For SATB-soli 6-part choir trombone and percussion Parts: WH31387A Choral score: WH31387C Soli: WH31387D Regin Der Schmied for SATB-soli 6-part Choir Trombone and Percussion (2008). Parts: WH31387A Choral score: WH31387C Soli: WH31387D

Abrahamsen writes: STORM AND STILL was composed for the Danish art group 'Storm and Still' in 1988 and world premiered at their exhibition 'My time as Pilot' the same year. The work is dedicated to Morten Zeuthen who also played the world premiere performance. Abrahamsen writes: STORM AND STILL was composed for the Danish art group 'Storm and Still' in 1988 and world premiered at their exhibition 'My time as Pilot' the same year. The work is dedicated to Morten Zeuthen who also played the world premiere performance.

Two Pieces for Solo Guitar. Two Pieces for Solo Guitar.

For trombone and percussion Apparition/Disparition for Trombone and Percussion (2005).

Piano-Bent Sørensen THE SHADOWS OF SILENCE For piano Programme Note The Shadows of Silence (2003-2004) Quite some time ago I heard - through a conversation in a mobile phone - a wonderful concert of ringing church bells from an European capital. I found it very hard to concentrate about the conversation because I was so engrossed by the chaotic world of bell sound. The night after I dreamt that the sound of those low singing bells was rising up from a piano in a huge empty concert hall. That experience became the starting point for my piano piece The Shadows of Silence. But before the piece gets to the ringing bells it moves through a landscape of shadows - Shadows of the silencebefore the bells - Silence before the storm - Shadows of melodies which all the time leaves traces even in the short passages of storm. After the passage with the low ringing bells the shadows of silence returns melted in to a lament which are sending two regards. One to two small beautiful - not very well known - bars by Mozart and one to the sextet in my own opera Under the Sky. The Shadows of Silence was commissioned by The Carnegie Hall Corporation and is dedicated to Leif Ove Andsnes Bent Sørensen THE SHADOWS OF SILENCE For piano Programme Note The Shadows of Silence (2003-2004) Quite some time ago I heard - through a conversation in a mobile phone - a wonderful concert of ringing church bells from an European capital. I found it very hard to concentrate about the conversation because I was so engrossed by the chaotic world of bell sound. The night after I dreamt that the sound of those low singing bells was rising up from a piano in a huge empty concert hall. That experience became the starting point for my piano piece 'The Shadows of Silence'. But before the piece gets to the ringing bells itmoves through a landscape of shadows - Shadows of the silence before the bells - Silence before the storm - Shadows of melodies which all the time leaves traces even in the short passages of storm. After the passage with the low ringing bells the shadows of silence returns melted in to a lament which are sending two regards. One to two small beautiful - not very well known - bars by Mozart and one to the sextet in my own opera 'Under the Sky'. 'The Shadows of Silence' was commissioned by The Carnegie Hall Corporation and is dedicated to Leif Ove Andsnes

Tunnels De Lumiére for Chamber Orchestra was composed by Bent Sørensen in 2009. Premiered by Ensemble InterContemporain conducted by Susanna Mälkki 6 May 2010 at Cité de la Musique Paris. Tunnels De Lumiére for Chamber Orchestra was composed by Bent Sorensen in 2009. Premiered by conducted by Susanna Mälkki 6 May 2010 at Cité de la Ensemble InterContemporain Musique Paris.

String Trio for Violin Viola and Violoncello was composed by Anders Koppel in 2003.

