Together Apart/Apart Together for Saxophone Accordion and Double Bass was composed by Karsten Fundal in 2004. Written for and commissioned by Poing. Programme note: This piece is the 3rd in a row of pieces which concentrates on a rhythmical relationship that continues to puzzle me. It is actually two relationships embedded. The 1st is a pattern that is very inspired by the composer Per Nørgård who in the beginning of the 90's got very preoccupied with the idea that you can have rhythms that never meet. This happens if you start a rhythm like a quintuplet on the beat and one like a triplet off beat. This can with different rhythms give very intricate interwoven patterns that gives the illusion that they are not cyclic. In my case I use the two ratio five to seven in the described way. This rythms have the strange property that if you take each 5th note of the seven and each 7 note of the five you get a ratio almost identical: 49:50. This is very intriguing as you can use the possibility of letting them be equal or the possibility of letting them interfere. In the first case you get an interlocking rhythm which is “smooth”: an equal rhythmic pattern. In the second case you get a similar situation but where one of them is one short after 50 of the other ones which results in a disturbing almost equality but not quite. Therefore the title: because when I use the unequal rhythm I put the two layers in a similar tone register or a similar way of playing and when I use the equal one I put them a part tone wise speaking. This is a very technical description but it is very hard to put it in more wide terms but you might compare it with driving in a train and looking at two fence rows behind each other: if the poles are placed exactly halfway between each other you will experience an illusion of a fast jump if there is enough distance between them as a result of the perspective. If they are placed in a way that there are almost the same numbers of poles like 49:50 you will experience a very complex pattern which seems unpredictable. But of course when using it in music the whole thing is somewhat different but even then it gives an idea of my preoccupation. What also intrigues me is that the relations are very hard to use in a musical way and that is also quire a challenge.´ Finally I have to say that I enjoyed very much writing for Poing as these crazy guys are capable of doing almost anything you want in an nearly literal sense. - Karsten Fundal summer 2004. Together Apart/Apart Together for Saxophone Accordion and Double Bass was composed by Karsten Fundal in 2004. Written for and commissioned by Poing. Programme note: This piece is the 3rd in a row of pieces which concentrates on a rhythmical relationship that continues to puzzle me. It is actually two relationships embedded. The 1st is a pattern that is very inspired by the composer Per Nørgård who in the beginning of the 90

Niels Viggo Bentzon: 4 Happenings (Player's score)1965 Niels Viggo Bentzon 's 4 Happenings from 1965 - for performer assistant and electronics.

Gabriel Og Maria af John Hoybye . Juleoratorium for blandet kor (SATB) recitator soli flojte orgel klaver og bas (trommer/percussion ad lib.). Stemmesaet: WH31081A Korpartitur: WH31081B Tekster af Britt G. Hallqvist. Programnote: I 1985 udkom Gabriel og Maria - 7 sange til jul for kor og rytmegruppe. Det var nyt pa den tid at skrive kormusik - oven i kobet til kirkelige tekster - der skulle akkompagneres af jazz/rock-musikere og hvor korsangerne skulle udfolde sig i stilarter som bossa samba og jazzvals. Men sangene blev hurtigt populaere og allerede i de forste ar efter udgivelsen blev de en fast del af mange kors julerepertoire bade herhjemme og i Skandinavien (i en svensk-sproget udgave) - ja helt til USA kom de (i en engelsk-sproget udgave). Taet pa 25 ars jubilaeet er det nu tid til en revideret ny-udgivelse. Selve sangene er der ikke lavet om pa - men storformen er aendret saledes at vaerket nu fremstar som et lille juleoratorium med recitationer og orgel-mellemspil. En enkel ny sats er kommet til: Lovsangen Stjerner og vinde og skyer og de instrumentale mellemspil (soli for flojte/sax piano eller bas) er udbygget pa forskellig made. Normalt er det instrumenterne der akkompagnerer koret. Men i de instrumentale mellemspil er rollerne byttet om. Nu er det koret der med riffs scatsang og forskellige akkordbaserede figurer 'akkompagnerer' de improviserende solister. Flojten vil - med passende oktaveringer - kunne erstattes af saxofon (sopran og/eller alt). Det forudsaetter dog at saxofonisten er i stand til - ogsa - at spille med smuk 'klassisk' klang. Recitationsteksterne er taget fra Cecil Bodkers bog: Marias barn (Gyldendal). Orgelsatserne

