Programme Note Zigzag – percussion sextet (1981)ZIGZAG (1981 earlier entitled just SEXTET) is the second of my three percussion sextets (the other being RONDO (1964) and SQUARE AND ROUND (TWO DANCES) (1986)). ZIGZAG derives its characteristic rhythmic impulse from the establishing of simple metres (for instance four-bar patterns) that are abruptly cut off before completion only to start over again immediately. This creates a sort of cubistic rhythmic effect present also in my ISTERNIA (1979) for marimba solo and SONORA (1981) for flute and harp.Several percussion ensembles have performed SQUARE AND ROUND together with ZIGZAG the latter played attacca as a third movement. Ifind the result of this combination convincing and satisfactory and I recommend it in performance – with the title”Square Round and Zigzag – 3 pieces for percussion sextet” (1981/86).However SQUARE AND ROUND as well as ZIGZAG may still be played separately.Per Nørgård Programme Note Zigzag – percussion sextet (1981)ZIGZAG (1981 earlier entitled just SEXTET) is the second of my three percussion sextets (the other being RONDO (1964) and SQUARE AND ROUND (TWO DANCES) (1986)). ZIGZAG derives its characteristic rhythmic impulse from the establishing of simple metres (for instance four-bar patterns) that are abruptly cut off before completion only to start over again immediately. This creates a sort of 'cubistic' rhythmic effect present also in my ISTERNIA (1979) for marimba solo and SONORA (1981) for flute and harp.Several percussion ensembles have performed SQUARE AND ROUND together with ZIGZAG the latter played attacca as a third movement. Ifind the result of this combination convincing and satisfactory and I recommend it in performance – with the title”Square Round and Zigzag – 3 pieces for percussion sextet” (1981/86).However SQUARE AND ROUND as well as ZIGZAG may still be played separately.Per Nørgård

The original version of Ablauf written for Clarinet two bass drums. The piece is a swift violent and breath-taking rollercoaster that is explores the full polyphonic potential of the instrument. The rough treatment which the Clarinet receives demonstrates the wild untamed and unpredictable side of Lindberg's character and compositions.

The Score for Jouni Kaipainen's Sisyphus Dreams Op.47 . The Score for Jouni Kaipainen's Sisyphus Dreams Op.47 .

Score for ReTURNING by Pelle Gudmundsen-Holmgreen. Score for ReTURNING by Pelle Gudmundsen-Holmgreen.

For Clarinet Cello and Piano. Score available: KP00078 For Clarinet Cello and Piano. Score available: KP00078

Orchestral work commissioned by Ensemble InterContemporain and Fondation Totale pour la musique. Orchestral work commissioned by Ensemble InterContemporain and Fondation Totale pour la musique.

Per Nørgård’s fantastic 1987 work Poeme for Marimba and other accompanying Percussion instruments. Norgard is one of the most influential contemporary Danish composers and this piece features elements of improvisation and the driven tones and abruptly changing textures which characterise the majority of his work from 1980.

Du Cristal is a work for large Orchestra and live Electronics which was commissioned in 1989 by the Helsinki Festival and the Los Angeles Philharmonic Orchestra. Du Cristal is a work for large Orchestra and live Electronics which was commissioned in 1989 by the Helsinki Festival and the Los Angeles Philharmonic Orchestra.

A superb piece by the magnificent Kaija Saariaho completed in 1990. Oi Kuu translated as for a moon is set for Bass Clarinet and Cello with a duration of approximatley 6 minutes. It signalled a brief period between two large orchestral works Du Cristal and À La Fumee and consists of multiphonies created and encountered between Bass Clarinet and Cello. Full of colour it is typically expressive with unusual sounds and manual effects. Oi Kuu was commissioned by Kari Kriikku and Anssi Karkttunen and has been dedicated to them. A version for Bass Flute and Cello is available on KP00533

