Work for Solo Violin 2 Flutes 2 Bassoons and String Orchestra dating from 1917. Work for Solo Violin 2 Flutes 2 Bassoons and String Orchestra dating from 1917.

Carl Nielsen is doubtlessly one of Denmark’s most important and popular composers. This is no more evident than in his 1916 work for Piano Solo Chaconne Op.32 which followed a seventeen-year gap in his compositions for that instrument. It is a decidedly dynamic work in constant motion from the moment the simple opening theme begins through the crescendo and to the winding down and end of this piece. The twenty variations that form the core of this piece themselves have a varied range sometimes comparatively easy showing Bach’s influence other times he uses highly complex contrasts. This is a fine example of Nielsen’s work and uses mood and texture to great effect makingit ideal for concert or recital performance whilst the variations make it a clever training manual. Carl Nielsen is doubtlessly one of Denmark’s most important and popular composers. This is no more evident than in his 1916 work for Piano Solo Chaconne Op.32 which followed a seventeen-year gap in his compositions for that instrument. It is a decidedly dynamic work in constant motion from the moment the simple opening theme begins through the crescendo and to the winding down and end of this piece. The twenty variations that form the core of this piece themselves have a varied range sometimes comparatively easy showing Bach’s influence other times he uses highly complex contrasts. This is a fine example of Nielsen’s work and uses mood and texture togreat effect making it ideal for concert or recital performance whilst the variations make it a clever training manual.

1920Opus 50Nr.1 MorningNr.2 ElegieNr.3 EveningOrchestration: 2.2(ca).2.2/4.2.0.0/timp.perc/hp/cel/strParts are for hire: hire@ewh.dk 1920Opus 50Nr.1 MorningNr.2 ElegieNr.3 EveningOrchestration: 2.2(ca).2.2/4.2.0.0/timp.perc/hp/cel/strParts are for hire: hire@ewh.dk

The suite from the Opera Pohjalaisia (österbottner) Op.45 by Leevi Madetoja dating from 1924. The suite from the Opera Pohjalaisia (osterbottner) Op.45 by Leevi Madetoja dating from 1924.

Violin/Piano reduction of the work for Violin and String Orchestra.

Ann-Marie by the Danish composer Edvard Brink scored for Voice and Piano. This piece from 'Under Dansk Flag eller Sommerrejsen 1921' incorporates text by Karl Ewert. Ann-Marie by the Danish composer Edvard Brink scored for Voice and Piano. This piece from 'Under Dansk Flag eller Sommerrejsen 1921' incorporates text by Karl Ewert.

Work for Solo Piano dating from 1911.

Work for Violin and Piano dating from 1915. Work for Violin and Piano dating from 1915.

Cinq Morceaux Op. 75 No. 2-A fabulous work for Solo Piano by Finnish composer Jean Sibelius one of the most influential symphonic composers of the late 19th and early 20th century. The Solitary Fir Tree is a beautiful piece from the second movement of his Five Pieces or Cinq Morceaux Op.75. A fabulous work for Solo Piano by Finnish composer Jean Sibelius one of the most influential symphonic composers of the late 19th and early 20th century. The Solitary Fir Tree is a beautiful piece from the second movement of his Five Pieces or Cinq Morceaux Op.75.

Zweites Konzert Fur Klavier was composed by Swedish conductor and composer Wilhelm Stenhammar . Zweites Konzert Fur Klavier was composed by Swedish conductor and composer Wilhelm Stenhammar .

Prelude A 2 Voix is the first part of Arthur Honegger's Trois Contrepoints for Oboe and Cello. Prelude A 2 Voix is the first part of Arthur Honegger's Trois Contrepoints for Oboe and Cello.

