Espousing the attributes of wisdom the first Psalm has inspired many with its promise of blessings for those who listen and obey God's word. This ballad delivers a strong musical setting for the passage and engages both mind and heart with its charm. Thinly textured in the verses the refrain thickens with expression and dynamic to bring home the meaning behind the music. Significant!

Capriccio is a term for a musical work that doesn’t strictly adhere to formal ‘classical’ conventions but rather follows its own ideas. The composer Pascal Proust plays about with the listener’s normal expectations in an amusing way such as presenting a slow swing groove in the piano that is overlaid with a barcarolle-like theme in in the winds or the colourful coming-together of straight rock and tango… A varied and effective concert piece for four ambitious musicians! Capriccio is a term for a musical work that doesn’t strictly adhere to formal ‘classical’ conventions but rather follows its own ideas. The composer Pascal Proust plays about with the listener’s normal expectations in an amusing way such as presenting a slow swing groove in the piano that is overlaid with a barcarolle-like theme in in the winds or the colourful coming-together of straight rock and tango… A varied and effective concert piece for four ambitious musicians!

Player's Score-Commissioned by Elisabeth Holmerz and Kenneth Karlson and first performed at the Ultima Festival on 18 September 2019. Commissioned by Elisabeth Holmerz and Kenneth Karlson and first performed at the Ultima Festival on 18 September 2019.

BuxWV 119 - 65-Although a large proportion of Buxtehude’s vocal works are sacred compositions he also composed for secular occasions. In 1680 he composed the wedding aria Klinget für Freuden ihr Lärmen-Klarinen BuxWV 119 for the marriage of the Swedish King Charles XI to the Danish Princess Ulrika Eleonora. At the same time the Peace of Lund concluded in 1679 marking the end of an almost five-year-long war between Denmark-Norway and Sweden was celebrated. The five-verse wedding poem is sung by two sopranos and bass and the basso continuo has two violins and two trumpets as accompanying instruments in the alternating instrumental ritornelli. Whilst the first and fourth verses expressjoy about the peace settlement between Denmark and Sweden verses two and three are predominantly concerned with the bridal couple. Finally in the last verse God is asked for his blessing both for the peace settlement and for the royal couple. The later sacred parody of the work for the Feast of the Circumcision of Christ New Year’s Day as the aria Klinget mit Freuden ihr klaren Klarinen BuxWV 65 cannot be more precisely dated. Now the trumpets proclaim to the Christian congregation about Jesus and the “brightly shining light” of the divine word.

Francis of Assisi the famous merchant's son and later founder of a religious order has served as a source of inspiration from the most varied perspectives and Damijan Mocnik has added to this tradition. The Slovenian composer and choral director composed a cantata in 2013 on the 25th anniversary of the Diocesan Grammar School in Ljubljana based on the text of the famous Canticle of the Sun and building on this a complete setting of the ordinary of the mass as well (2014-16).

From Johann Sebastian Bach's Music Library-This Missa in G minor is the only surviving work in this genre by Johann Hugo von Wilderer: his output as Kapellmeister at the Electoral Palatinate court which resided in Mannheim from 1720 onwards was mainly devoted to opera. The three-part Kyrie the through-composed Gloria and the partly obbligato instrumental writing show the influence of the early Neapolitan mass style. The music-historic significance of the Missa is firstly that it is an important example of the church music performed around 1700 at the Electoral Palatinate court but above all that Bach evidently used it as a source of inspiration for the Kyrie of the Mass in B minor as shown for example in theform of the Adagio introduction of the Kyrie I in both works.

Flute and Piano

Piccolo and Piano

Clarinet and Piano

Euphonium and Piano

Bass Clarinet and Piano

This work for organ in three movements was commissioned by the St Albans International Organ Festival and premiered by all competitors. This work for organ in three movements was commissioned by the St Albans International Organ Festival and premiered by all competitors.

Cello and Piano

A quintessential Easter anthem the prized tune LANCASHIRE is the foundation for this festive resurrection declaration. The silent alleluias of Lent and Holy Week are unleashed with joyful abandon by this inspiring text as strong unison singing announces the theme. A congregational option allows for flexible performance possibilities but the octavo works equally well for choir alone. Consider adding brass and handbells for a truly epic impact! Score and Parts (tpt 1-2 tbn 1-2 timp) available as a digital download. Part for Handbells (3 oct.) also available as a digital download.

Regal sturdy soaring! Moving passages from Galatians and Romans are woven together effectively in this anthem ideal for Pentecost. The text presents the divine challenge to walk in the light of God's truth and love. The interplay of voices is aurally fresh contrasting with pleasant homophonic writing and the trumpet obbligato is the final flourish for a celebrative moment.

