A stuning composition by Per Nørgård Iris for Orchestra dates from 1966-67. This is the full conductor's score. A stuning composition by Per Nørgård Iris for Orchestra dates from 1966-67. This is the full conductor's score.

POD-6 Korsalmer Til Tekster af Ester Bock (6 Choral Hymns to texts by Ester Bock) for Mixed Chorus SATB composed by Søren Birch. 6 Korsalmer Til Tekster af Ester Bock (6 Choral Hymns to texts by Ester Bock) for Mixed Chorus SATB composed by Soren Birch .

Sværm/Swarm Op. 190b - 11 Pieces for String Quartet was composed by Vagn Holmboe in 1992. Original version for 2 Violins: KP00410. Sværm/Swarm Op. 190b - 11 Pieces for String Quartet was composed by Vagn Holmboe in 1992. Original version for 2 Violins: KP00410.

Wind Quintet Score-Maurice Ravel's Le Tombeau De Couperin which has been expertly arranged for Wind Quintet by Hans Abrahamsen. Maurice Ravel's Le Tombeau De Couperin which has been expertly arranged for Wind Quintet by Hans Abrahamsen.

Violin Solo-The Lady Of Shalott - Version for solo Violin (1992) by Bent Sørensen . The Lady Of Shalott - Version for solo Violin (1992) by Bent Sørensen .

The Full Score of Saariaho's Verblendungen for Orchestra and Tape. The piece is dedicated to Esa-Pekka Salonen who conducted the premiere performance in Helsinki Finland with the Finnish Radio Symphony Orchestra in April 1984. With both orchestra and tape working in opposite directions of the tonal spectrum this is a fantastic and expressive work that balances the contrast the two elements. Despite these tonal differences the tape and orchestra join together in an inseparable sound world and form a breath-taking orchestral piece that moves through jagged grainy sounds to smoother more reflective moods.The Full Score of Saariaho's Verblendungen for Orchestra and Tape. The piece is dedicated to Esa-Pekka Salonen who conducted the premiere performance in Helsinki Finland with the Finnish Radio Symphony Orchestra in April 1984. With both orchestra and tape working in opposite directions of the tonal spectrum this is a fantastic and expressive work that balances the contrast the two elements. Despite these tonal differences the tape and orchestra join together in an inseparable sound world and form a breath-taking orchestral piece that moves through jagged grainy sounds to smoother more reflective moods.

A delightful and quirky composition by Andy Pape composed in 1992. Talking Drums II is played using two African Talking Drums where the drum is held under one arm which squeezes the strings attached to the skin and thereby changes the pitch of the drum. With spoken/shouted parts for each drummer this is a high energy conversation between two percussionists! A delightful and quirky composition by Andy Pape composed in 1992. Talking Drums II is played using two African Talking Drums where the drum is held under one arm which squeezes the strings attached to the skin and thereby changes the pitch of the drum. With spoken/shouted parts for each drummer this is a high energy conversation between two percussionists!

A dramatic and challenging piece from this equally dramatic and challenging composer. Four Five is written for Brass Quintet. A dramatic and challenging piece from this equally dramatic and challenging composer. Four Five is written for Brass Quintet.

Written in 1991 for Cello and Guitar. Duration: 10 minutes. Written in 1991 for Cello and Guitar. Duration: 10 minutes.

Les Tuchins for 2 Trombones 2 El-guitars and 2 Violoncellos was composed by Danish composer Bent Sørensen in 1986. Les Tuchins for 2 Trombones 2 El-guitars and 2 Violoncellos was composed by Danish composer Bent Sørensen in 1986.

Strunge Sange - 4 songs with text by Michael Strunge composed by Bent Sørensen in 1988. For Mixed Choir SSAATTB. Strunge Sange - 4 songs with text by Michael Strunge composed by Bent Sorensen in 1988. For Mixed Choir SSAATTB.

Parts for Nova Genitura by Per Nørgård . Score: KP00164 Parts for Nova Genitura by Per Nørgård . Score: KP00164

After the success of Carpe Diem! a Clarinet Concerto written in 1990 Kaipainen went on to write his Oboe Concerto in 1994. Carpe diem! exemplifies the increasingly Classical ideals espoused by Kaipainen over the years. He develops this strand even further in his 'Oboe Concerto' which is a much more restrained and balanced work in darker tones.The piece contains three movements the first of which combines elements of a traditional opening movement and scherzo. The slow movement is an affecting elegy. The finale consists mostly of quietly played perpetuum mobile figures interspersed with sudden dramatic passages.After the success of Carpe Diem! a Clarinet Concerto written in 1990 Kaipainen went on to write his Oboe Concerto in 1994. Carpe diem! exemplifies the increasingly Classical ideals espoused by Kaipainen over the years. He develops this strand even further in his 'Oboe Concerto' which is a much more restrained and balanced work in darker tones.The piece contains three movements the first of which combines elements of a traditional opening movement and scherzo. The slow movement is an affecting elegy. The finale consists mostly of quietly played perpetuum mobile figures interspersed with sudden dramatic passages.

