Michael Bojesen 's Der Kom Et Glimt Af Sol Idag for SSA a capella. This piece features lyrics by Ellen Heiberg. Michael Bojesen 's Der Kom Et Glimt Af Sol Idag for SSA a capella. This piece features lyrics by Ellen Heiberg.

Sedna is an Orchestral piece composed by Søren Nils Eichberg in 2013. Søren Nils Eichberg was announced as the first composer-in-residence of the Danish National Symphony Orchestra. Sedna is an Orchestral piece composed by Soren Nils Eichberg in 2013. Soren Nils Eichberg was announced as the first composer-in-residence of the Danish National Symphony Orchestra.

2012 for Trumpet Solo and Orchestra Duration: c. 23 min. Trumpet solo part The Trumpet solo part for Britta Bystrom 's Trumpet Concerto No. 2 Screen Memories (2012). Full score: WH31514

Full Score-This is the Full Score to Poul Ruders' critically acclaimed opera. Features a piano reduction by the composer.Libretto by Paul Bentley . This is the Full Score to Poul Ruders' critically acclaimed opera. Features a piano reduction by the composer.Libretto by Paul Bentley .

Work for Clarinet Cello and Piano dating from 1973. Work for Clarinet Cello and Piano dating from 1973.

Concert Band Version-Kronprins Frederiks Honnørmarch by the Danish composer and musician Fuzzy (Jens Vilhelm Pedersen). Version for Concert Band. Kronprins Frederiks Honnormarch by the Danish composer and musician Fuzzy (Jens Vilhelm Pedersen). Version for Concert Band.

Du Gamle Måne by Kai Normann Andersen expertly arranged for SAB Choir by Lone Grau Andersen Du Gamle Måne by Kai Normann Andersen expertly arranged for SAB Choir by Lone Grau Andersen

Composed for Christian Martinez. Per Norgard' s Arabesques for Percussion Solo (2011) was composed for Christian Martinez.

Programme Note During the composition of my tenth string quartet a flower-name høst-tidløs came to my mind - and it would not me leave again. [høsttidløs is actually autumn crocus in English but the composer prefers harvest-timeless to maintain some of the associations of the Danish flower-name red.] The paradoxical union of a seasonal time (harvest) and no-time-at-all was a good fit to the sections of the work that I had composed at that time and I decided to tentatively stick to that title for the work-in-progress and now having finished the piece I can say that is is still a fitting title - and it stands. Enough about the title I will go on to describe themusic a somewhat more precarious project. My tenth string quartet is probably the most basic string quartet that I have composed: melodically - and in sound - it employs the naturally based overtones and undertones (perceived at major and minor respectively) and rhythmically it is based on growth on the principles of the Golden Section and the structure itself contrasts abundance and exuberance with sections of immobility and contemplation. However Melos melody is definitely the dominating aspect of my STRING QUARTET NO. 10: behind even the most rhythmically complex or pure sonoric sections lies a firm - if hidden - basis of melodic or polyphonic ideas. The work was composed in 2004-2005 for the Kroger Quartet. Programme Note During the composition of my tenth string quartet a flower-name høst-tidløs came to my mind - and it would not me leave again. [høsttidløs is actually autumn crocus in English but the composer prefers harvest-timeless to maintain some of the associations of the Danish flower-name red.] The paradoxical union of a seasonal time (harvest) and no-time-at-all was a good fit to the sections of the work that I had composed at that time and I decided to tentatively stick to that title for the work-in-progress and now having finished the piece I can say that is is still a fitting title - and it stands. Enough about the title I will go onto describe the music a somewhat more precarious project. My tenth string quartet is probably the most basic string quartet that I have composed; melodically - and in sound - it employs the naturally based overtones and undertones* (perceived at major and minor respectively) and rhythmically it is based on growth on the principles of the Golden Section and the structure itself contrasts abundance and exuberance with sections of immobility and contemplation. However Melos melody is definitely the dominating aspect of my STRING QUARTET NO. 10; behind even the most rhythmically complex or pure sonoric sections lies a firm - if hidden - basis of melodic or polyphonic ideas. The work was composed in 2004-2005 for the Kroger Quartet.

This work is intended for performance on Good Friday during the Adoration of the Cross ceremony of the Roman (Catholic) rite. The pitch of the sung parts is given by a member of the choir who after discreetly obtaining a tone with the aid of a tuning fork (or other such device) intones Popule meus (and later Hagios) clearly on the notes indicated in each case. The recited Hagios choruses should be performed as speech on diverse tones but in the natural speaking registers and in compliance with the rhythms and expression marks indicated. When reciting the word Sanctus the consonant nc should dominate. The two speech choruses develop into a Miserere nobis sung onchance (random) tones with fixed time values (durations) the second time however culminating in completely free improvisation. At this point each singer sings Miserere nobis independently of the others. The sentence may be repeated (ad lib.) with new variations until at a sign from the leader each initiated phrase is terminated in a diminuendo. These improvised sections should allow for considerable freedom of expression. They should be a result of spontaneous inspiration but should at all times be characterised by sacral dignity and should conform to the character of the work as a whole. All sections to be performed quasi attacca - keep the intensity. The reproaches are to be recited by a male chorister in his normal speaking register but quasi cantabile . It is left at the discretion of the performers to decide how many of the recited verses in the last section of the work are to be performed. When Popule is sung for the last time the word mihi should be uttered as a sigh. Bernhard Lewkovitch This work is intended for performance on Good Friday during the 'Adoration of the Cross' ceremony of the Roman (Catholic) rite. The pitch of the sung parts is given by a member of the choir who after discreetly obtaining a tone with the aid of a tuning fork (or other such device) intones 'Popule meus' (and later 'Hagios') clearly on the notes indicated in each case. The recited 'Hagios' choruses should be performed as speech on diverse tones but in the natural speaking registers and in compliance with the rhythms and expression marks indicated. When reciting the word 'Sanctus' the consonant 'nc' should dominate. The two speech choruses develop into a 'Miserere nobis' sungon chance (random) tones with fixed time values (durations) the second time however culminating in completely free improvisation. At this point each singer sings 'Miserere nobis' independently of the others. The sentence may be repeated (ad lib.) with new variations until at a sign from the leader each initiated phrase is terminated in a diminuendo. These improvised sections should allow for considerable freedom of expression. They should be a result of spontaneous inspiration but should at all times be characterised by sacral dignity and should conform to the character