Parts for String Quartet No.3 'Angel's Music' by Bent Sørensen (1988) Premiered by the Arditti String Quartet at the Danish Radio Concert Hall 16 November 1988. Score available: KP00250 The composer writes: 'Even when I was writing Adieu I knew that I wished to write Angel’s Music. The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on Angel’s Music was started in Rome where I spent the autumn of 1987 staying at The Danish Academy. Whether this stay has influenced the quartet or not is impossible to say. however it is true to say that in the Roman churches I visited I saw countless angels playing in the top of frescoes and altars. Without these angels together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico (in fact there are only a few paintings by him in Rome but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are in the short rhythmic agitating part of the quartet reminiscences of the Italian medieval Trotto dance and in the most expressive part of the piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet the distant extremely muted sound in the high register which opens the piece was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that little songs (maybe angel songs) could be created in this density these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form I felt that not only should the little songs be created played and die out in an echo but also that the general pattern of the quartet should give the feeling of music which from the distance is getting closer and closer culminates and at last disappears like an echo. Related to this the general pattern of Angel’s Music is divided into three: a pre-echo culmination and echo.. The relationship between the three part is 5: 6: 4. The reason why I can say this precisely and prosaically is that it was necessary to me to mark the overall guidelines before I started to compose. I had to do this in order to enable the relationships to crawl from the general pattern almost fractionally into the smallest cells of the music or more correctly: crawl from the small cells into the general pattern.'Parts for String Quartet No.3 'Angel's Music' by Bent Sørensen (1988) Premiered by the Arditti String Quartet at the Danish Radio Concert Hall 16 November 1988. Score available: KP00250 The composer writes: 'Even when I was writing 'Adieu' I knew that I wished to write 'Angel’s Music'. The title existed in an incomplete form in my mind and gradually more and more idea

3 Love songs by Evert Taube arranged by Per Drud Nielsen.Danish and Swedish text. 3 Love songs by Evert Taube arranged by Per Drud Nielsen.Danish and Swedish text.

Work for Piano and Orchestra commissioned by the Helsinki Festival. Work for Piano and Orchestra commissioned by the Helsinki Festival.

Player's Score-Parcours Op.23 For Flute and Piano by Jouni Kaipainen dating from 1983. Version for Flute and Harpsichord: WH31145 Parcours Op.23 For Flute and Piano by Jouni Kaipainen dating from 1983. Version for Flute and Harpsichord: WH31145

For mixed choir SATB Text: Psalm 84 1-4 For mixed choir SATB Text: Psalm 84 1-4

Winternach was written in1976-78 and the title was taken from a poem by the Austrian poet Georg Trakl. The four movements which are all very precise and dreamingly poetic are almost classical in terms of clarity and discipline in orchestration and form: hence the dedication of the third movement to Igor Stravinsky. However the music has a strong impressionistic quality as well: four introverted still lifes of the velvety dark iceness of a silvery winter night (one can veritably sense the fairy-tale-like sleigh ride in the two outer movements). The second movement is dedicated to the eccentric lithographer M.C. Escher and the first and last movements are both dedicated toGeorg Trakl. As in the well-known orchestral work Stratifications we can enjoy Amrahamsen's fiscination with having several events occur simultaneously: a thoughtful as well as playful multilayered quality mirrors the poetic and mysterious worlds of painting literature nature and most important of all: music. Winternach was written in1976-78 and the title was taken from a poem by the Austrian poet Georg Trakl. The four movements which are all very precise and dreamingly poetic are almost classical in terms of clarity and discipline in orchestration and form: hence the dedication of the third movement to Igor Stravinsky. However the music has a strong impressionistic quality as well: four introverted still lifes of the velvety dark iceness of a silvery winter night (one can veritably sense the fairy-tale-like sleigh ride in the two outer movements). The second movement is dedicated to the eccentric lithographer M.C. Escher and the first and last movements are both dedicated toGeorg Trakl. As in the well-known orchestral work Stratifications we can enjoy Amrahamsen's fiscination with having several events occur simultaneously: a thoughtful as well as playful multilayered quality mirrors the poetic and mysterious worlds of painting literature nature and most important of all: music.

