gyermek- n?i- vagy férfikarra zongorakíssérettel

The text comes from the pen of the seventeenth-century Welsh poet Henry Vaughan a leading metaphysical voice during the Commonwealth period (1649-1660) when the republican government of Oliver Cromwell banned the Anglican Church. Christ's Nativity was commissioned by the Cathedral Choral Society of Washington D.C. with support from the Richard Wayne Dirksen Memorial Endowment Fund. The selected lyrics by Welsh poet Henry Vaughan fascinated me immensely and therfore prompted me to think about a specific musical environment for the piece best suited for merging the music into this wonderful poetic landscape. This poetry brings about a strong mixture of the Evangelicalmystery of Christ's Nativity mystically evoked by Nature and at the same time reveals the optimism and drama of an ordinary individual that any human being can easily identify with.

When the BBC commissioned this work for the Last Night of the Proms 2018 I was given quite a detailed brief. First the work should be for the BBC Singers and BBC Symphony Chorus (with the BBC Symphony Orchestra) and the two choirs should be quite independent of each other. Secondly the words should acknowledge the centenary of the end of World War I but look optimistically to the future. For the centenary I chose In the Underworld by World War I poet Isaac Rosenberg written in 1914. Originally about unrequited love it can read if you do not know its context as a prophetic look at the next four years with the sense that the women left at home cannot begin tocomprehend the horrors their men face in the trenches. The BBC Singers represent Rosenberg and their music is based on a beautiful Ashkenazi-Jewish prayer mode – also known as the ‘Ukrainian Gypsy’ mode. While I was reading The Prophet by Kahlil Gibran (written in 1923) I came across these lines which seem to answer and assuage the fears expressed in Rosenberg’s poem. The BBC Symphony Chorus take on the role of Gibran singing in a beautiful melismatic Maronite Syriac chant into which faith Gibran was born in Lebanon. Later in his life he became very interested in Islam particularly Sufism; therefore the whole piece is in the form of a Sufi Zikr with Sufi devotional rhythms in the percussion starting quiet and low but slowly becoming higher faster and louder. The two choirs start separately but merge into a ‘conversation ’ sometimes overlapping and ending on a positive note: Rosenberg’s Creature of light and happiness over Gibran’s We shall build a tower in the sky. Quite by accident all three Abrahamic faiths are represented in this piece – but as Kahlil Gibran famously said: ‘You are my brother and I love you. I love you when you prostrate yourself in your mosque and kneel in your church and pray in your synagogue. You and I are sons of one faith – the Spirit.'

This 5 minute anthem for choir SSATB setting a text by George Herbert was commissioned by the Dean and Chapter of The Cathedral and Abbey Church of St Alban to mark the 900th anniversary of the consecration of the Norman Abbey performed at Solemn Evensong 18 October 2015.

for SATB and organ or piano This Easter carol is based on J. M. Neale's translation of the Latin Piae Cantiones and occupies a captivatingly exotic soundworld. Sheehan's setting is in strophic form with a texture that builds from verse to verse and with varying harmonizations culminating in a dramatic cadence.

Easy variations for piano-Imre Mez (born 1932) composed several popular works for children and young people studying music. His most recent collection is extraordinary in that all the 153 tiny pieces are based on the same Hungarian folk song offering a myriad of ways and options of presenting and elaborating the same melody without altering it.The variations are grouped by key and within each chapter are placed in order of difficulty. In so doing the composer offers as piano teacher Erika Becht writes two ways for teachers and pupils to know and try out the many musical and technical variations (such as augmenting diminishing canon melody pairs etc.). This can be done within the same key inorder of difficulty or by using the scope of the music to find the right degree of difficulty and advancing through the key signatures so developing pupils' ability and sense of security in reading a score by playing in various keys. This publication is not only recommended to beginners or more advanced pupils undergoing traditional musical tuition but also to those interested in the secrets of composition and musical structures.This publication is printed on high-quality age-resistant paper that is produced in an environmentally-friendly climate-neutral manner using renewable raw materials.

Spolia' for orchestra was commissioned by TONALi and is programmed to be first performed in June 2020 at Elbphilharmonie Hamburg conducted by Christoph Eschenbach. Spolia' for orchestra was commissioned by TONALi and is programmed to be first performed in June 2020 at Elbphilharmonie Hamburg conducted by Christoph Eschenbach.

A cantata for upper voices to mark the liberation of Denmark in 1945. With text by Danish author Iben Krogsdal. Premiered in Holmens Kirke Copenhagen in May 2019. A cantata for upper voices to mark the liberation of Denmark in 1945. With text by Danish author Iben Krogsdal. Premiered in Holmens Kirke Copenhagen in May 2019.