Carl Flesch (1873-1944) was a Jewish-Hungarian violinist composer editor and pedagogue. As well as teaching some of the finest violinists of the day he is also remembered for editing and publishing many obscure and underperformed works that might otherwise have been lost from the repertoire. Flesch's Etudesamling (Studies and Exercises) for Solo Violin was first published in 1921 as his opus 2 while the composer was living with his family in Berlin. They are among the finest Etudes available for the instrument: challenging enough to be educational and worthwhile but not so hard that the student becomes disheartened. Carl Flesch (1873-1944) was a Jewish-Hungarian violinist composer editor and pedagogue. As well as teaching some of the finest violinists of the day he is also remembered for editing and publishing many obscure and underperformed works that might otherwise have been lost from the repertoire. Flesch's Etudesamling (Studies and Exercises) for Solo Violin was first published in 1921 as his opus 2 while the composer was living with his family in Berlin. They are among the finest Etudes available for the instrument: challenging enough to be educational and worthwhile but not so hard that the student becomes disheartened.

Trio Album 6-Trio Album 6 - 8 Popular classical pieces arranged for Piano Trio. Edited by Nicolaj Hansen . Trio Album 6 - 8 Popular classical pieces arranged for Piano Trio. Edited by Nicolaj Hansen .

Den lille Koralbog er er melodisamlingen for orgel og klaver til Gud ske tak og lov - Den Danske Salmebog for Børn og Unge (Det Kgl. Vajsenhus' Forlag 1993). Den lille Koralbog er er melodisamlingen for orgel og klaver til Gud ske tak og lov - Den Danske Salmebog for Born og Unge (Det Kgl. Vajsenhus' Forlag 1993).

Mixed Songbook-555 Songs (Lyrics only) 555 Songs (Lyrics only)

Studies for Two - Instrumental Theatre for Cello and Percussion was composed by Bent Lorentzen in 1967 . Studies for Two - Instrumental Theatre for Cello and Percussion was composed by Bent Lorentzen in 1967 .

This work was written with a mix between computer technology and the more traditional orchestra the piece was composed in such a way that it would support it's own acoustics. Lindberg worked with amplification of instruments and electronically transformed sounds thus producing greater possibilities to abandon acoustic limits. In order for the piece to be supported by it's own acoustics the piece had to be written in terms of foreground and background harmony every foreground chord would always have it's background a shadow existing without it's main chord. Another theme to the piece is that of textural motion as rapid gestures and motions are a big part of the composer'sinterest. Static repitions seemed to limit the piece however so they were compensated for on another level so with a repetitive rhythmic pattern the harmonic material changes rapidly or when a chain of chords is static the rhythmic and timbral qualities vary frequently. Work for Orchestra commissioned by the Finnish Broadcasting Company. This work was written with a mix between computer technology and the more traditional orchestra the piece was composed in such a way that it would support it's own acoustics. Lindberg worked with amplification of instruments and electronically transformed sounds thus producing greater possibilities to abandon acoustic limits. In order for the piece to be supported by it's own acoustics the piece had to be written in terms of foreground and background harmony every foreground chord would always have it's background a shadow existing without it's main chord. Another theme to the piece is that of textural motion as rapid gestures and motions are a big part ofthe composer's interest. Static repitions seemed to limit the piece however so they were compensated for on another level so with a repetitive rhythmic pattern the harmonic material changes rapidly or when a chain of chords is static the rhythmic and timbral qualities vary frequently. Work for Orchestra commissioned by the Finnish Broadcasting Company.

For SATB Choir (2 choirs or 12 solo voices). Text by William Blake For SATB Choir (2 choirs or 12 solo voices). Text by William Blake

Per Nørgård GEMINI RISING for harpsichord soloFirst there is a mountain then there is no mountain then there isThe title literally Ascending Twins - was borrowed from astrological terminology but refers purely musically to two essential circumnstances in the work: A constant duplicity in the melodic basis as well as an almost constantly ascending tendency. Even when - as is the case in the start - falling figures appear the combination of several such figures produces an ascending impression. GEMINI RISING was composed for Elisabeth Chojnacka and premiered at a concert in Copenhagen in November 1990.Per Nørgård

Work for Recorder Cello and Harpsichord. Work for Recorder Cello and Harpsichord.