Due Tempi

Per Nørgård PIANO CONCERTO 'Concerto in due Tempi' was composed 1994-95 and dedicated to Per Salo, the pianist who also gave the world premiere on May 5, 1996 with the Danish National Radio Symphony Orchestra conducted by Leif Segerstam.The work has a duration of appr. 30 minutes. It unfolds itself as an uninterrupted interplay between the piano and the orchestral instruments, often in soloistic or chamber music combinations. An alto saxophone separates itself from the rest of the instruments, but contributes in a dramatic way to the ensemble playing, as a kind of ?anti-soloist?. ?Due tempi? does not refer to the number of movements, of which there is only one. This movement, however, invites a three-part interpretation (downwards, solo cadenza in the bass register, upwards!). The ?two tempi? in fact exist simultaneously and are in the ratio 7:5 (approximately the square root of two).Per Nørgård

Per Nørgård: Between - Cello Concerto No. 1 (Score)

Between - Cello Concerto No. 1 - 3 movements for Violoncello and Orchestra, composed by Per Nørgård in 1984-85. Premiered by Frances-Marie Uitti and the Danish Radio Symphony Orchestra conducted by Michael Schönwandt, August 30th 1985. Programme note: 1. In Between 2. Turning point 3. Among The title of each movement suggests one aspect of the relationship between soloist and orchestra. In the first movement the solist is caught up in a conflict between the expression of inner feelings (solo) and influences from external sources (orchestra), the latter of which the soloist in a simple accompanying role, but after a turning point in the middle of the movement the soloist assumes a dominating role. In the final movement a balance is finally achieved, with the soloist at last being on equal terms with the orchestra. Per Nørgård

Ciaccona Per Diversi Strumenti

Per Nørgård: Suite (Babette's Feast)

Based on a story by Isak Dinesen (Karen Blixen), who also wrote Out of Africa, the inspiration for the 1985 Academy Award winning film. Babette's Feast tells the story of Babette Hertsard (Stéphane Audran), a 19th century Parisian political refugee who flees on a boat to Frederikshavn in Denmark with the help of her nephew, and her relationship with two elderly and religious sisters. The sisters Martina (named for Martin Luther) and Philippa (named for Luther's friend and biographer Philip Melanchthon) were the daughters of a pastor who had founded his own religious sect.

Per Nørgård: Seadrift (Set Of Parts)

Work for Solo Soprano, Flute, Piano, Guitar, Violin, Cello and Percussion. Text: Walt Whitman. Full Score available: WH30008

Per Nørgård: Symphony No.4 (Score)

Indischer Roosengaarten und Chineesischer Hexensee. Work for Orchestra dating from 1981.

Per Nørgård: Symfoni Nr.5 (Full Score)

Full orchestra score.

Per Nørgård: Det Guddommelige Tivoli (Full Score)

Opera scored for Soprano, Contralto, Tenor, Two Baritones, Bass-Baritone, 6 Dancers, 6 Percussionists, Amplified Cello and Synthesiser. Text: After Adolf Wolfli. English Title: The Divine Circus.

Per Nørgård: Bach To The Future (Score)

For two Percussion soloists and ten instruments.Commissioned by and dedicated to Safri Duo. A Concerto in three movements based on Preludes by J.S. Bach, for Percussion Duo and Orchestra. Reduced version, 2010, by Steve Ferre, approved by the composer for Percussion Duo (unchanged) and ten instruments (5 woodwind, 5 strings)1 Flute dbl. Piccolo and Alto Flute in G1 Oboe dbl. Cor Anglaid in FY1 Clarinet in Bb dbl. Bass Clarinet in Bb1 Bassoon1 Horn in F1 Violin 11 Violin 21 Viola1 Cello1 Double BassThe score is written in C

Per Nørgård: 'Recall' Concerto For Accordion And Orchestra (Score)

Accordion and Piano version available: WH30062.

Per Nørgård: Symphony No.1 'Sinfonia Austera' Op.13 (Full Score)

Norgard's Symphony No.1 Op.13 - revised 1956 edition in full score.

Abrahamsen Lied In Fall Sc

Lied in Fall for Cello and 13 instruments (sinfonietta) was composed by Hans Abrahamsen in 1987. Dedicated to Per Nørgård. Commissioned for the London Sinfonietta with Christopher von Kampen as soloist for their 20th anniversary concert.

Nuit Des Hommes, Kopi

Per Nørgård NUIT DES HOMMES"The night of mankind - the night of men" is a kind of opera in so far as it is about a stagework with sung accompanied by both acoustic and electronic instruments - a stagework in two acts and approx. 20 pictures. However if you by opera think of its "dramatic type" with people in one or more conflicts, mutual and with themselves - well, then "Night of mankind" probably has to reckon among another, not yet categories genre.It may well be two named person that perform (Alice and Vilhelm), but "the opera" does not deal with their possible mutual tensions, but instead of their common limitless intensity, which first make them in harmony walk the dangerous paths on which the enthusiasm lead them and afterwards divides them as now radically changed figures: from the individual woman to the war correspondent, in demagogic - ecstatic outburst of feelings - from the mans human to the soldiers unhuman everyday. A crash into the underground - without a return ticket."Per Nørgård

