Hjerternes Sange - De 175 Bedste indeholder noder becifringer og tekster til sange som Nar lyset bryder frem Du er ikke alene Den lille malkeko Stille for storm Hodja fra Pjort Ostesangen Varvise Anemonesangen I Danmark er jeg fodt og mange mange flere. Hjerternes Sange - De 175 Bedste henvender sig bade til Sebastian-kendere men ogsa til alle dem som har lyst til og mod pa en rejse ind i et af Danmarks mest originale omfangsrige og overvaeldende musikalske universer. Og rejsen fortsaetter ...

Bornesange- Becifret melodilinie med underlagt tekst. Musik og tekst af: Grethe Agatz Frans Bak Claus Bjerring Jan Bredsdorff Gerz Feigenberg Per Hald Ellen Heiberg Povl Kjoller Hans-Henrik Ley Kirsten Lockhart Connie Skovvart Jorgen Sorensen og Jorgen Wedege. Becifret melodilinie med underlagt tekst.

Vi Venter På Det Lys has been beautifully composed by Søren Birch for SATB Choir. Vi Venter Pa Det Lys by Soren Birch for SATB Choir a cappella. Text by Johannes Mollehave.

The 'Dante-Sonata' was composed in 1970 inspired by two quotations from Dante’s 'La Divina Comedia' Inferno each in its turn forming the program of the two movements. Movement 1: Wandering through Inferno Dante sees all those who during their life on earth were ill-tempered and discontented and who are now doomed for all eternity to stand in mud up to their necks fighting each other tearing and scratching each other’s flesh. Movement 2: Here the doomed wretches recollect life on earth - the blessed sun and the green meadows; but it is too late to repent. Apart from having this connection with 'La Divina Comedia' the title: 'Dante-Sonata' has a dialectical andmusic-historical reference a reference to Franz Liszt’s Dante Sonata without quoting from it in any way. An elusive 'air' of the music of bygone days can be percieved in the second movement which with its many types of graces is reminiscent of a slow movement of a Baroque dance. 'Dante-Sonata' is dedicated to Elisabeth Klein.

Zig Zag Og Mer Ostinat er en sangbog idébog og metodik for børnekor af John Høybye . Zig Zag Og Mer Ostinat er en sangbog idébog og metodik for bornekor af John Hoybye .

Sadan Ligger Landet - Vinder af Spil Dansk konkurrencen 2004. Arrangeret for blandet kor SATB af Henrik Metz. Musik af Ivan Pedersen og Soren Skov. Tekst af Henrik H. Lund.

From The Carl Nielsen Edition CN 00045 Incidental Music I Text: Jeppe Aakjær From The Carl Nielsen Edition CN 00045 Incidental Music I. Text: Jeppe Aakjaer.

Water Like A Stone for Ensemble (1996). Parts are available on hire: hire@ewh.dk

SAB-Bogen 1 - Popular European and American folksongs arranged for Mixed Choir SAB. Edited by Thomas Alvad & Svend-G Asmussen . SAB-Bogen 1 - Popular European and American folksongs arranged for Mixed Choir SAB. Edited by Thomas Alvad & Svend-G Asmussen .

Day's Nightmare' - Symphony No. 3 Op. 57 in one movement by Ib Nørholm dating from 1973. 'Day's Nightmare' - Symphony No. 3 Op. 57 in one movement by Ib Nørholm dating from 1973.

Godmorgen Lille Land was expertly composed for TTBB a capella by Carsten Johs. Mørch with lyrics written by Niels Brunse . Godmorgen Lille Land was expertly composed for TTBB a capella by Carsten Johs. Morch with lyrics written by Niels Brunse.

Mitternacht Mit Mignon for Piano solo was composed by Bent Sørensen in 2012. Dedicated Katrine Gislinge. Mitternacht Mit Mignon for Piano solo was composed by Bent Sorensen in 2012. Dedicated Katrine Gislinge.

Second Piano Concerto-Commissioned by Det Norske Kammerorkester (Norwegian Chamber Orchestra). 2007-2009. Bent Sorensen's La Mattina (Second Piano Concerto) 2007-2009. Commissioned by the Norwegian Chamber Orchestra.

Carl Nielsen (1865-1931) was a Danish musician often seen as his country’s greatest composer who now occupies a distinguished platform in the national and cultural heritage of his native Denmark. The Carl Nielsen Edition is an independent project which aims to publish all of his finished works in the version last approved by the composer. His Sonata No.2 for Violin and Piano (Op. 35) was composed in 1912 for a concert the following year by two of the composer's friends. It is scored in three movements: Allegro con Tiepidezza - Molto Adagio - Allegro Piacevole . Despite a poor critical reception after its first performance itwas for a while one of the composer's most popular works with the general public.

