Work for Violin and Piano dating from 1913.

The Full orchestral score of Jean Sibelius' 1917 work for Violin and String Orchestra. The Full orchestral score of Jean Sibelius' 1917 work for Violin and String Orchestra.

Five Pieces Op. 75 No. 4-A fabulous work for Piano by Finnish composer Jean Sibelius one of the most influential symphonic composers of the late 19th and early 20th century. The Birch or Le Bouleau is a beautiful piece from the fourth movement of Five Pieces or Cinq Morceaux Op.75. For Solo Piano. A fabulous work for Piano by Finnish composer Jean Sibelius one of the most influential symphonic composers of the late 19th and early 20th century. The Birch or Le Bouleau is a beautiful piece from the fourth movement of Five Pieces or Cinq Morceaux Op.75. For Solo Piano.

An arrangement of Honegger's Trois Contrepoints for Piano Duet. Three short movements that reflect the polyphonic structures and textures of the contrapuntal tradition. An arrangement of Honegger's Trois Contrepoints for Piano Duet. Three short movements that reflect the polyphonic structures and textures of the contrapuntal tradition.

This is the second of two books containing 15 Songs by Yrjo Kilpinen. This second book contains songs numbered 10 - 15. German and Danish text. This is the second of two books containing 15 Songs by Yrjo Kilpinen. This second book contains songs numbered 10 - 15. German and Danish text.

POD-Anders Nordentofts Moment dating from 1989 (rev. 1992 & 1997). Scored for Clarinet Violin Cello and Piano. Anders Nordentoft's Moment dating from 1989 (rev. 1992 & 1997). Scored for Clarinet Violin Cello and Piano.

Mixed Songbook-Melodibogen is a collection of 169 well-known songs with piano accompaniment. Melodibogen is a collection of 169 well-known songs with piano accompaniment.

Sange Om Tid for de mindste af Kristina Holgersen . Sange Om Tid for de mindste af Kristina Holgersen .

Einar Trærup Sark 's Prélude Au Jour Levant for Piano. Einar Traerup Sark 's Prélude Au Jour Levant for Piano.

Klaversyssel by Carl-Bertil Agnestig - musical theory for young Piano beginner. Klaversyssel by Carl-Bertil Agnestig - musical theory for the young Piano beginner.

Henrik Colding-Jørgensen 's Ave Maria . Solo for Contralto. Henrik Colding-Jørgensen 's Ave Maria . Solo for Contralto.

Vibraphone Solo-Valseværk I - En idyl for vibrafon was composed by Bo Holten in 1984. Valseværk I - En idyl for vibrafon was composed by Bo Holten in 1984.

Programme Note Bent Sørensen MÄDELEIN Mädelein for wind quintet was composed in 1985. In the first movement opposing textures are severed by a desperate clarinet culminating in a contrasting slow chorale. The 2nd movement is fast and manic polyphonic and polydynamic. In the last movement the horn plays a serenade whilst the other instruments echo both this and other themes from the preceding movements. Bent Sørensen (1985) Programme Note Bent Sørensen MÄDELEIN Mädelein for wind quintet was composed in 1985. In the first movement opposing textures are severed by a desperate clarinet culminating in a contrasting slow chorale. The 2nd movement is fast and manic polyphonic and polydynamic. In the last movement the horn plays a serenade whilst the other instruments echo both this and other themes from the preceding movements. Bent Sørensen (1985)

The solo Violin part for Helle Nacht - Violin Concerto No. 1 by Per Nørgård (1986-87). Score: WH30810 Sinfonietta version: WH30163 The solo Violin part for Helle Nacht - Violin Concerto No. 1 by Per Norgard (1986-87). Score: WH30810 Sinfonietta version: WH30163

Work for Organ dating from 1972. Work for Organ dating from 1972.