A work for orchestra commissioned by Gothenburg Symphony Orchestra. The composer writes I have borrowed the title 'Voyages extraordinaires' from the writer Jules Verne and his famous novel series depicting fantastic or in reality impossible journeys. The title seemed fitting as my work is intended as fantastical musical voyages on which the listener encounters new worlds of sound through recurring orchestral transformations. I see the work somewhat as a tribute to how art has the abilities to transcend the limits of life. Some years ago I composed a horn trio 'Diagonal Musik' (2017) inspired by the Swedish artist Olle Baertling. Baertling’s paintings consist of large brighttriangular shapes and although the lines gradually approach one another the intersecting point is often placed outside the frame. Consequently the spectator will try to complete the angle in their own head. In my horn trio I wanted to transfer this to music: the lines that gradually approach each other but rarely meet except perhaps in the listener’s head. In 'Voyage Extraordinaires' I have tried to develop these techniques even further this time for orchestral forces and combine them with the magical transformations an important structural element of the piece. The fantastic journeys also refer to travels in our own imagination: what we believe and picture in our mind. The sudden musical transformations that occur are also reminiscent of dream logic and the dreamscape itself. Here it is possible to wander in and out through worlds in a way that feels consistent within the framework of the dream. A work for orchestra commissioned by Gothenburg Symphony Orchestra. The composer writes I have borrowed the title 'Voyages extraordinaires' from the writer Jules Verne and his famous novel series depicting fantastic or in reality impossible journeys. The title seemed fitting as my work is intended as fantastical musical voyages on which the listener encounters new worlds of sound through recurring orchestral transformations. I see the work somewhat as a tribute to how art has the abilities to transcend the limits of life. Some years ago I composed a horn trio 'Diagonal Musik' (2017) inspired by the Swedish artist Olle Baertling. Baertling’s paintings consist of large brighttriangular shapes and although the lines gradually approach one another the intersecting point is often placed outside the frame. Consequently the spectator will try to complete the angle in their own head. In my horn trio I wanted to transfer this to music: the lines that gradually approach each other but rarely meet except perhaps in the listener’s head. In 'Voyage Extraordinaires' I have tried to develop these techniques even further this time for orchestral forces and combine them with the magical transformations an important structural element of the piece. The fantastic journeys also refer to travels in our own imagination: what we believe and picture in our mind. The sudden

A work for solo cello and electronic effects dedicated to Jeffrey Ziegler. 'A Highway In State Space' is an artistic interpretation of professor Signe Kjelstrup's work on energy conversion corresponding to an article including the same wording which was published in Chemical Engineering Science 60 (2005) by the authors Eivind Johannessen and Signe Kjelstrup. A work for solo cello and electronic effects dedicated to Jeffrey Ziegler. 'A Highway In State Space' is an artistic interpretation of professor Signe Kjelstrup's work on energy conversion corresponding to an article including the same wording which was published in Chemical Engineering Science 60 (2005) by the authors Eivind Johannessen and Signe Kjelstrup.

String Quartet Version - Parts)-The composer writes: The backdrop for this commission was to complement music by the great Ludwig van Beethoven. Beethoven’s scores for string quartet are cornucopias of techniques and musicality. They were certainly not meant for pure entertainment. Ending up with Beethoven’s quartet Op. 59 No. 1 as a reference for this piece I even used elements from this quartet in my own composition. Beethoven’s position as a free artist has been of great importance to all following composers. This is of equal inspiration as his music. As a free artist one has to reflect upon our own time and not be afraid of allowing reality affect our work. When I was in the middle of writingthis piece something horrible happened in my neighbourhood. A bomb exploded in Oslo and a killer shot teenagers on an island summer camp. My nation’s reputation as a peaceful country to live in was drastically and forever changed. It was hard to compose. Papers and online media were soon filled with horrible pictures from the events. The lead-coloured skies being a recurring sight. The ambiguity in the title reflects both hope and dread. Beethoven’s light shines through strong and full of life! The piece was commissioned by the Engegård Quartet in 2011 and appears the recording String Quartets vol IV: Schubert-Ratkje-Britten-Haydn. A later piece was composed for string orchestra: 'Tale of Lead and Frozen Light' (2014). The composer writes: The backdrop for this commission was to complement music by the great Ludwig van Beethoven. Beethoven’s scores for string quartet are cornucopias of techniques and musicality. They were certainly not meant for pure entertainment. Ending up with Beethoven’s quartet Op. 59 No. 1 as a reference for this piece I even used elements from this quartet in my own composition. Beethoven’s position as a free artist has been of great importance to all following composers. This is of equal inspiration as his music. As a free artist one has to reflect upon our own time and not be afraid of allowing reality affect our work. When I was in the middle of writingthis piece something horrible happened in my neighbourhood. A bomb exploded in Oslo and a killer shot teenagers on an island summer camp. My nation’s reputation as a peaceful country to live in was drastically and forever changed. It was hard to compose. Papers and online media were soon filled with horrible pictures from the events. The lead-coloured skies being a recurring sight. The ambiguity in the title reflects both hope and dread. Beethoven’s light shines through strong and full of life! The piece was commissioned by the Engegård Quartet in 2011 and appears the recording String Quartets vol IV: Schubert-Ratkje-Britten-Haydn. A later piece was composed for string orchestra: 'Tale of Lead and Frozen Light' (2014).

für Flöte Oboe Violoncello und Cembalo

Die größten Hits spielerisch leicht gesetzt Für C- B und Es-Instrumente mit Text - Band 3

12 Pop-Hits Für 1-2 Altblockflöten - Band 1

Liedbegleitung vom Choral bis zum Popsong - Band 1: Lied und Choral von der Antike bis zur Gegenwart

Latin Standards - Bläser-Mix

18 Christmas-Hits zusätzlich mit 2. Stimme

Band 3: Im Jahreskreis I - Begleitpublikation zum neuen Gotteslob

Auf der Schulbank mit Friedrich Schiller. - Singspiel Für 1?2stimmigen Kinder- und Jugendchor

Spiel und Spaß mit der Blockflöte