Poul Ruders: Occam’s Razor contains 8 short pieces for Oboe and Guitar expertly composed by Poul Ruders . The title Occam’s Razor dose not pay any direct correlation to the music itself but to the term used by many physicists that describes the use of the simple solution over a more complex alternative. The Danish composer Poul Ruders has created a large body of music ranging from opera and orchestral works through chamber vocal and solo music. Poul Ruders: Occam's Razor contains 8 short pieces for Oboe and Guitar expertly composed by Poul Ruders. The title Occam's Razor dose not pay any direct correlation to the music itself but to the term used by many physicists that describes the use of the simple solution over a more complex alternative. The Danish composer Poul Ruders has created a large body of music ranging from opera and orchestral works through chamber vocal and solo music.

This is the Chours score for Sounds Like You by Bent Sorensen - scored for 2 actors Choir SATB and Orchestra (2007-08). Text by Peter Asmussen. Commissioned by Bergen International Festival 2009 and DR - Danish Broadcasting Corporation.

One Done Trikanilje by Bent Lorentzen. For three voice choir.

Holmboe's Quartet from Opus 90 is a wonderful work for Flute Violin Viola and Cello. A set of parts is also available under item code WH49167. Holmboe's Quartet from Opus 90 is a wonderful work for Flute Violin Viola and Cello. A set of parts is also available under item code WH49167.

Bent Lorentzen 's Carnaval - Version A for Actor Mezzo-Soprano Baritone and Tape (1976). Version B for low voice Flute Cello Guitar and Perc: KP1034 Orig.idea by Carla Henius and Michael Leinert.

Julens Glaede - Himmelfalden by Per Norgard for Mixed Choir SATB (1985). Text by Johannes Mollehave. From Korbogen : WH30161

From the Song Of Solomon Composed 1993-94 Over tekster fra Hºjsangen. Svend Hvidfelt Nielsen 's Shulamit Danser (1993-94) for Mezzo-Soprano Flute Bassoon and Organ. Over tekster fra Hojsangen / From the Song Of Solomon.

Ensemble1 Flute1 Clarinet1 BassoonHarpPianoViolinViolaVioloncelloThe score is written in C Bridges And Paths for Chamber Ensemble was composed by Soren Nils Eichberg in 2012. Commissioned by the Danish Chamber Players (Storstroms Kammerensemble). Parts are for hire: hire@ewh.dk

Pelle Gudmundsen-Holmgreen 's Four Madrigals From The Natural World for 6-12 part mixed chorus. This piece incorporates texts by Les Murray. ' FOUR MADRIGALS to texts by the Australian poet Les Murray are composed of two songs (Bats’ Ultrasound and The Octave of Elephants) written for the Australian vocal group THE SONG COMPANY and two songs (Cattle Egret and Comete) from my larger work SOUND / SIGHT written for the Danish Radio Chamber Choir but here arranged for six voices. The texts are pictures and situations from - or meditations over – THE NATURAL WORLD. Les Murray’s way of approaching this world is not in the least sentimentalor nostalgic: the poems reveal a truebeing-out-there realism: so basically the approach is realistic but the creating of form elevates the material to an abstractplay a daring and exuberant poetic language. These poems asked to be set to music. I gave up old idiosyncrasies regarding descriptive music and surrendered to the madrigal with its special so-called “madrigalisms” which entails also animal-imitations. You will hear this particulary inThe Octave of Elephants. ' - Pelle Gudmundsen-Holmgreen Pelle Gudmundsen-Holmgreen 's Four Madrigals From The Natural World for 6-12 part mixed chorus. This piece incorporates texts by Les Murray. ' FOUR MADRIGALS to texts by the Australian poet Les Murray are composed of two songs (Bats’ Ultrasound and The Octave of Elephants) written for the Australian vocal group THE SONG COMPANY and two songs (Cattle Egret and Comete) from my larger work SOUND / SIGHT written for the Danish Radio Chamber Choir but here arranged for six voices. The texts are pictures and situations from - or meditations over – THE NATURAL WORLD. Les Murray’s way of approaching this world is not in the least sentimentalornostalgic; the poems reveal a true being-out-there realism; so basically the approach is realistic but the creating of form elevates the material to an abstractplay a daring and exuberant poetic language. These poems asked to be set to music. I gave up old idiosyncrasies regarding descriptive music and surrendered to the madrigal with its special so-called “madrigalisms” which entails also animal-imitations. You will hear this particulary inThe Octave of Elephants. ' - Pelle Gudmundsen-Holmgreen

This is the solo part and piano reduction for Capriccio for Trumpet Strings And Piano by Erik Norby . This is the solo part and piano reduction for Capriccio for Trumpet Strings And Piano by Erik Norby .