Frère Jacques / Mester Jakob for Orchestra (22 musicians) was composed by Pelle Gudmundsen-Holmgreen in 1964. Frère Jacques / Mester Jakob for Orchestra (22 musicians) was composed by Pelle Gudmundsen-Holmgreen in 1964.

Kredslob (Cycles) - for 1-2-4-8 and 12 part choir (or 12 solo voices) 1977. Text by Ole Sarvig (1921-81). New 2011 edition by Ivan Hansen in collaboration with the composer. Kredslob is also published with English text. The English translation is by Helen and Ole Sarvig: Cycles WH31483E

Cello Solo-Siciliano for Cello solo by Hans Abrahamsen (2000). Siciliano can be played as a piece by itself but it can also be played together with the cello pieces Hymn and Storm and Still as Sonate for cello solo. Then it should be like this in the programme: Sonate for cello solo (1988-2000) I. Hymn (=WH30250) II. Storm and Still (WH30241) III. Siciliano Commissioned by and dedicated to Morten Zeuthen. Siciliano for Cello solo by Hans Abrahamsen (2000). Siciliano can be played as a piece by itself but it can also be played together with the cello pieces Hymn and Storm and Still as Sonate for cello solo. Then it should be like this in the programme: Sonate for cello solo (1988-2000) I.

Buster Keaton was one of the first stars of the silver screen and appears in the 1928 motion picture Steamboat Bill Junior one of the undoubted final highlights of silent film. Finnish composer Magnus Lindberg was so affected by the stunning film with its ambitious and iconic stunts that in 1990 he wrote this terrific piece for Clarinet and Cello called Steamboat Bill Jr. . It is a colourful four-movement work of spectral music which hints at minimalism yet attempts to express the action and plot of the film in its eight-minute duration. This is the player's score edited by Anssi Karttunen and set for Clarinet and Cello. The first performance took place during aconcert by the Toimii ensemble at the Warsaw Autumn festival in September 1990. Buster Keaton was one of the first stars of the silver screen and appears in the 1928 motion picture Steamboat Bill Junior one of the undoubted final highlights of silent film. Finnish composer Magnus Lindberg was so affected by the stunning film with its ambitious and iconic stunts that in 1990 he wrote this terrific piece for Clarinet and Cello called Steamboat Bill Jr. . It is a colourful four-movement work of spectral music which hints at minimalism yet attempts to express the action and plot of the film in its eight-minute duration. This is the player's score edited by Anssi Karttunen and set for Clarinet and Cello. The first performancetook place during a concert by the Toimii ensemble at the Warsaw Autumn festival in September 1990.

Sommerdag for Male Choir TTBB was composed by Johannes Kristensen. Lyrics by the composer. Sommerdag for Male Choir TTBB was composed by Johannes Kristensen . Lyrics by the composer.

Winter Cantata / Vinterkantate (1976) by Per Nørgård for a variable ensemble of soloist mixed choir and instruments (minimum: vocalist and organ). Programme Note: When in 1975 I had finished composing my 3rd Symphony (begun in 1973) I wrote three simple melodies for two psalm texts by Ole Sarvig: “The Year” and “Choral Hymn”. These three tunes were derived from the same material as the second movement of the 3rd Symphony and could be harmonized together in several different tempo relationships at the same time - like fractals – which inspired me to write several choral and instrumental works in the following decade based on these melodies: “Frost Psalm” “Winter Cantata” “ Winter Hymn” “Cantica” and others. One of these ´Sarvig melodies´ is now included in the new Danish Hymnbook under the title “Året”(The Year). Ole Sarvig´s poem “Året” (The Year) is Danish perhaps Scandinavian in character but its symbolic atmosphere is global (now snow is covering the whole earth). The basic composition of this cantata – based on Sarvig´s many verses – was done by letting soloist choir and instruments change in feelings and moods: from the almost silent inward-looking beginning (I: Chorale dolorosa) to a dancelike and happy optimism (II: A heaven germ on winged foot thrust deep into the earth its root) followed by nightmarish tone rows as the “year-wheel of fortune” is turning (III: Sacrifice – The Year) and the temptations of the snake (IV: In Paradiso) – to the allegorical fights between egoism and altruism (V:The Cycle – Autumn. Purgatory) before the “waiting for a disaster”- atmosphere at the end of this choral Odyssé. Winter Cantata was from the beginning (1976) designed as an open work to be arranged by different combinations of soloists choir and (different) instruments. The printed version by Per Nørgård and Ivan hansen for soloist mixed choir and instruments (obo violin trombone vibraphone/percussion and organ) is from 1990. The work is available in both the (original) Danish version (“Vinterkantate”) and an English version (Winter Cantata) translated by Helen and Ole Sarvig. (Per Nørgård) Winter Cantata / Vinterkantate (1976) by Per Nørgård for a variable ensemble of soloist mixed choir and instruments (minimum: vocalist and organ). Programme Note: When in 1975 I had finished composing my 3rd Symphony (begun in 1973) I wrote three simple melodies for two psalm texts by Ole Sarvig: “The Year” and “Choral Hymn”. These three tunes were derived from the same material as the second movement of the 3rd Symphony and could be harmonized together in several different tempo relationships at the same time - like fractals – which inspired me to write several choral and instrumental works in the following decade based on thesemelodies: “Frost Psalm” “Winter Cantata” “ Winter Hymn” “Cantica” and others. One of these ´Sarvig melodies´ is now included in the new Danish Hymnbook under the t

