3 Decetter / Decets - Poltergeist Pythagoras & Pace (1989) - for 10 Instruments (Wind Quintet + String Quintet).

This study score is a photographically reduced reproduction of the work as it appears in the Carl Nielsen Edition. This study score is a photographically reduced reproduction of the work as it appears in the Carl Nielsen Edition.

Halløj i Firmaet - En Kontoropera for six singers and ensemble. Full score. This Chamber Opera was composed by Peter Bruun in 2012 and features libretto by Jesper Bræstrup Karlsen. Halløj i Firmaet - En Kontoropera for six singers and ensemble. Full score. This Chamber Opera was composed by Peter Bruun in 2012 and features libretto by Jesper Bræstrup Karlsen.

Parts for Divertimento For Brass Quintet by Anders Koppel (2004). Commissioned by the Brass Ensemble of the Royal Danish Life Parts for Divertimento For Brass Quintet by Anders Koppel (2004). Commissioned by the Brass Ensemble of the Royal Danish Life

Alapa-Tarana Op.41 for Mezzo-Soprano and Percussion was composed by Poul Rovsing Olsen in 1959. Programme note: I was encouraged by the singer Jolanda Rodio to write a piece for mezzo-soprano and percus­sion. In my mind the idea immediately awoke associations of Indian or Arab music in which the combination of drums together with either an instrument or voice is very common. In a solo performance (as opposed to choral and ensemble performances) the piece is called a raga or a macam. A raga or macam is a scale and at the same time a number of melodic formulas. Further­ more it is a spiritual concept a specific raga or macam expressing a specific emotion. My piece isnot based on any traditional Indian raga or Arab macam. The raga in my piece is entirely my own invention. The title is derived from Indian music an Alapa being the first unaccompanied part of a raga. Traditionally in the Alapa the characteristics of the raga are first presented improvisationally without strict metre followed by a section in which the drums set in. The latter can have various forms. I have chosen a variation form called Tarana. (Poul Rovsing Olsen 1960) Alapa-Tarana Op.41 for Mezzo-Soprano and Percussion was composed by Poul Rovsing Olsen in 1959. Programme note: I was encouraged by the singer Jolanda Rodio to write a piece for mezzo-soprano and percus­sion. In my mind the idea immediately awoke associations of Indian or Arab music in which the combination of drums together with either an instrument or voice is very common. In a solo performance (as opposed to choral and ensemble performances) the piece is called a 'raga' or a 'macam'. A 'raga' or 'macam' is a scale and at the same time a number of melodic formulas. Further­ more it is a spiritual concept a specific'raga' or 'macam' expressing a specific emotion. My piece is not based on any traditional Indian 'raga' or Arab 'macam'. The 'raga' in my piece is entirely my own invention. The title is derived from Indian music an Alapa' being the first unaccompanied part of a 'raga'. Traditionally in the 'Alapa' the characteristics of the 'raga' are first presented improvisationally without strict metre followed by a section in which the drums set in. The latter can have various forms. I have chosen a variation form called 'Tarana'. (Poul Rovsing Olsen 1960)

Carl Nielsen's last major composition Commotio Op.58 for organ. Presented here as part of the Carl Nielsen Complete works this volume includes a detailed preface four pages of facsimiles of Nielsen's original work a list of common abbreviations and an authoritative critical commentary. Designed for either scholarship or performance this freshly engraved score will be a highlight of any organist's library. Carl Nielsen's last major composition Commotio Op.58 for organ. Presented here as part of the Carl Nielsen Complete works this volume includes a detailed preface four pages of facsimiles of Nielsen's original work a list of common abbreviations and an authoritative critical commentary. Designed for either scholarship or performance this freshly engraved score will be a highlight of any organist's library.

Bent Lorentzen's Hunting Concerto (1996) - Version A for for Solo Horn Gun Shot Oboe and Strings. Version B for Horn and Piano (also Piano Reduction): WH31085 Bent Lorentzen's Hunting Concerto (1996) - Version A for for Solo Horn Gun Shot Oboe and Strings. Version B for Horn and Piano (also Piano Reduction): WH31085

10 jazz exercises for Piano dexterity. 10 jazz exercises for Piano dexterity.

Babysalmesang - Kirkearet Rundt af Lene Bordorff. Et inspirerende og afprovet vaerktoj til opbygningen og igangsaettelsen af et babysalmesangsforlob. En gedigen kursuskoreplan med masser af konkrete eksempler lige fra egnede salmer annoncering tilmelding forlob og afslutning. Bagest i 'Babysalmesang' har Lene Bordorff komponeret et helt specielt 'Baby Praeludium' dedikeret til alle babysalmesangsbabyer ligesom hun ogsa har skrevet musik til Fadervor. Babysalmesang er lige til at bruge her og nu af praesten organisten musikskolelaereren og hvem der ellers matte sta for babysalmesangen.

The importance of live music for ballet and dance training cannot be overemphasized and Ballet School a collection of fifty-five works by Carl Czerny chosen by Agda Skjerne is enormously useful to the rehearsal accompanist. The pieces have been broadly divided into two: pieces for exercises a la barre and a la terre. Then there are further subdivisions into the specific movements which the works are meant to accompany: plié relevé pirouette and so forth.The pieces and excerpts chosen would suit the intermediate pianist.

