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Lanima del filosofo ossia Orfeo ed Euridice : Dramma per musica

Lanima del filosofo ossia Orfeo ed Euridice : Dramma per musica

Orpheus und EurydikeDramma per musica. Klavierauszug nach dem Urtext der Haydn- Gesamtausgabe (italienisch/deutsch). By Franz Joseph Haydn. Arranged by Ernst R. Barthel. Text: Carlo Francesco Badini. For Soprano solo (3), Tenorsolo, Bass solo (2), Mixed Choir-SATB, Flute (2), Oboe (2), Eh (2), Clarinet (b flat) (2), Bassoon (2), Horn (2), Trumpet (2), Kettledrum, Harp, Strings, Basso continuo. Dramma per musica (Musical Drama). Piano Reduction/VocalScore (paperbound). Hob. XXVIII:13. Published by Baerenreiter-Ausgaben (German import). (BA4658 90) ISBN M006506163.

SEK 696.00
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Per Nørgård: Queen And Ace (Score)

Per Nørgård: Queen And Ace (Score)

Per NørgårdQUEEN AND ACETWO MOVEMENTS IN THE MOOD OF SPADES FOR HARP SOLO AND ENSEMBLEScoreParts are for hire: hire@ewh.dkEnsembleFl. db. Picc. and Alto Fl. in GOb.Cl. in Bb db. Cl. in Eb and Bass Cl. in BbFg. db. Cfg.Cor. in FPerc.xxxHp. SoloVn. 1Vn. 2Va.Vc.Score in CQUEEN AND ACE is based on KING, QUEEN AND ACEfrom 1989, for Harp Solo and Thirteen Instruments.QUEEN AND ACE is, as the title indicates, identical to thetwo latter movements of the work from 1989, except thatthe ensemble leaves out trumpet, trombone and double bass.

SEK 571.00
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Per Nørgård: Remembering Child - Version 2013 (Score)

Per Nørgård: Remembering Child - Version 2013 (Score)

This is the 2013 version (reduced strings) of Per Nørgård 's Remembering Child - Viola concerto No. 1 (1986) -  Two Movements for Viola Solo (or Cello solo) and Chamber Orchestra. Programme Note: The title refers to the original meaning of the word "remembering": Making whole. The work should not be considered as a sort of requiem for Samantha Smith - the late 13 years old fighter for nuclear disarmament - but as an evocation of the childish, creative forces in all people, young and old. Therefore the work applies thematic material of a certain "dawning" quality, including two Gregorian chants, appearing intertwined in the beginning of the 2. movement.  And therefore the work also may be considered as a tribute to the still living child-heretics, fighting against the global lunacy of grown-up, such as Eamon Burke, the Australian boy, continuing, independently, the work of Samantha.  REMBERING CHILD was commissioned by St. Paul Chamber Ochestra and dedicated to Pincas Zuckerman, soloist at the premiere performance (Sept. 12, 1986).  Per Nørgård   

SEK 801.00
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Per Norgard: Korbogen (Choirbook)

Per Norgard: Korbogen (Choirbook)

