Afskrift was composed in 1971 by Karl Aage Rasmussen. Scored for Flute Violin Viola Cello and Piano. Dedicated to the Poul Birkelund Quintet. Afskrift was composed in 1971 by Karl Aage Rasmussen. Scored for Flute Violin Viola Cello and Piano. Dedicated to the Poul Birkelund Quintet.

Per Norgard 's 9 Danske Sange Op.14 for Voice and Piano. Former known as 9 Strofiske Danske Sange. 1. Overstaet angst (Halfdan Rasmussen) 2. Tordenbygen (Thoger Larsen) 3. Den jyske blaest (Johannes V. Jensen) 4. Fred (Haldan Rasmussen) 5. Min sjael er som en enlig baek (Joh. Jorgensen) 6. Landskab (Thoger Larsen) 7. Vinternat (Jens August Schade) 8. Pa Himmelbjerget (Jens August Schade) 9. Vedis Vuggevise - Mit lov mit lille trae (Johannes V. Jensen)

String Quartet No.11No Ground2012Score = WH31465Duration 14 min. Set of parts for String Quartet No.11 'No Ground' (2012) by Pelle Gudmundsen-Holmgreen. Score: WH31465

J.S. Bach's Prelude and Fugue No. 8 from Das Wohltemperierte Klavier Vol.1 expertly arranged for Chamber Ensemble by Karsten Fundal . Parts are available: KP01004 J.S. Bach's Prelude and Fugue No. 8 from Das Wohltemperierte Klavier Vol.1 expertly arranged for Chamber Ensemble by Karsten Fundal . Parts are available: KP01004

Set of parts for Vagn Holmboe 's String Quartet No.13 / Strygekvartet Nr.13 Op.124 (1975).

Work for Orchestra composed in 1977. Parts are for hire : hire@ewh.dk Work for Orchestra composed in 1977. Parts are for hire : hire@ewh.dk

Per Norgard 's Tidsrum / Spaces Of Time for Orchestra with obligate Piano dating from 1991. Programme Note Spaces of time is a 20-minute long one-movement orchestral piece with piano signifying that the piano not only as in my other orchestra works is part of the ensemble but also in a major passage attracts almost all attention. This passage is only one of the spaces of time- spaces which give the work its title and represent individual musical perspectives. Relations of tempo and scale characterize such a space (besides the mentionedpiano-concerto or other intrumental features) and in this way associate with say a small room - with close-ups of the musical objects - or perhaps to an infinitely great space - a cosmic one where all is far away and vibrating. One motive marked mainly by ascending stepwise movement unifies the spaces but the very varied scales may let the outines of the motive change between say 1/4-tone steps 1/2-tone steps diatonic and other scale steps up to such ambient steps that each one comprises almost a third of the total orchestral range. Very often 2 scales are woven together in a way that lets the hidden tone inside a major step in one of the scaels become a part of the other scale. By dynamic means one scale may be highlighted as a figure the other one as a ground in one passage - and vice versa. In this way a 12-tone chromatic scale may as well contain a Japanese 5-tone scale as a European 7-tone scale. In the final space the tones literally take leave of the listeners - by streaming down - as water sucked down into the ground by gravity - into the bass octaves and - into silence. Spaces of time was comissioned by Suntory Hall in 1990-91 (artistic director Toro Takemitsu) in October 1991 with Aki Takahashi (piano)

Two movements for orchestra. Two movements for orchestra.

12 Meddelelse Og Landskab Op. 205 was composed by Niels Viggo Bentzon between 1956 and 1957.

Spolia' for orchestra was commissioned by TONALi and is programmed to be first performed in June 2020 at Elbphilharmonie Hamburg conducted by Christoph Eschenbach. Spolia' for orchestra was commissioned by TONALi and is programmed to be first performed in June 2020 at Elbphilharmonie Hamburg conducted by Christoph Eschenbach.