Programme Note During the composition of my tenth string quartet a flower-name høst-tidløs came to my mind - and it would not me leave again. [høsttidløs is actually autumn crocus in English but the composer prefers harvest-timeless to maintain some of the associations of the Danish flower-name red.] The paradoxical union of a seasonal time (harvest) and no-time-at-all was a good fit to the sections of the work that I had composed at that time and I decided to tentatively stick to that title for the work-in-progress and now having finished the piece I can say that is is still a fitting title - and it stands. Enough about the title I will go on to describe themusic a somewhat more precarious project. My tenth string quartet is probably the most basic string quartet that I have composed: melodically - and in sound - it employs the naturally based overtones and undertones (perceived at major and minor respectively) and rhythmically it is based on growth on the principles of the Golden Section and the structure itself contrasts abundance and exuberance with sections of immobility and contemplation. However Melos melody is definitely the dominating aspect of my STRING QUARTET NO. 10: behind even the most rhythmically complex or pure sonoric sections lies a firm - if hidden - basis of melodic or polyphonic ideas. The work was composed in 2004-2005 for the Kroger Quartet. Programme Note During the composition of my tenth string quartet a flower-name høst-tidløs came to my mind - and it would not me leave again. [høsttidløs is actually autumn crocus in English but the composer prefers harvest-timeless to maintain some of the associations of the Danish flower-name red.] The paradoxical union of a seasonal time (harvest) and no-time-at-all was a good fit to the sections of the work that I had composed at that time and I decided to tentatively stick to that title for the work-in-progress and now having finished the piece I can say that is is still a fitting title - and it stands. Enough about the title I will go onto describe the music a somewhat more precarious project. My tenth string quartet is probably the most basic string quartet that I have composed; melodically - and in sound - it employs the naturally based overtones and undertones* (perceived at major and minor respectively) and rhythmically it is based on growth on the principles of the Golden Section and the structure itself contrasts abundance and exuberance with sections of immobility and contemplation. However Melos melody is definitely the dominating aspect of my STRING QUARTET NO. 10; behind even the most rhythmically complex or pure sonoric sections lies a firm - if hidden - basis of melodic or polyphonic ideas. The work was composed in 2004-2005 for the Kroger Quartet.

For mixed voices a cappella Lyrics: Ellen Heiberg For mixed voices a cappella Lyrics: Ellen Heiberg

John Frandsen: REQUIEMStrumenti2 fl. grande1 fl. picc.2 oboi1 c. ingl.2 cl. in Bb1 cl. basso in Bb2 fagotti1 contrafag.4 corni in F3 trombe3 tromboni1 tubaarpapercussione (4 musici)Tubular bells4 chinese temple bellsTamtamCrotalesTuned gongsMarimbaGran cassaGlockenspielSnare drumLarge church bell in AThunder plateCymbals - 2Suspended cymbal2 x 5 tom-toms (in left & right side of the stage)CelestaXylophoneTringletimpaniarchiorgano Organ reduction with Percussion for Requiem by John Frandsen. Scored for Soloists (SATB) Chorus (SATB) Girl's Chorus (SSAA) and Orchestra (2010). Latin Texts and texts by Simon Grotrian. 'In memory of the victims from the Utoya massacre 22 July 2011' Commissioned by The Danish National Symphony Orchestra / DR The texts by Simon Grotrian are sung by a Rock Singer accompanied by Organ. Parts are available on hire: hire@ewh.dk Score: WH31253

Near Still Distant Still - Version 2 for Flute Viola and Harp was composed by Pelle Gudmundsen-Holmgreen in 2005. The orginal version is for Violin Horn and Piano (WH30680). Danish title: Stadig nær stadig fjern. Near Still Distant Still - Version 2 for Flute Viola and Harp was composed by Pelle Gudmundsen-Holmgreen in 2005. The orginal version is for Violin Horn and Piano (WH30680). Danish title: Stadig naer stadig fjern.

Music by Povl Hamburger with lyrics by Halfdan Rasmussen; arranged by Michael Bojesen.

All In One for 3 String Quartets was composed by Pelle Gudmundsen-Holmgreen in 2013 (String Quartet No.12 13 and 14 played simultaneously). Gudmundsen-Holmgreen has written a collection of three new string quartets: String Quartet no. 12 Each in Each'; String Quartet no. 13 Mutual Ordering' and String Quartet no. 14 Well-Tuned Sounds'. Each quartet can be played on its own; they can also played simultaneously in any combination. When all three quartets are played together as they are tonight the combined work is titled All in One. About this collection Gudmundsen-Holmgreenwrites: 'Some years ago Kronos and the vocal group Theatre of Voices performed three new pieces which I had written for the two groups: one for Theatre of Voices (Green) and two for Kronos (New Ground and No Ground). They were played and sung by each group independently - but also both groups together concurrently on top of each other as a final gesture. The combined pieces were called New Ground Green and No Ground Green. 'David liked the idea (and the result) of pairs of quartets that could be played both independently and simultaneously and asked me if the vocal quartet could be transformed into a string quartet. It could not. He then asked me to repeat the whole set-up with a new pair of quartets adding also some percussion instruments as was the case with Green for Theatre of Voices. Of course this was tempting. Furthermore David asked me to make one of the two new quartets a little easier to play. 'I began to work. The Kronos part of the pair of quartets turned out to be tough to play as David puts it. Unfortunately the easier' one was tough to play also! So I had to write one more which was then a little easier still (but still not easy). 'The three new works can be played separately and on top of each other in many different combinations resulting in different kinds of