Piano Solo-October - Four movements for Piano (left hand) by Hans Abrahamsen (1969/rev.1976). October - Four movements for Piano (left hand) by Hans Abrahamsen (1969/rev.1976).

Work for Oboe Solo composed in 1990. Work for Oboe Solo composed in 1990.

Parts for Round And In Between (Rundt og Imellem) for Brass Quintet by Hans Abrahamsen (1971/rev.1976). Manuscript copy. Parts for Round And In Between (Rundt og Imellem) for Brass Quintet by Hans Abrahamsen (1971/rev.1976). Manuscript copy.

Nova Genitura was composed by Per Nørgård in 1975. Scored for Soprano and Violin Recorder Gamba Lute and Harpsichord. Programme note: A universe of Marian gentleness heavenly beauty and redeeming joy typifies the vocal works of Per Nørgårds in the 1970s for example Nova Genitura for soprano and baroque ensemble. The composer writes: The concept of Mary has a depth that transcends all religious persuasions. All over the earth symbols of the gentle and maternal are known. But the word 'Maria' is also associated - in sound - with the Latin word for the sea mare and she thus becomes the Star of the Sea Maris stella. Their simplicity makes it possible to grasp the music'soften complex interweaving of concurrent melodies and tempo layers. Nova Genitura was composed directly in the context of the ending of the Third Symphony in 1975: it also incorporates melodic and harmonic themes from the symphony (the 'Maria' motifs of the second part). However the work is combined with a newly-created song (the Flosutrosa melody) whose Golden Section rhythms gave the melody a 'stamina' that carried it over into many later compositions. The two Maria themes and the Flosutrosa melody are based on direct 'extracts' from the Nørgårdian infinity series. The arching Flosutrosa melody is developed further in seven later Nørgård work from the orchestral work Twilight (1976) through the choral song Flosutrosa floruit (1991) the choral work Ut Rosa (2001) and the piano piece A Rose Petal (2002) to the harp works Consolazione (2002) Harp Concerto no. 2 - Through Thorns (2000) and Flowering (2007). One of the 'Marian melodies' has now been included in the standard Danish hymnal Den Danske Salmebog (no. 720 - Somåretgår/The year goes by) and both have formed startingpoints for about 20 later - especially vocal - works to or based on texts by the Danish poet Ole Sarvig (1921-1981). Nova Genitura was composed by Per Nørgård in 1975. Scored for Soprano and Violin Recorder Gamba Lute and Harpsichord. Programme note: A universe of Marian gentleness heavenly beauty and redeeming joy typifies the vocal works of Per Nørgårds in the 1970s for example Nova Genitura for soprano and baroque ensemble. The composer writes: 'The concept of Mary has a depth that transcends all religious persuasions. All over the earth symbols of the gentle and maternal are known. But the word 'Maria' is also associated - in sound - with the Latin word for the sea mare and she thus becomes the Star of the Sea Maris stella. Their simplicity makes it possible to grasp the music's often complex interweaving of concurrent melodies and tempo layers.' 'Nova Genitura was composed directly in the context of the ending of the Third Symphony in 1975; it also incorporates melodic and harmonic themes from the symphony (the 'Maria' motifs of the second part). However the work is combined with a newly-created

Work for three Percussionists dating from 1984. Work for three Percussionists dating from 1984.