Programme Note ABENDLIED & MÄRCHENFARBEN for accordion ensemble – incl. choir and percussion ad lib. (1980).MÄRCHENFARBEN is a virtuoso piece for accordion ensemble based on Nørgård´s “infinity series” and a special multi-layered rhythm also heard in the composers well known choral work “Wie ein Kind” (second movement) from the same year 1980.This rhythm with the onomatopoeic nickname ´pischop´ has a swaying and breathing quality which seems well suited for an ensemble of accordions. Two percussion parts – to be added ad lib. - are composed into the tone music of the accordions in “Märchenfarben”.The piece was composed in 1980 for the very talented Det DanskeHarmonika Ensemble and its leader Jeanette Dyremose – an ensemble that enlarged the instrumental piece with an introduction (as suggested by the composer) singing and playing Nørgård´s choral song “Abendlied” (1980) to a sunset idyllic poem by Adolf Wölfli (1864-1930) including here the word ´märchenfarben´ the title of the shimmering and colorful instrumental music to follow with Märchenfarben. The duration of Abendlied & Märchenfarben is around 15-17 minutes (5-6´ + 10-11´).Per Nørgård Programme Note ABENDLIED & MÄRCHENFARBEN for accordion ensemble – incl. choir and percussion ad lib. (1980).MÄRCHENFARBEN is a virtuoso piece for accordion ensemble based on Nørgård´s “infinity series” and a special multi-layered rhythm also heard in the composers well known choral work “Wie ein Kind” (second movement) from the same year 1980.This rhythm with the onomatopoeic nickname ´pischop´ has a swaying and breathing quality which seems well suited for an ensemble of accordions. Two percussion parts – to be added ad lib. - are composed into the tone music of the accordions in “Märchenfarben”.The piece was composed in 1980 for the very talented Det DanskeHarmonika Ensemble and its leader Jeanette Dyremose – an ensemble that enlarged the instrumental piece with an introduction (as suggested by the composer) singing and playing Nørgård´s choral song “Abendlied” (1980) to a sunset idyllic poem by Adolf Wölfli (1864-1930) including here the word ´märchenfarben´ the title of the shimmering and colorful instrumental music to follow with Märchenfarben. The duration of Abendlied & Märchenfarben is around 15-17 minutes (5-6´ + 10-11´).Per Nørgård

Bent Lorentzen completed this first version of Warszawa in 1983 in a setting for Bb Bass Clarinet. Version B for Alto Saxophone and Piano: WH31804. Bent Lorentzen completed this first version of Warszawa in 1983 in a setting for Bb Bass Clarinet. Version B for Alto Saxophone and Piano: WH31804.

Work for Violin Cello Clarinet Piano and Tabla. Work for Violin Cello Clarinet Piano and Tabla.

Poul Ruders' Diferencias - on a beloved tune by J.S. Bach. Programme Note: 'Differencias' was an old Spanish naming of musical compositions dealing with various techniques involving theme and variation. In modern Spanish it simply means differences. It's a nice title however and as to the present piece a very fitting one indeed because I wrote it especially to The Elsinore Players for their South America-tour in 1981. Actually nothing happens to the clipping of wellknown Bach (the first four bars of the chorale: jesu Joy of Man's Desiring cantata No. 147) apart from the continuous changing of the succession-pattern of the 11 triplets and one duplet the latter ofwhich creates the recognizable 8/8 pattern amidst the flow of 9/8 spinnrad-rolling. To put it popularly I haven't included anything that Bach does not have in the book himself. In addition to that the unpredictable accents and various instrumental colours are the only means of differences. There are no modulations no tricky polyphony nothing but a long thoughtful tasting the beautiful piece of tune. Well of course the chorale itself enters the picture in the very last section but that is merely for me to have the pleasure of tossing it away again before it comes to a proper end. Finally I really do think that the Cage/Morgan poem quoted below is the most suitable prologue to 'Diferencias ' :14 variations on 14 words I have nothing to say and I am saying it and that is poetry (...) Poul Ruders' Diferencias - on a beloved tune by J.S. Bach. Programme Note: 'Differencias' was an old Spanish naming of musical compositions dealing with various techniques involving theme and variation. In modern Spanish it simply means differences. It's a nice title however and as to the present piece a very fitting one indeed because I wrote it especially to The Elsinore Players for their South America-tour in 1981. Actually nothing happens to the clipping of wellknown Bach (the first four bars of the chorale: 'jesu Joy of Man's Desiring' cantata No. 147) apart from thecontinuous changing of the succession-pattern of the 11 triplets and one duplet the latter of which creates the recognizable 8/8 pattern amidst the flow of 9/8 'spinnrad-rolling'. To put it popularly I haven't included anything that Bach does not have in the book himself. In addition to that the unpredictable accents and various instrumental colours are the only means of 'differences'. There are no modulations no tricky polyphony nothing but a long thoughtful tasting the beautiful piece of tune. Well of course the chorale itself enters the picture in the very last section but that is merely for me to have the pleasure of tossing it away again before it comes to a proper end. Finally I really do think that the Cage/Morgan poem quoted below is the most suitable prologue to 'Diferencias '