Programme note:Alloy II for Viola and Classical AccordionThe two instuments of this duo are very different in appearance and in the way of playing as well as toneproduction. At first glance this might call for a music which brings out these differences in the nature ofthe instruments distributing distinct even contrasting musical roles to the two players such as melodyversus accompaniment. But I refrain from this obvious ‘casting’ of the instruments since I have alwaysbeen fascinated by the less evident by transitions and gradual displacement by the intangible placesbetween one and the other. I search for this ‘terrain vague’ of fruitfull incertainty andpermanent genesis.To arrive here I have in this piece written a music which makes hidden relations and unexploredsonorous paths come forward between the sound worlds of the two instruments. Bringing together themusical substances I look for something deeper than just common sounds: a fresh musical place. And thelively and bright sound world that emerges form this instrumental and textural ’in-between’ I associate toalloys in particular the silvery amalgamations of mercury.The work was commisioned by Andreas Borregaard and composed with support from The Danish ArtsFoundation. It is dedicated to the duo Inviolata.Niels Rosing-Schow Alliage (Alloy) II (2008) for Viola and Classical Accordion. Player's score. Programme note: The two instuments of this duo are very different in appearance and in the way of playing as well as toneproduction. At first glance this might call for a music which brings out these differences in the nature ofthe instruments distributing distinct even contrasting musical roles to the two players such as melodyversus accompaniment. But I refrain from this obvious casting' of the instruments since I have alwaysbeen fascinated by the less evident by transitions and gradual displacement by the intangibleplacesbetween one and the other. I search for this terrain vague' of fruitfull incertainty and permanent genesis.To arrive here I have in this piece written a music which makes hidden relations and unexplored sonorous paths come forward between the sound worlds of the two instruments. Bringing together the musical substances I look for something deeper than just common sounds: a fresh musical place. And the lively and bright sound world that emerges form this instrumental and textural 'in-between' I associate toalloys in particular the silvery amalgamations of mercury. The work was commisioned by Andreas Borregaard and composed with support from The Danish Arts Foundation. It is dedicated to the duo Inviolata. Niels Rosing-Schow

The Mission is a contemporary and exciting composition from 2001-2 by celebrated Danish composer Anders Brødsgaard. It is scored for 8 instruments: Flute Oboe Clarinet Percussion Piano 2 Violins and Viola. The Mission is a contemporary and exciting composition from 2001-2 by celebrated Danish composer Anders Brødsgaard. It is scored for 8 instruments: Flute Oboe Clarinet Percussion Piano 2 Violins and Viola.

Quartetto Per Due Flauti Fagotto E Cembalo Op. 380 composed by Niels Viggo Bentzon .This is the perfect addition to the full score (WH32002). Quartetto Per Due Flauti Fagotto E Cembalo Op. 380 has been composed by Niels Viggo Bentzon .This is the perfect addition to the full score (WH32002).

String Quartet No.1 - 'Quartetto Breve' (1952) by Per Nørgård. Programme note: The spectrum of sound the gesticulation - in short the very nature of the strings - has always had a central place in my output demonstrated by the numbers of string quartets concertos with string soloist chamber and solo works. The interest dates back to my school years when I was fortunate to be able to compose for a cello-playing schoolmate and to accompany him on the piano. I discovered then the innumerable nuances of sound and playing varieties offered by just one bow four strings and five fingers.. My first string quartet - Quartetto Breve - has a firm root in the Nordictradition and is strongly inspired by Jean Sibelius (1865-1957) and my teacher Vagn Holmboe (1909-96). Per Nørgård (1998) String Quartet No.1 - 'Quartetto Breve' (1952) by Per Norgard. Programme note: The spectrum of sound the gesticulation - in short the very nature of the strings - has always had a central place in my output demonstrated by the numbers of string quartets concertos with string soloist chamber and solo works. The interest dates back to my school years when I was fortunate to be able to compose for a cello-playing schoolmate and to accompany him on the piano. I discovered then the innumerable nuances of sound and playing varieties offered by just one bow four strings andfive fingers.. My first string quartet - Quartetto Breve - has a firm root in the Nordic tradition and is strongly inspired by Jean Sibelius (1865-1957) and my teacher Vagn Holmboe (1909-96). Per Norgard (1998)

Fragtment af Mariahymne fra det 13. århundrede Tekst: Anonym på dansk ved ole Sarvig Fragtment af Mariahymne fra det 13. århundrede Tekst: Anonym på dansk ved ole Sarvig

For Recorder ensemble of Soprano Tenor Alto and Bass recorders. For Recorder ensemble of Soprano Tenor Alto and Bass recorders.