Per Norgard 's En Lys Time / A Light Hour (2009) for a variable Percussion Ensemble (min. 10 players). In A Light Hour everything - rhythms and motifs - is based on Norgards special infinity series . Parts available: WH30964A Programme note A Light Hour is for any number of percussion musicians' (but a minimum of ten). The duration is about 60 minutes. The instrumentation is in principle open as long as percussion is used within the three types specified in the score: skin metal and wood. Each musician uses two soundsources with two different sounds one of which is bright (or light) and the other dark. Certain passages also include tuned percussion instruments - vibraphone xylophone marimba gamelan glockenspiel steel drums crotales and the like. The work integrates and combines a number of rhythms that Norgard has used in percussion works since the 1970s for example in Early Spring Dance (for choir and percussion) and percussion works like I Ching Easy Beats Whirls Zigzag Nemo Dynamo and Echo Zone I-II-III. Special tone-feasts (the composer's term) - followed by a rest - are an recognizable melodic feature of the work.: the first minute end with a short tone-feast (and a rest) the first four minutes end with a tone-feast lasting a minute (and a rest) the first quarter of an hour ends with a tone-feast of four minutes (and a rest) - and the work ends with a tone-feast lasting quarter of an hour (and a rest when the work is over ...). The first 15 minutes have a bright light character throughout and alternate between rhythms and melodic play. The following 15 minutes are more insistent and decidedly percussion-based Afro-Cuban whereas the third quarter of A Light Hour moves in the

Cello Concerto No. 1-Poul Ruders Polydrama (Manyfold Event) for cello and orchestra is the last part of a drama trilogy otherwise consisting of Dramaphonia for piano and 11 instruments and Monodrama for percussion and 32 instruments. In this abstract drama the individual listener is left entirely to his own associations. The composer has compared polydrama with the gradual defoliation of a big tree: the vigorously growing organism is attacked by a swarm of locusts until finally nothing remains but bare branches in a landscape of long shadows a solitary singing bird remains however like a streak of hope in an increasingly dark and pessimistic universe.Poul Ruders Polydrama (Manyfold Event) for cello and orchestra is the last part of a drama trilogy otherwise consisting of Dramaphonia' for piano and 11 instruments and Monodrama for percussion and 32 instruments. In this abstract drama the individual listener is left entirely to his own associations. The composer has compared polydrama with the gradual defoliation of a big tree: the vigorously growing organism is attacked by a swarm of locusts until finally nothing remains but bare branches in a landscape of long shadows; a solitary singing bird remains however like a streak of hope in an increasingly dark and pessimistic universe.

For ensemble Zoom (Alto Saxophone Percussion and Piano). Written with support by the Danish National Art Council. For ensemble Zoom (Alto Saxophone Percussion and Piano). Written with support by the Danish National Art Council.

Piano reduction and solo flute part for Concerto For Flute And Orchestra Op.126 by Vagn Holmboe. Full score: WH29417B Parts are for hire: hire@ewh.dk Piano reduction and solo flute part for Concerto For Flute And Orchestra Op.126 by Vagn Holmboe. Full score: WH29417B Parts are for hire: hire@ewh.dk

Krahmer's Variations Brillantes was originally written for the Csakan an instrument similar to the Recorder. In this edition the original notation has been retained. Scored here for Recorder and Piano (or Harpsichord) accompaniment. Krahmer's Variations Brillantes was originally written for the Csakan an instrument similar to the Recorder. In this edition the original notation has been retained. Scored here for Recorder and Piano (or Harpsichord) accompaniment.

Orchestration: 3.3.2.2/4.2.0.0/timp.perc/hp/str Duration: 12 min. Parts are for hire: hire@ewh.dkTitles: Finnish: Kuoleman Puutarha Danish: Dødens Park French: Jardin De La Mort English: The garden Of Death Orchestration: 3.3.2.2/4.2.0.0/timp.perc/hp/str Duration: 12 min. Parts are for hire: hire@ewh.dkTitles: Finnish: Kuoleman Puutarha Danish: Dødens Park French: Jardin De La Mort English: The garden Of Death

Jörgen Jersild's Concerto For Harp And Orchestra is available here for Harp and Piano accompaniment. Jörgen Jersild's Concerto For Harp And Orchestra is available here for Harp and Piano accompaniment.

Sigrid's Cantata was composed by Bent Sørensen in 2011. First performance at Ojai Festival June 2012 by Leif Ove Andsnes. Sigrid's Cantata was composed by Bent Sorensen in 2011. First performance at Ojai Music Festival June 2012 by Leif Ove Andsnes.