A cantata for upper voices to mark the liberation of Denmark in 1945. With text by Danish author Iben Krogsdal. Premiered in Holmens Kirke Copenhagen in May 2019. A cantata for upper voices to mark the liberation of Denmark in 1945. With text by Danish author Iben Krogsdal. Premiered in Holmens Kirke Copenhagen in May 2019.

A work for orchestra commissioned by Gothenburg Symphony Orchestra. The composer writes I have borrowed the title 'Voyages extraordinaires' from the writer Jules Verne and his famous novel series depicting fantastic or in reality impossible journeys. The title seemed fitting as my work is intended as fantastical musical voyages on which the listener encounters new worlds of sound through recurring orchestral transformations. I see the work somewhat as a tribute to how art has the abilities to transcend the limits of life. Some years ago I composed a horn trio 'Diagonal Musik' (2017) inspired by the Swedish artist Olle Baertling. Baertling’s paintings consist of large brighttriangular shapes and although the lines gradually approach one another the intersecting point is often placed outside the frame. Consequently the spectator will try to complete the angle in their own head. In my horn trio I wanted to transfer this to music: the lines that gradually approach each other but rarely meet except perhaps in the listener’s head. In 'Voyage Extraordinaires' I have tried to develop these techniques even further this time for orchestral forces and combine them with the magical transformations an important structural element of the piece. The fantastic journeys also refer to travels in our own imagination: what we believe and picture in our mind. The sudden musical transformations that occur are also reminiscent of dream logic and the dreamscape itself. Here it is possible to wander in and out through worlds in a way that feels consistent within the framework of the dream. A work for orchestra commissioned by Gothenburg Symphony Orchestra. The composer writes I have borrowed the title 'Voyages extraordinaires' from the writer Jules Verne and his famous novel series depicting fantastic or in reality impossible journeys. The title seemed fitting as my work is intended as fantastical musical voyages on which the listener encounters new worlds of sound through recurring orchestral transformations. I see the work somewhat as a tribute to how art has the abilities to transcend the limits of life. Some years ago I composed a horn trio 'Diagonal Musik' (2017) inspired by the Swedish artist Olle Baertling. Baertling’s paintings consist of large brighttriangular shapes and although the lines gradually approach one another the intersecting point is often placed outside the frame. Consequently the spectator will try to complete the angle in their own head. In my horn trio I wanted to transfer this to music: the lines that gradually approach each other but rarely meet except perhaps in the listener’s head. In 'Voyage Extraordinaires' I have tried to develop these techniques even further this time for orchestral forces and combine them with the magical transformations an important structural element of the piece. The fantastic journeys also refer to travels in our own imagination: what we believe and picture in our mind. The sudden

A work for solo cello and electronic effects dedicated to Jeffrey Ziegler. 'A Highway In State Space' is an artistic interpretation of professor Signe Kjelstrup's work on energy conversion corresponding to an article including the same wording which was published in Chemical Engineering Science 60 (2005) by the authors Eivind Johannessen and Signe Kjelstrup. A work for solo cello and electronic effects dedicated to Jeffrey Ziegler. 'A Highway In State Space' is an artistic interpretation of professor Signe Kjelstrup's work on energy conversion corresponding to an article including the same wording which was published in Chemical Engineering Science 60 (2005) by the authors Eivind Johannessen and Signe Kjelstrup.