Dedicated with affection to Amalie Malling and Michael Schønwandt. I Doctor Gradus ad Parnassum II Jimbo’s Lullaby III Serenade of the Doll IV The Snow is Dancing V The little Shepherd VI Golliwogg’s Cake Walk The orchestration by Hans Abrahamsen of Children’s Corner by Claude Debussy was commissioned by Radio KamerFilharmonie to celebrate Debusy at 150 in 2012. Arranged in 2011 it was then premiered by the Radio KamerFilharmonie conducted by Michael Schønwandt in Utrecht in February 2012. Debussy’s six movement work for piano has been cherished the world over for its whimsical charm and the way in which they are evocative of childhood. Abrahamsen expands on these traits inhis orchestration of the six little masterpieces be it the mystical heaviness of Jimbo’s Lullaby the icy pirouettes in The Snow is Dancing or the buoyant ending: Golliwogg’s Cakewalk Claude Debussy Children's Corner orchestrated by Hans Abrahamsen (2011). Dedicated with affection to Amalie Malling and Michael Schonwandt. I Doctor Gradus ad Parnassum II Jimbo's Lullaby III Serenade of the Doll IV The Snow is Dancing V The little Shepherd VI Golliwogg's Cake Walk The orchestration by Hans Abrahamsen of Children's Corner by Claude Debussy was commissioned by Radio KamerFilharmonie to celebrate Debusy at 150 in 2012. Arranged in 2011 it was then premiered by the Radio KamerFilharmonie conducted by Michael Schonwandt in Utrecht in February2012. Debussy's six movement work for piano has been cherished the world over for its whimsical charm and the way in which they are evocative of childhood. Abrahamsen expands on these traits in his orchestration of the six little masterpieces; be it the mystical heaviness of Jimbo's Lullaby the icy pirouettes in The Snow is Dancing or the buoyant ending: Golliwogg's Cakewalk

To Guitarstykker / Two Pieces For Guitar by Anders Nordentoft (2010). Manuscript copy.

Edvard Grieg's Våren (The Spring) expertly arranged for equal voices (SSAA) a cappella by Michael Bojesen . Edvard Grieg's Varen (The Spring) expertly arranged for equal voices (SSAA) a cappella by Michael Bojesen .

Kniven (The Knife ) - A Chamber Opera in one act (1959) by Vagn Holmobe . Libretto by the composer. Piano Reduction - Danish version : KP01154 Piano Reduction - English version: WH30944C

For Oboe and Cello with two assistants- All That We Cannot Say (2001) for Oboe and Cello (with two assistants).

Parts for Andalag #05 - Quartet for Alto Flute Clarinet Horn and Bassoon (2012). Score: WH31437

for Alto and tenor soli 5-part chorus and recorderText from Inger Christensen's LYS English translation by Susanna Nied The recoreder part for I (2011) - for Alto and Tenor soli 5-part chorus (SSATB) and Recorder. Text from Inger Christensen 's LYS. English translation by Susanna Nied.

Niels W. Gade s Barn Jesus I En Krybbe La (SATB) arrangeret for blandet kor SATB af Rasmus Thaarup. Tekst af H.C. Andersen. Saertryk fra WH31098

Ib Nørholm 's Svanerne featuring words by Johannes Kirkegård. Scored for TTBB Choir. Ib Nørholm 's Svanerne featuring words by Johannes Kirkegård. Scored for TTBB Choir.

Instrumentation: flute oboe clarinet bassoon horn. Instrumentation: flute oboe clarinet bassoon horn.

Livet Og Døden for SATB Choir was composed by Bent Sørensen in 2009. Text by Peter Asmussen. Livet Og Doden for SATB Choir was composed by Bent Sorensen in 2009. Text by Peter Asmussen.