Musical Grafitti (II) for amplified Piano large Ensemble and Tape 'with cosmic sounds' by Asbjørn Schaathun (1983-84). Programme note In Musical Grafitti(II) virtuoso drawings for amplified piano large ensemble and tape with cosmic sounds von den herrn Asberion Ska-tune (1983-84) Schaathun is particularly concerned about investigating the relationship between various kinds of compositional techniques and their actual influence on the sound image and therebye on the musical language. Thus is Musical Grafitti about different settings of the same musical gesture which are presented in the initializing Formula. At the same time Formula serves as a model for the progressionof the entire piece on various levels.The computer-program SCHAATON written especially for this work by Swedish composer Bo Rydberg governs the relative intervallic relationship in the first extensive piano exposition. In this part of the piece the computer establishes the chordal focal points of the work thus rather paradoxically making itself redundant.The brief tape interpolations and the long ending consist of cosmic noise recorded by a satelite. This noise symbolizes the outermost edge of the musical continuum Schaathun is seeking to describe: from white noise to music characterized by an advanced syntax. To compose is to control a defined continuum of sound. In this piece the control is represended by the Formula.The piece may also be read as a big prelude to Luciano Berios points on the curve to find... At one point Schaathun's curve crosses Berios curve and the contours become directly involved in Berio's instrumentation before passing through and the soloist disappears into the coloured noise into which the piece fades away.(+ Fransk versjon NMI) Musical Grafitti (II) for amplified Piano large Ensemble and Tape 'with cosmic sounds' by Asbjorn Schaathun (1983-84). Programme note In Musical Grafitti(II) 'virtuoso drawings for amplified piano large ensemble and tape with cosmic sounds von den herrn Asberion Ska-tune' (1983-84) Schaathun is particularly concerned about investigating the relationship between various kinds of compositional techniques and their actual influence on the sound image and therebye on the musical language. Thus is Musical Grafitti about different settings of the same musical gesture which are presented inthe initializing Formula. At the same time Formula serves as a model for the progression of the entire piece on various levels.The computer-program SCHAATON written especially for this work by Swedish composer Bo Rydberg governs the relative intervallic relationship in the first extensive piano exposition. In this part of the piece the computer establishes the chordal focal points of the work thus rather paradoxically making itself redundant.The brief tape interpolations and the long ending consist of cosmic noise re

Lyrics: Victor Skaarup Lyrics: Victor Skaarup

Work for Clarinet Violin Viola and Accordion. Work for Clarinet Violin Viola and Accordion.

The Hoopoe / Hærfuglen Op.337 (1974) for Chamber Ensemble by Niels Viggo Bentzon. Manuscript copy Parts are for hire: hire@ewh.dk The Hoopoe / Haerfuglen Op.337 (1974) for Chamber Ensemble by Niels Viggo Bentzon. Manuscript copy Parts are for hire: hire@ewh.dk

Parts for Les Tuchins for 2 Trombones 2 El-guitars and 2 Violoncellos by Danish composer Bent Sørensen . Parts for Les Tuchins for 2 Trombones 2 El-guitars and 2 Violoncellos by Danish composer Bent Sørensen .

A work for solo Marimba composed in 2000. A work for solo Marimba composed in 2000.

Garnet To Garnet for female Voice Percussion and Guitar was composed by Bent Sørensen in 1985. Garnet To Garnet for female Voice Percussion and Guitar was composed by Bent Sørensen in 1985. GARNET TO GARNET for female voice Guitar and Percussion (1985) Text by William Shakespeare and Emily Dickinson

Danish text by Inger ChristensenFor soprano flute and guitar Danish text by Inger ChristensenFor soprano flute and guitar

Piano Reduction-This is the Piano reduction for Vagn Holmboe's Concerto For Tuba Op. 127 (1976) Score available: KP00162 Parts are for hire: hire@ewh.dk This is the Piano reduction for Vagn Holmboe's Concerto For Tuba Op. 127 (1976) Score available: KP00162 Parts are for hire: hire@ewh.dk

The full score of this short work for Violin and Orchestra by Emil Sjögren. The full score of this short work for Violin and Orchestra by Emil Sjögren.

Bent Sorensen MINNELIEDER - ZWEITES MINNEWATER (1988 revised 1994).This work is a new version of the work MINNEWATER from 1988. The form and harmony have been more or less retained but in the new orchestration new melodies have been elicited from the mumbling surf and bustling cascades. MINNELIEDER -ZWEITES MINNEWATER is a commission work from the Caput Ensemble composed with support from 'Nomus'.

Erik Satie's Trois Gymnopédies which has been expertly arranged for Oboe and String Quartet by Hans Abrahamsen (after Debussy). Manuscript copy. Erik Satie's Trois Gymnopédies which has been expertly arranged for Oboe and String Quartet by Hans Abrahamsen (after Debussy). Manuscript copy.