Set of parts for String Quartet No.2 'Quartetto Facile' by Pelle Gudmundsen-Holmgreen (1959). Manuscript copy. Set of parts for String Quartet No.2 'Quartetto Facile' by Pelle Gudmundsen-Holmgreen (1959). Manuscript copy.

Festouverture is a Festival Ouverture by Anders Koppel composed for Aalborg Symphony Orchestra in 2009/10. Festouverture is a Festival Overture by Anders Koppel composed for Aalborg Symphony Orchestra in 2009/10.

Trio Op.42 was composed by Andy Pape in 1989-91. Scored for Violin Piano and Percussion. Trio Op.42 was composed by Andy Pape in 1989-91. Scored for Violin Piano and Percussion.

Tributes - Album For Strings (1994-95) by Per Norgard . Parts are available on hire: hire@ewh.dk I: FOUR OBSERVATIONS - FROM AN INFINTE RAPPORT - hommage a Bartok (1995) II: OUT OF THIS WORLD - hommage a Lutoslawski (1994) III: VOYAGE INTO THE BROKEN SCREEN - hommage a Sibelius (1995). Programme note TRIBUTES - album for strings (1994-95) includes three hommages which might also be performed separately.The shared point of departure was the hommage to three major composers of the 20th century - Bartok Lutoslawski and Sibelius. In FOUR OBSERVATIONS the hommage is to Bartok (on the occasion of the 50th anniversary of his death 1995). Hungarian Radio asked me to write a piece in his honor but apart from the very last unison string figure which is - I think - very Bartokian the work in no way intends to evoke even less to imitate the musical style of the great Hungarian master. This would be an act of impudence against a composer who was such an exceptionally integrated personality and who has himself shown (in 'Mikrokosmos') the worthy way to pay a personal tribute to highly respected colleagues: In 'Hommage a J.S.B.' and 'Hommage à R. Sch.' Bela Bartok composes in his own manner but lets the music reflect some qualities of the said composers as perceived in Bartok's mind. In a similar way my 'Observations from an infinite Rapport' reflects as well the timeless proportions of the 'golden section' - which seem to have inspired Bartok so much - in his great respect for perceptive structural patterns. 'OUT OF THIS WORLD' was composed at the request of a group of Lutoslawski's friends as a symbol of parting to a great composer and a noble man. The title quotes a poem by Yunus Emre the Turkish 14th century poet. The opening line of the poem 'Biz dunyadan' reads as follows in English translation: 'We are on the way out of this world we

Between - Cello Concerto No. 1 - 3 movements for Violoncello and Orchestra composed by Per Nørgård in 1984-85. Premiered by Frances-Marie Uitti and the Danish Radio Symphony Orchestra conducted by Michael Schönwandt August 30th 1985. Programme note: 1. In Between 2. Turning point 3. Among The title of each movement suggests one aspect of the relationship between soloist and orchestra. In the first movement the solist is caught up in a conflict between the expression of inner feelings (solo) and influences from external sources (orchestra) the latter of which the soloist in a simple accompanying role but after a turning point in the middle of the movement the soloist assumes adominating role. In the final movement a balance is finally achieved with the soloist at last being on equal terms with the orchestra. Per Nørgård Between - Cello Concerto No. 1 - 3 movements for Violoncello and Orchestra composed by Per Nørgård in 1984-85. Premiered by Frances-Marie Uitti and the Danish Radio Symphony Orchestra conducted by Michael Schönwandt August 30th 1985. Programme note: 1. In Between 2. Turning point 3. Among The title of each movement suggests one aspect of the relationship between soloist and orchestra. In the first movement the solist is caught up in a conflict between the expression of inner feelings (solo) and influences from external sources (orchestra) the latter of which the soloist in a simple accompanyingrole but after a turning point in the middle of the movement the soloist assumes a dominating role. In the final movement a balance is finally achieved with the soloist at last being on equal terms with the orchestra. Per Nørgård