Ubrudt Forar - Korsuite for blandet kor (SSATB) af Per Norgard til tekster af Piet Hein . Bestilt af og komponeret til Saul Zaks & Syddansk Universitets Kammerkor i 2009. Programnote Blandt multitalentet Piet Heins mange fremragende kreative indsatser har Grukteksterne nok opnaet den storste folkelige yndest. Nogle af disse korte fyndige tekster fx Lille Kat har opnaet status som - havde jeg naer sagt - leveregler eller visdomsord pa dansk - noget der naeppe er overgaet nogen anden dansk forfatter sidenH.C. Andersen. Disse spidsfindige og forfinede tekster med deres ofte overraskende pointer har dog ikke nogen tiltraekningskraft for undertegnede - som komponist. Piet Heins sproglige dragt er sa perfekt i ren prosagengivelse at enhver tilfojelse - fx i form af melodisk gevandt - ville forringe hvad der allerede er fuldkomment. I denne korcyklus er derimod de fire digte (eller fragmenter af digte) udvalgt ud fra teksternes naturnaere sanselighed som umiddelbart appellerer - i hvert fald hos mig - til melodisk nuancering og sangbar linieforing. Alle fire tekster er besyngelser af skabelse og vaekst - deraf titlen som er hentet fra den femte korsang Ubrudt Forar. En anden sang ligeledes med Piet Hein-tekst dromte jeg (bogstavelig talt) tilbage i 1960'erne. Den hedder Du skal plante et trae og rummer tre vers der her i cyklus'en blandt de tre nye sange indleder genkommer og til sidst afslutter sangkredsen. De seks sanges lige-ud-ad-landevejen raekkefolge: 1-2-3-4-5-6 folges op af den 'baglaens' folge: 5-4-3-2-1 saledes at antallet af satser udvides til 11. Men folgen af klanglige

String parts for Sibelius' Quintet In G Minor . String parts for Sibelius' Quintet In G Minor .

The full score of Ruders' first Symphony subtitled Himmelhoch jauchzend - zum Tode betrübt . Written for large orchestra. The full score of Ruders' first Symphony subtitled Himmelhoch jauchzend - zum Tode betrübt . Written for large orchestra.

Dr. Jekylls Advokat was expertly composed by Niels Marthinsen for full Orchestra. Dr. Jekylls Advokat - An Opera in 2 Acts by Niels Marthinsen (2012). Libretto by Eva Littauer inspired by Robert Louis Stevensons 'Dr. Jekyll og Mr. Hyde'.

With his musical influences beginning with Bartok and Stravinsky and after several years with Serialism Pelle Gudmundesen-Holmgreen's music developed to form a sound individual voice. His compositional style includes the use of radical reductions repetitions and simple or grotesque figures in polyrhythmic patterns often combined with a rash use of instrumental colour. Concord is an exciting work for large ensemble. With his musical influences beginning with Bartok and Stravinsky and after several years with Serialism Pelle Gudmundesen-Holmgreen's music developed to form a sound individual voice. His compositional style includes the use of radical reductions repetitions and simple or grotesque figures in polyrhythmic patterns often combined with a rash use of instrumental colour. Concord is an exciting work for large ensemble.

Work for Piano based on the 'Three Magdalena Songs' for Alto and Piano. Programme note Tre Magdalene strofer / Three Magdalena Stanzas (1991/1994) for piano solo. Paraphrase over '3 Magdalena Songs' to texts (in Danish) by Hanne Groes: I. PRIVATION II. DEPARTURE III. MEETING Rosalind Bevan was really the originator of this piece since she urged me to write a piano version of my Magdalena Songs (to Hanne Groes texts in Danish) which she so often had accompanied. Moved by Rosalind's interest in the two contrasting songs (Kaldedromme (Calling Dreams) Sent Mode (LateMeeting) I wrote this little suite of Magdalena Stanzas for the piano. As the titles suggest the arche-typical 'longing for fulfilment'-motive (or longing and fullfilment) is in focus. Less obvious is it that the two tunes supplement each other (as the famous 'Rubin vase-and-profiles'-complementarity manifest visually). But they do! Per Norgard

String Quartet No. 8 Ground was composed by Pelle Gudmundsen-Holmgreen in 1986 for the Kronos Quartet. String Quartet No. 8 'Ground' was composed by Pelle Gudmundsen-Holmgreen in 1986 for the Kronos Quartet.

Per Norgard's Trifoglio Op. 7 for Piano solo (1956).

Knudage Riisager 's Seks Børneviser for Voice and Piano. Knudage Riisager 's Seks Børneviser for Voice and Piano.

A setting of Psalm 56 vv 3-4 and 8-9 for upper voices a cappella. A setting of Psalm 56 vv 3-4 and 8-9 for upper voices a cappella.

Musikken Er Af... Kai Normann Andersen is a collection of 37 of the most famous songs by Kai Normann Andersen arranged for Piano and Voice. Musikken Er Af... Kai Normann Andersen is a collection of 37 of the most famous songs by Kai Normann Andersen arranged for Piano and Voice.

Ferdinands world' - Ferdinand is a boy like all boys no - thats nonsense! Every child is different. There are naughty funny crazy wild happy lazy and curious children and very quiet children who do not say much. Follow Ferdinands happy whereabouts in the author Ellen Heibergs colloquial text and catchy tunes on the CD at the back of the book recorded by a number of obvious singers and musicians. Jarl Egeberg has contributed to it all with beautiful pictures of Ferdinand and his friends. The CD is arranged and produced by Ivan Pedersen.

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