VISER [Ballads]l) Mit løv, mit lille træ (Johannes V. Jensen)- 1958/75 2) Fuglen hr. Jon (Folkevise) 1961 3) Jeg ved, hvor en lind hun står (Frank Jæger)- 1966 4) Du skal plante et træ (Piet Hein) SSA or SSATB- 1967/91 5) Maya danser (Ole Sarvig)- 1979 6) Marche macabre (Jørgen Gustava Brandt)- 1983 7) Støv (Jørgen Gustava Brandt)- 1984/92 VISER - med slagtøj [with percussion]8) Oluf Strangesøn (Folkevise) - 19719) Orfeus' Dansevise (Per Nørgård)- 1977 10) Freedom (Walt Whitman) - 1977/92 Il) Jorden er som et barn (R.M. Rilke/Per Nørgård)- 1980 12) Drømmesange (Finn Methling)- 1981 13) Solen er rund (Inger Christensen)- 1981 14) Hvem ved? (Inger Christensen)- 1981 15) Halleluja- vor Gud er forrykt!(Adolf Wolfli/Poul Borum)- 1979/82 SANGE [Songs]16) Søvn (Halfdan Rasmussen)- 1952 17) Overstået angst (Halfdan Rasmussen)- 1955/92 18) Engång skall du vara en av dem (Par Lagerkvist)- 1954 19) Gissa din gåta, lillebror (Par Lagerkvist)- 1954 20) Forårsmorgen (Thøger Larsen)- 1961/92 21) Landskab (Thøger Larsen)- 1957/92 22) Strandvalmue (Thøger Larsen)- 1960/86 23) Grøn Sang (Erik Knudsen)- 1959/92 24) Lykkestrejf(Thorkild Bjørnvig)- 1960/92 25) Landskabsbillede- version I (Thorkild Bjørnvig) 1961 26) Landskabsbillede- version Il (Thorkild Bjørnvig)- 1961/92 27) Abendlied (AdolfWolfli)- 1980 28) Stjernespejl (lb Michael) SSA or SSATB- 1987/91 29) Kolde Nætter (Nis Petersen) SSA or SSATB- 1991 30) Jeg hører regnen (Michael Strunge)- 1989/92 MOTETTER [Motets]31) Requiem (bibelsk) orgel ad lib.- 1957 32) Golgata (Bent Nørgård)- 1962/92 33) Gaudet mater (bibelsk)- 1971 34) Året (Ole Sarvig) SSA or SSATB- 1976/91 35) Vældig er jordens vej (Ole Sarvig) SSA or SSATB- 1976/91 36) Flos ut rosa (anon.) SSA or SSATB- 1975/9137) Blomst brød ud i ros{mflor (anon./Ole Sarvig) SSA or SSATB- 1975/91 38) Ordet (N.F.S. Grundtvig)- 1982 39) Agnus Dei (bibelsk)- 1982 40) En stjerne er sat- Julenat (bibelsk/Bent Nørgård)- 1961/92 41) Julens Glæde- Himmelfalden (Johannes Møllehave)- 1985 42) Vær ikke tavs (bibelsk) to versioner, begge for SSA or SAT- 1991.43) Jeg råber til dig (bibelsk)- 1991 44) Dine elskelige boliger (bibelsk)- for SSA or SAT- 1991 45) Nu jubler mit hjerte (bibelsk)- 1991

SEK 629.00
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Per Norgard: Dansere Om Jupiter - Parts

Per Norgard: Dansere Om Jupiter - Parts

Per Nørgård DANCERS AROUND JUPITERI: 'Shadow Dancer', dedicated to Axel Borup-Jørgensen, as my birthday greeting on the composer's 70th birthday 22.11.94II: 'Jupiter Waves', dedicated to Dr. Jeffrey D. ThompsonIII: 'Day Dancer', dedicated to the dancer and choreographer Marie Lalander, as a homage: Marie wrote the line which inspired me for the title: 'Woman, oh you day dancer'.The title of the whole work is immediately intelligible if one compares the individual titles of the outer movements with the title of the middle movement.Axel Borup-Jørgensen and Marie Lalander could be said to be in rotation around Jupiter in the following sense:Axel's music has a 'shadow dancing' side, which can most clearly be heard in his works for harpsichord and double-bass - or in his work for organ. But his music has also a light side, which can be heard in 'Marin' or in 'Nordic Summer Pastorale'.Marie's dance and choreography contain both ecstatic forces of light and expressions of the suppressed and dark. The music of the middle movement on the other hand is in all ways inspired by the actual acoustic ion waves, that constantly arise through the collision of the sun wind with Jupiter's magnet field (registered by Voyager II, 1989). This movement is dedicated to Dr Jeffrey D. Thompson who made these NASA registrations publicly available in the CD-series'NASA Voyager Space Sounds'.Per Nørgård

SEK 589.00
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Per Nørgård: I Ching