Grande Fanfare is a powerful fanfare for a festive occasion! The brass section opens the work and leads into a majestic hymn in the middle section accentuated with subtle trumpet ornaments. The closing section conveys a sense of grandeur and dignity: the perfect work to musically enrich any special occasion. This work was written to celebrate the 50th birthday of the composer’s long-time colleague to whom the composition is dedicated.

Solohouse is an experimental architectural project by the American materialist visionary Lebbeus Woods. The project consists of architectural drawings and models of a house for one person. The work for solo cello explores the potential for ¼ tone writing attempting to treat micro-tonality as an extended resource of melodic composition hence creating nuance in the treatment of linear writing. The idea of “planting” musical objects in musical space was something the composer wanted to explore putting on author’s hat and investigating form on terms of dramaturgy using repetition as a structural device. Inspired by the Solohouse the composer thought of the cello as a space ofobservation from which the occupier reflects. Solohouse is an experimental architectural project by the American materialist visionary Lebbeus Woods. The project consists of architectural drawings and models of a house for one person. The work for solo cello explores the potential for ¼ tone writing attempting to treat micro-tonality as an extended resource of melodic composition hence creating nuance in the treatment of linear writing. The idea of “planting” musical objects in musical space was something the composer wanted to explore putting on author’s hat and investigating form on terms of dramaturgy using repetition as a structural device. Inspired by the Solohouse the composer thought of the cello as a space ofobservation from which the occupier reflects.

From the original score for the Norwegian drama ’90 minutes’ for solo cello and string orchestra. From the original score for the Norwegian drama ’90 minutes’ for solo cello and string orchestra.

Eivind Buene’s orchestration of Der Feuerreiter by Hugo Wolf was commissioned by Stiftung Berliner Philharmoniker. The world premiere was given at the Berliner Philharmonie by the baritone Christian Gerhaher and the Berliner Philharmoniker conducted by Ivan Fischer on 20 December 2018. Eivind Buene’s orchestration of Der Feuerreiter by Hugo Wolf was commissioned by Stiftung Berliner Philharmoniker. The world premiere was given at the Berliner Philharmonie by the baritone Christian Gerhaher and the Berliner Philharmoniker conducted by Ivan Fischer on 20 December 2018.

The Planets op. 80 for mezzo-soprano flute viola and guitar was composed in spring 1978 and given its first performance on 30 July the same year at the Lerchenborg Music Days. The occasion which led to the composition of the work was the 50th anniversary of the finding of a block book from the second half of the 15th century with texts on the planets. The inspiration came from Louise Lerche-Lerchenborg who organised the Lerchenborg Music Days and the work is dedicated to her. In connection with the concert at Lerchenborg Poul Rovsing Olsen wrote the following about his opus: “The Planets derives from the block book found in Lerchenborg’s library in 1928. Seven fine coloured drawings tell of the seven celestial bodies which in many European languages have given the weekdays their names. Each drawing is accompanied by a Latin text under which there is a two-line dictum that briefly – though very concisely – gives an account of the characteristics of the children who belong to that particular celestial body. And these concentrated portrayals form the basis for the music. In the music I have attempted to give indications of my own experience of the particular power and nature characterizing each one of the heavenly bodies just as I have allowed this cycle of planet songs to pass like a journey through the ethereal realms with motifs that appear are repeated are varied and disappear (but only so as to be replaced by new ones) until we finally return to the point of departure. The introduction – Aether – is purely instrumental. Two of the planets – Venus and Luna – are female; in the music written for them small (Indian) cymbals are used that are also present in Aether.” The Planets op. 80 for mezzo-soprano flute viola and guitar was composed in spring 1978 and given its first performance on 30 July the same year at the Lerchenborg Music Days. The occasion which led to the composition of the work was the 50th anniversary of the finding of a block book from the second half of the 15th century with texts on the planets. The inspiration came from Louise Lerche-Lerchenborg who organised the Lerchenborg Music Days and the work is dedicated to her. In connection with the concert at Lerchenborg Poul Rovsing Olsen wrote the following about his opus: “The Planets derives from the block book found in Lerchenborg’s library in 1928. Seven fine coloured drawings tell of the seven celestial bodies which in many European languages have given the weekdays their names. Each drawing is accompanied by a Latin text under which there is a two-line dictum that briefly – though very concisely – gives an account of the characteristics of the children who belong to that particular celestial body. And these concentrated portrayals form the basis for the music. In the music I have attempted to give indications of my own experience of the particular power and nature characterizing each one of the heavenly bodies just as I have allowed this cycle of