Exit Music for Orchestra was composed by Bent Sørensen in 2006-07. Exit Music was commissioned by the Bergen International Festival for the Bergen Philharmonic Orchestra and is dedicated to Per Nørgård on the occasion of his 75th birthday. Programme note It began with a dream as it always does when I compose. I dreamt that I was standing in an open doorway on a hill in an otherwise open landscape. I do not know what was behind the door but in front of it - towards the landscape - I saw my music disappearing. I stood looking for the music and started to hear it to remember it in time with its disappearance. The dream continued to recur as strange pictures in my daydreams and Icontinued to try to write down the music that had vanished. It was also the dream that gave the piece its title- Exit Music. Exit Music is based on three simple songs (the songs that vanish through the doorway): a little lullaby which continues to reappear in fragments: a strange polyphonic pop song that refers to a section of my opera Under the Sky: and a passionate little love song which concludes the piece on the strings very quietly and in unison. These simple songs are then constantly overpainted by enervating repeated motes in fairly simple rhythms which push the songs out of the room. (Bent Sørensen) Exit Music for Orchestra was composed by Bent Sørensen in 2006-07. Exit Music was commissioned by the Bergen International Festival for the Bergen Philharmonic Orchestra and is dedicated to Per Nørgård on the occasion of his 75th birthday. Programme note It began with a dream as it always does when I compose. I dreamt that I was standing in an open doorway on a hill in an otherwise open landscape. I do not know what was behind the door but in front of it - towards the landscape - I 'saw' my music disappearing. I stood looking for the music and started to hear it to remember it in time with its disappearance.The dream continued to recur as strange pictures in my daydreams and I continued to try to write down the music that had vanished. It was also the dream that gave the piece its title- Exit Music. Exit Music is based on three simple songs (the songs that vanish through the doorway): a little lullaby which continues to reappear in fragments; a strange polyphonic pop song that refers to a section of my opera Under the Sky; and a passionate little love song which concludes the piece on the strings very quietly and in unison. These simple songs are then constantly overpainted by enervating repeated motes in fairly simple rhythms which push the songs out of the room. (Bent Sørensen)

Or 'To A Distant Beloved'-An up-tempo neo-baroque love duet for two Trombones and String Orchestra. Tenor Trombone Bass Trombone 11 Violins 4 Violas 4 Celli 2 Double Basses An up-tempo neo-baroque love duet for two Trombones and String Orchestra. Tenor Trombone Bass Trombone 11 Violins 4 Violas 4 Celli 2 Double Basses

Wind Quintet No.2 Op.15 is a piece by Danish composer Svend Westergaard . Svend Westergaard 's music is always thematically/motivically structured such that the works in various ways are built up as variations elaborations and experimental treatments of recognisable material giving the music cohesive power and comprehensible logic. Wind Quintet No.2 Op.15 is a piece by Danish composer Svend Westergaard . Svend Westergaard 's music is always thematically/motivically structured such that the works in various ways are built up as variations elaborations and experimental treatments of recognisable material giving the music cohesive power and comprehensible logic.

für Chor und Violoncello Text: J.W.v. Goethe Romische Elegie I for Mixed Choir SSATB and Violoncello. Text: J.W.v. Goethe.

Concerto For Double Bass And String Quartet was composed by Anders Koppel in 2000. The work exists in 3 versions: 1)for Double Bass and Orchestra 2)for Double Bass and Piano 3)for Double Bass and String Quartet (the present edition). Concerto For Double Bass And String Quartet was composed by Anders Koppel in 2000. The work exists in 3 versions: 1)for Double Bass and Orchestra 2)for Double Bass and Piano 3)for Double Bass and String Quartet (the present edition).

Score of this wordless work for SSATTB Choir and 4 Violins 2 Violas 2 Cellos and Double Bass. The theme is taken from Tallis Lamentations of Jeremiah II bars 29-43. Score of this wordless work for SSATTB Choir and 4 Violins 2 Violas 2 Cellos and Double Bass. The theme is taken from Tallis Lamentations of Jeremiah II bars 29-43.

For Harmonica Electric Guitar Bass Guitar Hammond Organ and Accordion. For Harmonica Electric Guitar Bass Guitar Hammond Organ and Accordion (1966). Manuscript copy.

C.M. Bellman's Bort allt hvad oro gör & Vem kan segla förutan vind (Nordic folk tune) arr. for SAB choir by Daniel Helldén. C.M. Bellman's Bort allt hvad oro gor & Vem kan segla forutan vind (Nordic folk tune) arr. for SAB choir by Daniel Helldén.

String Quartet No.3 was composed by Hans Abrahamsen in 2008. String Quartet No.3 is a sister piece to Air for accordion solo by further developing the musical material. The work is written for Cikada String Quartet which premiered it in 2008. String Quartet No.3 was composed by Hans Abrahamsen in 2008. String Quartet No.3 is a sister piece to Air for accordion solo by further developing the musical material. The work is written for Cikada String Quartet which premiered it in 2008.