A brilliant composition by Jouni Kaipainen completed in 1984 for Bass Clarinet in Bb and Piano accompaniment. Was commissioned by the Radio of Netherlands (NOS) and the Finnish Broadcasting Company. A brilliant composition by Jouni Kaipainen completed in 1984 for Bass Clarinet in Bb and Piano accompaniment. Was commissioned by the Radio of Netherlands (NOS) and the Finnish Broadcasting Company.

A setting texts by Sylvia Plath this 1988 work is for Soprano and Mezzo Soprano voices. Commissioned for the 1988 Huddersfield Contemporary Music Festival. A cycle of five duets the texts originate from Plath's novel The Bell Jar and from the poem Paralytic from the Ariel collection. A setting texts by Sylvia Plath this 1988 work is for Soprano and Mezzo Soprano voices. Commissioned for the 1988 Huddersfield Contemporary Music Festival. A cycle of five duets the texts originate from Plath's novel The Bell Jar and from the poem Paralytic from the Ariel collection.

Work for Soprano Violin and Guitar dating from 1983. Three songs to poems by John Donne (1573-1631). Work for Soprano Violin and Guitar dating from 1983. Three songs to poems by John Donne (1573-1631).

Work for Percussion Trio composed in 1990. Work for Percussion Trio composed in 1990.

Commissioned by the Finnish National Opera. Part 6 of the work 'Maa' for Harp with optional Electronics.

The word GONG is saturated with associations: the splendour of the Orient mysticism drama loud metallic clangour violent impact etc. The present piece draws upon all those connotations but it is primarily a symphonic drama about the life and behaviour of the sun our closest star and prime source of life on Earth. Describing the sun in music is not a new idea of course: during a visit to Greece Carl Nielsen was inspired by the orbit of the sun and its very un-Danish ferocity and thus wrote the Helios Overture. GONG is a Helios Overture too of sorts albeit more abstract. Recent astronomical research shows that the surface of the sun reverberates like a gong infour different simultaneous tempi (not directly depicted in the score though): the sun looks like a GONG - the O in the written work looks like the sun: there is even a solar research group called GONG (Global Oscillation Network Group). Formally the composition follows the life and fate of the sun from the initial explotional birth through the hyper-activity as energy source as we know it today to the final predicted flaring up and collapse into a so-called white dwarf. But - being a musical composition not an astrophysical thesis - GONG is brought to its compositional conclusion by a real concert-ending a chord taken from the middle of the piece and sustained over several bars from virtual nothingness to full force. The word GONG is saturated with associations: the splendour of the Orient mysticism drama loud metallic clangour violent impact etc. The present piece draws upon all those connotations but it is primarily a symphonic drama about the life and behaviour of the sun our closest star and prime source of life on Earth. Describing the sun in music is not a new idea of course; during a visit to Greece Carl Nielsen was inspired by the orbit of the sun and its very un-Danish ferocity and thus wrote the 'Helios Overture'. GONG is a 'Helios Overture' too of sorts albeit more abstract. Recent astronomical research shows that the surface of the sun reverberates like a gong infour different simultaneous tempi (not directly depicted in the score though); the sun looks like a GONG - the O in the written work looks like the sun; there is even a solar research group called GONG (Global Oscillation Network Group). Formally the composition follows the life and fate of the sun from the initial explotional birth through the hyper-activity as energy source as we know it today to the final predicted flaring up and collapse into a so-called 'white dwarf'. But - being a musical composition not an astrophysical thesis - GONG is brought to its compositional conclusion by a 'real concert-ending' a chord taken from the middle of the piece and sustained over several bars from virtual nothingness to full force.

Wenn Die Rose Sich Selbst Schmuckt Schmuckt Sie Auch Den Garten (When The Rose Beautifies Itself It Beautifies The Garden ) was composed by Per Norgard in 1971. Chamber Cantata for four performers Scored for Soprano Alto Flute Double Bass and Percussion (all playing also Crotales). Composed for and dedicated to Dorothy Dorrow. Parts available: KP01092 Preface / Programme Note The title of the work is borrowed from a fragment by the German poet Friedrich Ruckert. This fragment this short sentence (which Ruckert apparently neverelaborated upon) is the entire basis of the work. I was inspired by the meaning as well as the sound of these words. I perceive the meaning of the sentence as being a defence for the refinement of an individual's personal gifts - far from the present hostility toward individuality and the senseless praise of impersonal success in society. Personal refinement can so the fragment in my interpretation at its best be accompanied by a deep sense of responsibility and become an active and positive influence in society. The sound the timbre of the individual words and characters is employed both in straightforward text-sequences as well as in the exploration of individual vowels and consonants as pure sounds. The soprano is often used purely instrumentally echoing and pre-echoing discreetly the notes of the flute and the harmonics of the double bass often imperceptably stealing their notes and altering them into human sounds which then yet again are absorbed into the instrumental tapestry. Per Norgard 1971