Parts for Stepping Still for String Sextet by Pelle Gudmundsen-Holmgreen . Parts for Stepping Still for String Sextet by Pelle Gudmundsen-Holmgreen .

5 songs with lyrics by Morten Nielsen. For tenor(or soprano) flute violin and cello. Score WH31856 Set of parts for 5 Sange Til Tekster Af Morten Nielsen (5 Songs with lyrics by Morten Nielsen) by Danish composer Pelle Gudmundsen-Holmgreen. Scored for Tenor (or Soprano) Flute Violin and Cello. Score: WH31856

Volume 2 in this fantastic collection of 24 Five-tone pieces in all keys from Opus 53. This critical edition is designed to accurately reflect Nielsen's intentions and musical ideas and to provide a guide to understanding the composition within the context of his artistic and intellectual development. Volume 2 in this fantastic collection of 24 Five-tone pieces in all keys from Opus 53. This critical edition is designed to accurately reflect Nielsen's intentions and musical ideas and to provide a guide to understanding the composition within the context of his artistic and intellectual development.

Near Still Distant Still - Original Version for Violin French Horn and Piano was composed by Pelle Gudmundsen-Holmgreen in 2005. The present Horn Trio is an adaption of material used earlier in Near and far / Nær og Fjern(decet 1987) which is an adaption of material used earlier in the original trio ENCOUNTERS AND DREAMS (vl/cor/perc 1979) Near Still Distant Still - Original Version for Violin French Horn and Piano was composed by Pelle Gudmundsen-Holmgreen in 2005. The present Horn Trio is an adaption of material used earlier in Near and far / Naer og Fjern(decet 1987) which is an adaption of material used earlier in the original trio ENCOUNTERS AND DREAMS (vl/cor/perc 1979)

Serenidad - Clarinet Concerto was composed by Bent Sørensen in 2012. Parts are for hire: hire@ewh.dk First performed by Martin Fröst and Netherlands Radio Chamber Philharmonic in the Concertgebouw Amsterdam November 3 2012. Serenidad - Clarinet Concerto was composed by Bent Sorensen in 2012. First performed by Martin Frost and Netherlands Radio Chamber Philharmonic in the Concertgebouw Amsterdam November 3 2012. Parts are available on hire: hire@ewh.dk

Territorial Songs by the Faroese composer Sunleif Rasmussen . Part for solo Recorder. Territorial Songs (2009) for Recorder solo and Orchestra by the Faroese composer Sunleif Rasmussen . Part for solo Recorder. Full score: WH32043

Programme Note WHIRLS´ WORLD (1970) for wind quintet. “Whirl´s World” was composed in 1970 as one of a series of works which explored the so-called musical ´difference-phenomenon´. This term (which I coined in connection with a series of lectures in California that year) indicates a motivic duplicity in which two - often very simple - melodic ideas come ´out of phrase´ with each other giving rise to a course of constantly changing conditions. In Whirl´s World the difference phenomenon is heard from the beginning where a three-note motif and a four-note motif are set against each other. It all proceeds lake a lightning-fast series of chess moves first note number 1 of thethree-note motif is moved then note number 1 of the four-note motif thereafter note number 2 of the three-note motif - and so on. This fast opening flows into a slow section in which the differences now appear as ´fluctuations´ between very closely related tones (of which one is sung by the musician). There is only one movement built up as an organic growth from slow to furiously fast whirling and back again to slow which can be heard as ´slow-motion whirls´ as a water-world of ripples and bubbles. All this is framed by the introduction described above and a corresponding conclusion in which the movement is now descending ending in the resolute bass full-stop. Per Norgård Programme Note WHIRLS´ WORLD (1970) for wind quintet. “Whirl´s World” was composed in 1970 as one of a series of works which explored the so-called musical ´difference-phenomenon´. This term (which I coined in connection with a series of lectures in California that year) indicates a motivic duplicity in which two - often very simple - melodic ideas come ´out of phrase´ with each other giving rise to a course of constantly changing conditions. In Whirl´s World the difference phenomenon is heard from the beginning where a three-note motif and a four-note motif are set against each other. It all proceeds lake a lightning-fast series of chess moves; first notenumber 1 of the three-note motif is moved then note number 1 of the four-note motif thereafter note number 2 of the three-note motif - and so on. This fast opening flows into a slow section in which the differences now appear as ´fluctuations´ between very closely related tones (of which one is sung by the musician). There is only one movement built up as an organic growth from slow to furiously fast whirling and back again to slow which can be heard as ´slow-motion whirls´ as a water-world of ripples and bubbles. All this is framed by the introduction described above and a corresponding conclusion in which the movement is now descending ending in the resolute bass full-stop. Per Norgård

Beatus Parvo Op. 117 (1973) by Vagn Holmboe - scored for chorus SATB and Orchestra. Text: Bible - Psalm 32. Chorus score: WH29292 Vocal score: KP01850

This is the Solo Part and Piano Reduction for Concerto No. 4 For Marimba And Orchestra by Anders Koppel . This is the Solo Part and Piano Reduction for Concerto No. 4 For Marimba And Orchestra by Anders Koppel .

Concerto For Trombone Op. 21 by Kim Borg .