String Quartet Version - Parts)-The composer writes: The backdrop for this commission was to complement music by the great Ludwig van Beethoven. Beethoven’s scores for string quartet are cornucopias of techniques and musicality. They were certainly not meant for pure entertainment. Ending up with Beethoven’s quartet Op. 59 No. 1 as a reference for this piece I even used elements from this quartet in my own composition. Beethoven’s position as a free artist has been of great importance to all following composers. This is of equal inspiration as his music. As a free artist one has to reflect upon our own time and not be afraid of allowing reality affect our work. When I was in the middle of writingthis piece something horrible happened in my neighbourhood. A bomb exploded in Oslo and a killer shot teenagers on an island summer camp. My nation’s reputation as a peaceful country to live in was drastically and forever changed. It was hard to compose. Papers and online media were soon filled with horrible pictures from the events. The lead-coloured skies being a recurring sight. The ambiguity in the title reflects both hope and dread. Beethoven’s light shines through strong and full of life! The piece was commissioned by the Engegård Quartet in 2011 and appears the recording String Quartets vol IV: Schubert-Ratkje-Britten-Haydn. A later piece was composed for string orchestra: 'Tale of Lead and Frozen Light' (2014). The composer writes: The backdrop for this commission was to complement music by the great Ludwig van Beethoven. Beethoven’s scores for string quartet are cornucopias of techniques and musicality. They were certainly not meant for pure entertainment. Ending up with Beethoven’s quartet Op. 59 No. 1 as a reference for this piece I even used elements from this quartet in my own composition. Beethoven’s position as a free artist has been of great importance to all following composers. This is of equal inspiration as his music. As a free artist one has to reflect upon our own time and not be afraid of allowing reality affect our work. When I was in the middle of writingthis piece something horrible happened in my neighbourhood. A bomb exploded in Oslo and a killer shot teenagers on an island summer camp. My nation’s reputation as a peaceful country to live in was drastically and forever changed. It was hard to compose. Papers and online media were soon filled with horrible pictures from the events. The lead-coloured skies being a recurring sight. The ambiguity in the title reflects both hope and dread. Beethoven’s light shines through strong and full of life! The piece was commissioned by the Engegård Quartet in 2011 and appears the recording String Quartets vol IV: Schubert-Ratkje-Britten-Haydn. A later piece was composed for string orchestra: 'Tale of Lead and Frozen Light' (2014).

SSAA Version - Score-The work combines the Latin text for the Responsorial Chant for Matins at Christmas with a verse of the pilgrim hymn Fair is creation which can be sung in English German or Danish. Parts WH31169A Choral Part: WH31169B Version for mixed voices also available.

SSAA Version - Score-The work is based on the Latin Christmas hymn Puer natus in Bethlehem from the 13th century and along the way the German fishing melody Ein Kind geborn zu Bethlehem from the 16th century onwards. The latter can be sung in English German or Danish at will. The work can be sung a cappella or with piano accompaniment (WH33171A). Version for mixed voices also available.

Three songs for soprano and piano setting text of Holger Drachmann.

These six songs arranged for Wind Quintet by Phillip Faber were commissioned by the Carl Nielsen Kvintetten in 2016. Parts available: WH33160A

Player's Score-Commissioned by Elisabeth Holmerz and Kenneth Karlson and first performed at the Ultima Festival on 18 September 2019. Commissioned by Elisabeth Holmerz and Kenneth Karlson and first performed at the Ultima Festival on 18 September 2019.

Solohouse is an experimental architectural project by the American materialist visionary Lebbeus Woods. The project consists of architectural drawings and models of a house for one person. The work for solo cello explores the potential for ¼ tone writing attempting to treat micro-tonality as an extended resource of melodic composition hence creating nuance in the treatment of linear writing. The idea of “planting” musical objects in musical space was something the composer wanted to explore putting on author’s hat and investigating form on terms of dramaturgy using repetition as a structural device. Inspired by the Solohouse the composer thought of the cello as a space ofobservation from which the occupier reflects. Solohouse is an experimental architectural project by the American materialist visionary Lebbeus Woods. The project consists of architectural drawings and models of a house for one person. The work for solo cello explores the potential for ¼ tone writing attempting to treat micro-tonality as an extended resource of melodic composition hence creating nuance in the treatment of linear writing. The idea of “planting” musical objects in musical space was something the composer wanted to explore putting on author’s hat and investigating form on terms of dramaturgy using repetition as a structural device. Inspired by the Solohouse the composer thought of the cello as a space ofobservation from which the occupier reflects.