Sirenengesang Score

Programme Note SIRENENGESANG was composed in the spring 1994 and was commis-sioned by the AVANTI! Chamber Orchestra. The work was written with support from NOMUS. The music is not a romantic reflection on presumed siren songs. The title expresses an impalpable conception which manifests itself in dense quartertone-distorted melodies and manic, almost frozen tone-repetitions. Sometimes the music becomes static screams, sometimes there is room for small naive fragments of melody. By the end of the piece a fragment from the 'Angel-Duet' of my THE ECHOING GARDEN emerges. SIRENENGESANG is dedicated to Per Nørgård. Bent Sørensen

Sorensen Intermezzi Fra Himlen F/S

Intermezzi from the opera Under Himlen was composed by Bent Sørensen in 2003. Scored for 2 Mezzosoparanos and Orchestra. Text by Peter Asmussen. Programme Note: In March 2003, when the Royal Theatre premiered the composer Bent Sørensen’s and the dramatist Peter Asmussen’s opera Under the Sky, it was not only Bent Sørensen’s first opera on the large scale, but also his first work as a music dramatist at all. The challenge of composing an opera came from the general manager of the Danish National Symphony Orchestra/DR, Per Erik Veng, who had asked Asmussen in 1996 whether he would write the libretto for an opera and pick out a composer to work with on it. Asmussen was willing, and he pointed to Bent Sørensen as the composer. Bent Sørensen reacted positively to Per Erik Veng’s suggestion of an opera collaboration with Asmussen, and with the opera agreement settled, the Danish National Symphony Orchestra/DR was then offered an independent work. It is related to the opera, but sheds light on it from a different angle – Bent Sørensen himself compares it to a film ‘trailer’. The result is Intermezzi, a suite in five movements. Intermezzi is expressly not just a garland of selected episodes from the opera, but an independent work built up in one long symmetrical sequence with instrumental passages in the middle of the first, third and fifth movements as well as the purely instrumental second and fourth movements, as the bearing pillars of the work. Fragments of the story of Ida and Molte (both mezzo-sopranos) are told, but they do not happen in the same order or with the same conclusion as in the opera. In this way Intermezzi becomes a comment on how not everything in the past is necessarily what it seems, or what one at first makes of it. In the first movement Ida sings to Magius that she is carrying Molte’s child, while from afar Molte observes the idyllic world from the outside. The second movement is instrumental, while the third begins with Ida’s love aria, which merges into a great instrumental passage before the movement ends with Molte’s cynical remark that Ida is simply “a fairytale, a book one closes. After a brief instrumental fourth movement comes the fifth, where Molte laments his coldness and isolation amidst all the riches, and seduces Ida by urging her to liberate him with her warmth. Jakob Levinsen

Bach To The Future, Kopi

Per Nørgård BACH TO THE FUTUREFor many years I have been specially fascinated by three of the preludes of Bach?s Well-tempered Piano, and I wish with this concerto-version for percussion-duo and orchestra to "highlight" some of the structural aspects of these pieces: It is my belief that there is a tradition in the music history, that makes it possible to let certain germs in an earlier period unfold into new, but not heterogenious, dimensions of a perhaps several hundred years later phase of the tradition.This concerto is a result of several years collaboration with Uffe Savery and Morten Friis ("Safri-Duo"), as well in original compositions - (Resonances, Repercussion, Resumé in EchoZone I-III) as in arrangements of the 3 Bach preludes, preparing for the enormous stylistic challenges of this work.A few introductory comments to each movement:I Movement: The archetypal sequence of broken chords within C-major has established itself as almost a cultural code, allowing the composer of 1996 to tell his tale-in-tones only by stressing and colouring the tones in the original piece without changing the pitches or (relative) durations as a ?palimpsest? containing as well the old as the new musical tale simultaneously. Later in the movement, this singleline is multiplied by the, till then discrete, but permanently pervading, proportion - throughout the piece - very close to the ?Golden Section?(= 3:5:8.t.i:8 before repetition, 5 before starting anew from the deepest tone, 3 as the rest etc. unchanged). The 3 tonal levels as well as the 3 relative speeds are treated according to these proportions for certain passages, but even in those the main focal point is directed at the freely invented melody (by me) incarnating itself solely by the unpermutad sequels of the original prelude.II Movement: One feature of the F sharp-prelude pervades all the six minutes-long second movement: A 4 times identical rhythmic pattern = 6:4:3:2:3:4:6 - as an hourglass-shaped timeshape - inspired me by the closeness of this pattern to a shape within the infinity-drumming of my invention, called Wide-Fan and Narrow-Fan , referring to pattern consisting of 8:4:2:1:2:4:8, the familiarity with the above - quoted one being obvious. New and old elaborations of this pattern-pair permeates the movement, especially since the Safri-Duo by their performance of my Repercussion had augmented my appetite for including this idiom in a wider context:III Movement: Without the existence of the d-minor-prelude I doubt that I would have dared to write a work like this, since it is the inexhaustible, rare quality and pecularity of this piece, which has stimulated my feeling of wonder and ?modernity? (or: eternity!) of this piece, of which I know of no equal in its special respect: the perpetual ambiguity of melodic foothold in the rhythmic ostinato of a broken descending triad, continuously lending one of its 3 possible positions in time to simple, melodic gestalt vaguely capturing, more or less (ir)resistible, the listener?s attention.By this threefold Hommage a J.S.B. I wish to close up in the rank of composers who already presented offerings to their great predecessor, himself being the unsurpassable offerer.Per Nørgård 4/2 97