Per Nørgård: I Ching

Per Nørgård I CHING Programme Note I CHING (1982) for Percussion Solo I. Thunder Repeated: The Image of Shock (hexagram no. 51) II. The Taming Power of the Small - 9 sounds (hexagram no. 9) III. The Gentle, the Penetrating (hexagram no. 57) IV. Towards Completion: Fire over Water (hexagram no. 64) I Ching (The Book of Changes), four movements for solo percussion, was written in 1982 and dedicated to the Danish percussionist Gert Mortensen. I Ching is the thousand-year-old Chinese oracle book, whose 64 combinations of six "Yang" or "Yin" lines (bright or dark) represent 64 different states of being for all living things including human beings. The 64 states of being should be thought of as an eternal, hidden cycle which lies behind everything that we do: for example the supreme, the enthusiastic, initiative (combination or "hexagram" no. 1, the creative) or the despair of the moment, the warm and friendly, and so on. The states of being exist on all levels - the official, the private etc. - at the same time in many speeds. From these I selected four, the sequence of which progresses from a situation from which there is apparently no solution, to a (temporary) relief. In the first movement ´Thunder repeated, the Image of Shock´, a vicious circle of claustrophobic, closed circuits is represented by the tom-tom part. This is followed by tam-tams and wood sounds, but returns full-circle to the tom-toms. The second movement ´The taming Power of the small´has its origins in the violence of the first movement, but this time lets it resolve in a long glide upwards which stars with voice sounds ´borrowed´from the Beatles´´Revolution no 9´which are then transmitted to the other instruments. The third movement is ´The Gentle, The Penetrating´in which lyrical poetry dominates with gentle bell-like sounds and delicate tunes. Finally the sovereign, many-layered world of rhythm triumphs in the fourth movement: ´Towards Completion. Fire over Water´, the main movement of the work. Over a period of six years, since 1975, I have in about 10 works worked with a percussion version of my "infinity series", which has since 1960 been the basis of my compositional method. Since it was precisely bright and dark sounds (yang and yin) that permeated these percussion pieces in a multitude of layers in tempo and texture, the concept of I Ching was a natural source of inspiration for me, when Gert Mortensen prompted me to write my second piece for solo percussion ("Waves" from 1969 being the first). Even if the composer recommends a total performance in the shown order, choice is left up to the musician in connection with performance of the four movements. Per Nørgård (1982)

SEK 583.00
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Tratado de Fuga

Tratado de Fuga

El Tratado de Fuga de Gedalge fue publicado en 1904 y ofrecido como texto para el uso de los alumnos de las clases de Contrapunto y Fuga del Conservatorio de París. El tratado presenta dos importantes atractivos: por un lado su ejemplificación a base de fragmentos de obras de grandes compositores de la historia de la música; por otro un tono antidogmático, que consigue casi siempre dar una justificación coherente a las normas de la técnica del contrapunto y la fuga clásicos, sin recelo alguno en descaquellas que considera absurdas o inútiles. Pedagogía Musical

SEK 533.00
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Per Nørgård: Three Scenes (Score)

Per Nørgård: Three Scenes (Score)

Preface / Programme Note (UK-TEXT TO FOLLOW)Slagtøjssolisten er den gennemgående skikkelse og hovedperson i musikkens?tre scener?.Begrebet ?scene? kan forstås flertydigt, både som det fysiske sted, platformen,hvor man optræder og spiller musik og drama ? og som betegnelsen for defortællende forløb og afsnit i en dramatisk forestilling.Mine musikalske ?scener? udfolder sig i tre forskellige sceniskefremtrædelsesformer og ensembler. Den første scene er præget af diskrete ogmelodiske slagtøjsinstrumenter, vibrafon og marimba, med modspil fra de trestrygere.I den anden scene er spotlightet på slagtøjssolisten alene, vi møder hovedpersonen/solisten i en monolog, fremført hovedsageligt på ?syngende sav?, der skal trakteresmed den yderste mikrotonale præcision. Vi hører også solisten spille på Kalimba,ligeledes et folkeligt instrument, men nu med afrikansk baggrund ? i modsætningtil den hjemlige gårdsangers ?musikalske sav? ? et ofte hørt lydbillede frakomponistens barndom på Nørrebro.I den tredje scene er det en blæsertrio, der indledningsvis spiller op til slagtøjetsforskellige kraftfulde trommer. Efter en tromme-kadence sætter alle syv musikereind sammen, for første og eneste gang. Værket afsluttes med en kort slagtøjssolo.I en ?programmatisk tolkning? kan de tre scener ses som repræsenterende tretilbagevendende stadier:det indadvendt/drømmendedet udadvendt/agerendedet daglige drama mellem os alle.Per Nørgård, februar 2010

SEK 915.00
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