The Composer writes: 'In February 1987 I saw in the Tate Gallery in London a painting by the Victorian English painter John William Waterhouse. The painting kept haunting my memory and as I at the same time planned to write a piece for solo Viola my ideas for the music and the memory of the painting fused more and more. I decided then to let my piece borrow the title of Waterhouse’s painting: The Lady Of Shalott . The picture of a mad-like pale and perhaps singing woman alone in a boat without sculls which calmly slips out from the rush growth of the river is an illustration for the ending of Alfred Tennyson’s poem by the same title which again plaits into the oldEnglish legends about King Arthur. My piece tries to meander - like the river at Camelot - among these sources.' As suggested above the piece was originally written for Viola solo. This version for String Quartet is from 1993. The Composer writes: 'In February 1987 I saw in the Tate Gallery in London a painting by the Victorian English painter John William Waterhouse. The painting kept haunting my memory and as I at the same time planned to write a piece for solo Viola my ideas for the music and the memory of the painting fused more and more. I decided then to let my piece borrow the title of Waterhouse’s painting: The Lady Of Shalott . The picture of a mad-like pale and perhaps singing woman alone in a boat without sculls which calmly slips out from the rush growth of the river is an illustration for the ending of Alfred Tennyson’s poem by the same title which again plaits into theold English legends about King Arthur. My piece tries to meander - like the river at Camelot - among these sources.' As suggested above the piece was originally written for Viola solo. This version for String Quartet is from 1993.

ACTIONS INTERPOLATIONS AND ANALYSES symphonies for bass-clarinet and large ensemble (1987-90) is what is commonly termed a work in progress. So far Schaathun has completed three of five parts. The is the composer's first large-scale attempt to investigate possible connections between ostensibly unrelated material. Explained in simple terms it involves taking two of Schaathun's own type of texture (composed by means of different techniques) and letting them rotate around a familiar musical object (in this case a short excerpt from Stravinskij's Symphonies of Wind instruments in which he employs the famous frozen chords). In the course of the piece the elements takes over various characteristics from one another and the form progresses from fairly clear-cut textures to a situation where the various textures are superimposed creating a dramatic flow. On a more advanced level the piece is about trying to mediate between different musical textures as metaphors for the different levels of the sound itself. One of the main questions in this context is: What is size in music? Is it possible to take a small chord(i.e. narrow register few instruments simple tone colours) and then blow it up (wide register many instruments advanced mixtures) in such a way that the listener still perceives it as the same chord? You have simply moved closer to the sound. At any rate when Schaathun composed the piece he himself travellig into the sound as if were viewing a texture from a distance. He then recomposed the same situation and drew closer and then recompose it a third time and simply get close enough to discover the world of sounds that thus emerged. A world of sounds capable of travelling at a tremendous speed... However like all concertos the piece is of course about the individual and his relationship to his surroundings (society). Schaathun has often pondered on the reason for this preoccupation wih solo concertos. The answer derives from his firm conviction that nothing would ever happen if it weren't for the initiative the Action of the individual.ACTIONS INTERPOLATIONS AND ANALYSES symphonies for bass-clarinet and large ensemble (1987-90) is what is commonly termed a work in progress. So far Schaathun has completed three of five parts. The is the composer's first large-scale attempt to investigate possible connections between ostensibly unrelated material. Explained in simple terms it involves taking two of Schaathun's 'own' type of texture (composed by means of different techniques) and letting them 'rotate' around a familiar musical object (in this case a short excerpt from Stravinskij's Symphonies of Wind instruments in which he employs the famous 'frozen' chords). In the course of thepiece the elements takes over various characteristics from one another and the form progresses from fairly clear-cut textures to a situation where the various textures are superimposed creating a dramatic flow.

A symphony in one movement composed by Jean Sibelius (1865-1957) in 1924. The work lasts approximately 22 minutes. A symphony in one movement composed by Jean Sibelius (1865-1957) in 1924. The work lasts approximately 22 minutes.

20 Sånger (20 Laulua - 20 Lieder) Hæfte 3 Op.41 af Yrjö Kilpinen til digte af Anders österling. Med svensk finsk og tysk tekst. 20 Sanger (20 Laulua - 20 Lieder) Haefte 3 Op.41 af Yrjo Kilpinen til digte af Anders osterling. Med svensk finsk og tysk tekst.

Walter Schroder's Andante Cantabile for Trombone and Piano. Walter Schroder's Andante Cantabile for Trombone and Piano.

Der Star Syv Store Stjerne is a piece written for Voice and Piano Accompaniment expertly composed by Ludolf Nielsen . Der Star Syv Store Stjerne is a piece written for Voice and Piano Accompaniment expertly composed by Ludolf Nielsen .

Stjærne-Valsen by the Danish composer Edvard Brink scored for Voice and Piano. This piece incorporates text from Aage Herman's 'Under Dansk Flag Eller Sommerrejsen 1921'. Stjærne-Valsen by the Danish composer Edvard Brink scored for Voice and Piano. This piece incorporates text from Aage Herman's 'Under Dansk Flag Eller Sommerrejsen 1921'.

A symphony in one movement composed by Jean Sibelius (1865-1957) in 1924. The work lasts approximately 22 minutes. A symphony in one movement composed by Jean Sibelius (1865-1957) in 1924. The work lasts approximately 22 minutes.