Piano Solo-Programme note Light of a Night (Paul meets bird) was commissioned by pianist Aki Takahashi. It is a reworked arrangement for piano of the Beatles song Blackbird. As some of us will recall the Beatles on The White Album let the beautiful song to the blackbird be accompanied by an (apparently) live blackbird song. It is this authentic bird-motif world that in Light of a Night weaves itself into the Beatles melody and in turn is gradually infected by it so that a completely new third entity ensues: a kind of Bird-rock ballad (or maybe it is a Beatle-bird?) Per Nørgård Light Of A Night ispart of Animals in Concert: 1. A Tortoise's Tango (1984) - dur.: 4' 2. Light of a Night - Paul meets bird (1989) - dur.: 6' 3. Hermit Crab Tango - Esperanza (1997) - dur.: 5' The pieces can be performed together or one by one . Programme note Light of a Night (Paul meets bird) was commissioned by pianist Aki Takahashi. It is a reworked arrangement for piano of the Beatles song Blackbird. As some of us will recall the Beatles on The White Album let the beautiful song to the blackbird be accompanied by an (apparently) live blackbird song. It is this authentic bird-motif world that in Light of a Night weaves itself into the Beatles melody and in turn is gradually infected by it so that a completely new third entity ensues: a kind of Bird-rock ballad (or maybe it is aBeatle-bird?) Per Norgard Light Of A Night is part of 'Animals in Concert': 1. A Tortoises Tango (1984) - dur.: 4 2. Light of a Night - Paul meets bird (1989) - dur.: 6 3. Hermit Crab Tango - Esperanza (1997) - dur.: 5 The pieces can be performed together or one by one .

A slow and expressive piece for Baritone Saxophone and Piano. A slow and expressive piece for Baritone Saxophone and Piano.

The Little Mermaid made famous by Disney is the story of a girl with a beautiful Voice and a consuming passion for the Prince. This full Vocal score was expertly composed by John Høybye . The seven movements include A Man Lives Only 70 Years Deep Down in the Ocean Sea Witch Stand Up My Dear You Dance the Best of All and Lift Up Your Eyes And Glorify . The Little Mermaid by John Hoybye - Version for solo Soprano Female or Girls' Choir Narrator and Piano. Text: Hans Christian Andersen & Edward Broadbridge. Piano part available: WH31814A Full version for Soprano solo Mixed Choir (SATB) Narrator and String Orchestra: KP01863

Cradle Song- Vuggesang / Cradle Song for Organ solo by Peter Bruun (2016). The piece is based on Martin Luther's hymn 'Vom Himmel Hoch'. Dedicated to Vibeke Vanggaard. ' Peter Bruun's cradle song Vuggesang is an inventive and refreshingly unconventional set of variations on 'Vom Himmel Hoch'. There are some fascinating textures here and the whole thing is a far cry from a dutiful neo-classical perusal of stock partita motifs - the crystalline final variation which disappears into nothing in the final bars is especially striking. Numerous rhythmic complexities throughout the score will need thought but the piece will reward thediligent .' - Stephen Farr Choir & Organ Magazine ' Organ music makes up only a small part of Danish composer Peter Bruun's (b. 1968) varied output. Nonetheless Vuggesang (Cradle Song') from 2016 is idiomatically and sympathetically written for the organ: a series of five variations on Luther's hymn Vom Himmel hoch that affords variety of texture colour and mood. A clear head is needed to negotiate some of the rhythmic complexities but this is a fine work for the Christmas season that will reward performer and listener. ' - Sunday by Sunday

Tuba Solo-Concerto For Tuba And Orchestra was composed by Anders Koppel in 2003. Dedicated to the composers wife Ulla. First performance by Mattias Johansson and Aalborg Symphony Orchestra June 4th 2003 in Aalborg Denmark. Concerto For Tuba And Orchestra was composed by Anders Koppel in 2003. Dedicated to the composers wife Ulla. First performance by Mattias Johansson and Aalborg Symphony Orchestra June 4th 2003 in Aalborg Denmark.