Programme note:Alloy I for Tenor Saxophone and Classical AccordionThe two instuments of this duo have some common features i.e. is the tone in both cases produced by air.The air is activated by the lungs of the saxophone player and by the bellow of the accordion. The stream ofair makes a blade of respectively wood and metal vibrate. Both instruments are also associated with thepopular musical tradition. But nevertheless the differences regarding the sound are more prominent thanthe similarities and contrary to the monophonic saxophone (a ’melody’ instrument) the accordion is apolyphonic instrument which can produce several simultanious melodic lines and chords.At firstglance this might call for a music which distributes distinct even contrasting musical roles to thetwo instruments such as melody versus accompaniment. But I refrain from this obvious ‘casting’ since Ihave always been fascinated by the less evident by transitions and gradual displacement by the intangibleplaces between one and the other. I search for this ‘terrain vague’ of fruitfull incertainty and permanentgenesis.To arrive here I have in this piece written a music which makes the possible relations and sonorous pathscome forward between the sound worlds of the two instruments. Bringing together the musical substances I look for an ‘air-driven’ musical organism with a glossy and shining appearance. The lively and brightsound world I associate to alloys in particular the silvery amalgamations of mercury.Niels Rosing-Schow Alliage (Alloy) I (2009) for Tenor Saxophone and Classical Accordion by Niels Rosing-Schow. Programme Note The two instuments of this duo have some common features i.e. is the tone in both cases produced by air.The air is activated by the lungs of the saxophone player and by the bellow of the accordion. The stream ofair makes a blade of respectively wood and metal vibrate. Both instruments are also associated with thepopular musical tradition. But nevertheless the differences regarding the sound are more prominent thanthe similarities and contrary to the monophonic saxophone (a 'melody' instrument) theaccordion is apolyphonic instrument which can produce several simultanious melodic lines and chords. At first glance this might call for a music which distributes distinct even contrasting musical roles to thetwo instruments such as melody versus accompaniment. But I refrain from this obvious casting' since Ihave always been fascinated by the less evident by transitions and gradual displacement by the intangibleplaces between one and the other. I search for this terrain vague' of fruitfull incertainty and permanentgenesis. To arrive here I have in this piece written a music which makes the possible relations and sonorous pathscome forward between the sound worlds of the two instruments. Bringing to

String Quartet No. 2 was composed by Anders Koppel in 2008. String Quartet No. 2 was composed by Anders Koppel in 2008.

Set of parts for Vagn Holmboe 's String Quartet No.15 ('Quartetto No.15') / Strygekvartet Nr.15 Op.135 (1977).

Danish vocal score for Froken Julie / Miss Julie by Antonio Bibalo (1975). An opera in 3 acts and a prologue from August Strindberg 's drama Miss Julie. Commissioned by Den Jyske Opera. Danish translation by Sven Holm. Parts are available on hire: hire@ewh.dk Chamber version: KP01223

For mixed choir (SATB) and string quartet 2012 Pelle Gudmundsen-Holmgreen's No Ground Green for Mixed Choir (SATB) and String Quartet (2012). Set of parts: WH31464A Programme note: New Ground - No Ground - Green In 1986 I wrote Ground for the Kronos Quartet. I used the principle of the baroque ground and created a series of chords - going up and going down symmetrically. The material formed the basis for the quartet. In my next collaboration with Kronos I wrote the darker Last Ground - at the time supposed to be my last composition of the kind. After some years this seemed a bit pathetic andI decided to write a new - lighter ground - New Ground . To disappoint my listeners as much as possible I based this piece on a very old and very well-known ground: Pachelbel's Canon. The piece is tonal and that suggested another -atonal - composition - No Ground (based on another string quartet - no. 7 Parted from 1984 first performed by Kronos). I am very fond of the elaborated constructivism of the medieval or early renaissance music so in my view the two new quartets needed to be connected and combined. The two quartets can be performed in combination with the four-part vocal piece Green . The text is from medieval England. The pieces are written for the Kronos Quartet and Theatre of Voices.

Titel: JulekræsMusik: Bojesen MichaelTekst: Krohn J.: Lohman Jules: Müller ArvidInstrumentation: SATBSprog: Da.Indhold:Peters JulJuleaftensalfabetNu' Det Jul Igen

Thomas Laubs Det Er Hvidt Herude arrangeret for lige stemmer SSA af Finn Høffding. Tekst af St. St. Blicher. Særtryk fra Korsang i Danmark I : WH29637 Thomas Laubs Det Er Hvidt Herude arrangeret for lige stemmer SSA af Finn Hoffding. Tekst af St. St. Blicher. Saertryk fra Korsang i Danmark I : WH29637

Korpartitur til Michael Bojesen s Stjernevandring - for lige stemmer (SSAA) og syv instrumenter. Tekst af Jesper Malmose. Instr.: asax vla vlc gtr db pf perc Partitur: WH31052 Stemmer: WH31052B

This is the solo Flute part for Andorinha - Concertino for Flute and Chamber Orchestra by Anders Koppel . This is the solo Flute part for Andorinha - Concertino for Flute and Chamber Orchestra by Anders Koppel .

Parts for Kyrie from Mass 1978 by Bernhard Lewkovitch scored for Choir SATB and 2 Horns in F Parts for Kyrie from Mass 1978 by Bernhard Lewkovitch scored for Choir SATB and 2 Horns in F

Syng Danske Sange 4 - 2 Danish songs for Voice and Piano by Carsten Dahl . Lyrics by Ulrikka S. Gernes and Ludvig Holstein. Syng Danske Sange 4 - 2 Danish songs for Voice and Piano by Carsten Dahl . Lyrics by Ulrikka S. Gernes and Ludvig Holstein.