Programme Note This short one-movement quartet is a kind of modernization of the 14th century French motets a cadeau to this weird and fantastic music whose abstract and almost deprecatory introvert expression appears unaccountably modern and incredibly ancient at the same time. MOTET is a sober cool treatise on rhythm and statics depicted in a Gothic crypt-like atmosphere. The almost completely non-vibrato movement is suggestive of boys’ choir monks’ processions and the piercing sound of musical glasses. An ancient world is reborn and becomes the world of today. Poul Ruders 1979

The Bass Clarinet and Bassoon parts to Svend Hvidtfelt Nielsen's '..Into The Black' - an executional procession . The Bass Clarinet and Bassoon parts to Svend Hvidtfelt Nielsen's '..Into The Black' - an executional procession .

Work for Solo Piano. The composer writes: 'The Masque of the Red Death' was commissioned by and dedicated to Yvar Mikhashoff. The title refers to the short story with the same title by Edgar Allan Poe. Poe’s story about the plague terrifying a masquerade party was only one inspiration for the music and my piece is in no way programmatic - even despite the very fast staccato clouds plague bells and medieval-dance fragment that can be heard. Work for Solo Piano. The composer writes: 'The Masque of the Red Death' was commissioned by and dedicated to Yvar Mikhashoff. The title refers to the short story with the same title by Edgar Allan Poe. Poe’s story about the plague terrifying a masquerade party was only one inspiration for the music and my piece is in no way programmatic - even despite the very fast staccato clouds plague bells and medieval-dance fragment that can be heard.

Work for Voice Synthesiser Guitar Marimba Vibraphone and Percussion. Work for Voice Synthesiser Guitar Marimba Vibraphone and Percussion.

The title Marchenbilder or Fairy-tale Pictures borrowed from Schumann awakens notions of music which in itself has a pictorial quality. In all the score comprises six Fairytale Pictures the first three of which form the first movement the next two the second whilst the sixth forms the last movement which is linked with the second without a break. The first two pictures have the same duration - one minute each - whilst the remainder hesitantly inerease in length until the final picture is almost five minutes long. For 14 instruments.The title Marchenbilder or Fairy-tale Pictures borrowed from Schumann awakens notions of music which in itself has a pictorial quality. In all the score comprises six Fairytale Pictures the first three of which form the first movement the next two the second whilst the sixth forms the last movement which is linked with the second without a break. The first two pictures have the same duration - one minute each - whilst the remainder hesitantly inerease in length until the final picture is almost five minutes long. For 14 instruments.

A stunning work for tuned percussion and percussion by Californian composer Andy Pape. The full score for Try Instant Music includes parts for four players playing glockenspiel xylophone two vibraphones marimba bass marimba and percussion. Unsurprisingly this is a lively work imbued with his characteristic mix of humour and seriousness. A stunning work for tuned percussion and percussion by Californian composer Andy Pape. The full score for Try Instant Music includes parts for four players playing glockenspiel xylophone two vibraphones marimba bass marimba and percussion. Unsurprisingly this is a lively work imbued with his characteristic mix of humour and seriousness.

Work for Clarinet (Bass Clarinet) Piano (Synthesiser) Violin Cello Double Bass and Live Electronics. Premiered by the Ensemble InterContemporain. Work for Clarinet (Bass Clarinet) Piano (Synthesiser) Violin Cello Double Bass and Live Electronics. Premiered by the Ensemble InterContemporain.

The harmonic model for this piece is based on a subdivision of pitches in primary and secondary notes in principle any chord can be viewed from it's structural qualities including interval content and symmetry but it might also be conceived from a more acoustical point of view. The parallel basis for this work is a sequence of 12-tone chords repeated as a chaconne every chord has it's Alter-Ego an overtone series the fundamentals of which together form a bass line. By articulating the cycle differently with always varied diagonal paths between two layers Lindberg has aimed to give the music some direction despite it's vague repetitive structure. Work for Orchestrapremiered at the Queen Elizabeth Hall London by the London Sinfonietta under the direction of Esa-Pekka Salonen April 1990. The harmonic model for this piece is based on a subdivision of pitches in primary and secondary notes in principle any chord can be viewed from it's structural qualities including interval content and symmetry but it might also be conceived from a more acoustical point of view. The parallel basis for this work is a sequence of 12-tone chords repeated as a chaconne every chord has it's Alter-Ego an overtone series the fundamentals of which together form a bass line. By articulating the cycle differently with always varied diagonal paths between two layers Lindberg has aimed to give the music some direction despite it's vague repetitive structure. Workfor Orchestra premiered at the Queen Elizabeth Hall London by the London Sinfonietta under the direction of Esa-Pekka Salonen April 1990.

Clairobscur by Bent Sørensen for Ten Instruments (Wind Quintet and Strings). Clairobscur by Bent Sørensen for Ten Instruments (Wind Quintet and Strings).