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Gemini Rising, Kopi

Gemini Rising, Kopi

Per Nørgård GEMINI RISING for harpsichord soloFirst there is a mountain, then there is no mountain, then there isThe title literally Ascending Twins - was borrowed from astrological terminology but refers, purely musically, to two essential circumnstances in the work: A constant duplicity in the melodic basis, as well as an almost constantly ascending tendency. Even when - as is the case in the start - falling figures appear, the combination of several such figures produces an ascending impression. GEMINI RISING was composed for Elisabeth Chojnacka and premiered at a concert in Copenhagen in November 1990.Per Nørgård

SEK 364.00
1

Vagn Holmboe: Hominis Dies Op.158a (Liber Canticorum Va)

Vagn Holmboe: Hominis Dies Op.158a (Liber Canticorum Va)

The text for the choral work 'Hominis dies' is partly form the book of psalms, partly from Isaiah in the Latin translation of the Bible. The words are relevant today - they are about the fate of humanity - our fear of war and destruction, violence and polution. The choral work is divided in three parts, all of them introduced with a Halleluja. A Halleluja is most often a praise, but that is not the case in this work, where the suppressed and oppressed manking with this work express desperation and sorrow, but also hope.

SEK 261.00
1

Bent Sørensen: Symphony (Score)

Bent Sørensen: Symphony (Score)

The composer writes:'My Symphony is in two movements which, however, are played without a break. Taken together they progress from the extremely high, almost unison screams and glissandi of the opening via blurred melodic and swarming rhythmic formations, towards the slow ending with its simple and more clearly out-lined melodic fragments. The designation 'symphony' is in this case much more a title than a genre indication. During my work on the piece I never considered having any other title than this magical and associative word: 'Symphony'.'

SEK 1219.00
1

Niels Viggo Bentzon: Sonata For Trumpet And Piano Op.73

Niels Viggo Bentzon: Sonata For Trumpet And Piano Op.73

Niels Viggo Bentzon was a prodigiously productive composer and a cultural giant of 20th century Denmark. While best known for his Tempered Clavier works, he wrote widely for Orchestra and chamber ensembles and at different times of his career embraced neoclassic, atonal and twelve-tone palettes. In the Trumpet Sonata, as in some of his other sonatas, he explores the duality of the two instruments. In this case, he enters more deeply into atonal harmonies without ever quite leaving diatonism entirely behind. The Trumpet Sonata is in classic three-movement form.

SEK 319.00
1

Roads To Ixtlan Stemmer, Kopi

Roads To Ixtlan Stemmer, Kopi

All roads lead to Rome, as the saying goes - but do all roads also lead to Ixtlan, perhaps at another time? Ixtlan being the city of the highest aspirations of the Mexican sorcerer, Don Genaro (according to Carlos Casteneda, the anthropologist publishing a series of books on Don Juan, Don Genaro's col-league). There was no final outcome to Genaro's journey, and there will never be one. I will never reach Ixtlan, he said, so Genaro is still on his way there.(Ixtlan may perhaps be interpreted as the inner goal of your heart).In any case: in these three movements the three points of departure are utterly different; still they unanimously move towards just one melodic outcome, a kind of musical centre of gravitation.

SEK 679.00
1

Per Nørgård: Roads To Ixtlan.

Per Nørgård: Roads To Ixtlan.

All roads lead to Rome, as the saying goes - but do all roads also lead to Ixtlan, perhaps at another time? Ixtlan being the city of the highest aspirations of the Mexican sorcerer, Don Genaro (according to Carlos Casteneda, the anthropologist publishing a series of books on Don Juan, Don Genaro's col-league). There was no final outcome to Genaro's journey, and there will never be one. I will never reach Ixtlan, he said, so Genaro is still on his way there.(Ixtlan may perhaps be interpreted as the inner goal of your heart).In any case: in these three movements the three points of departure are utterly different; still they unanimously move towards just one melodic outcome, a kind of musical centre of gravitation.

SEK 304.00
1

Hans Abrahamsen: Ten Sinfonias (Score)

Hans Abrahamsen: Ten Sinfonias (Score)

Orchestra3 Oboes (3rd db Cor Anglais)2 Bassoons2 Horns in Eb and C basso *)2 Trumpets in C *)Timpani *)Strings*) The horns and trumpets are natural (periodical) instruments from the Vienneseclassical time. The timpani is also of this periodical type and is played with lightmallets as in an ?Mozart Orchestra?. On the horn, other pitches than the natural onesare played by hand stopping marked as normal with a + above the note.If periodical horns, trumpets and timpani are not available, it is possible to replacethem with modern instruments. In this case all notes in the horn parts marked with a +have to to played as stopped (normal notation). The timpani should use light mallets.Oboes, bassoons and strings are ?modern instruments?.All transposed instruments are notated in transposition.Double bass harmonics are as well octave transposed.

SEK 801.00
1

Together Apart/Apart Together

Together Apart/Apart Together

Together Apart/Apart Together for Saxophone, Accordion and Double Bass was composed by Karsten Fundal in 2004. Written for and commissioned by Poing. Programme note:This piece is the 3rd in a row of pieces, which concentrates on a rhythmical relationship that continues to puzzle me. It is actually two relationships embedded. The 1st is a pattern that is very inspired by the composer Per Nørgård, who in the beginning of the 90ies got very preoccupied with the idea that you can have rhythms that never meet. This happens if you start a rhythm, like a quintuplet, on the beat and one, like a triplet, off beat. This can, with different rhythms, give very intricate interwoven patterns, that gives the illusion that they are not cyclic. In my case I use the two ratio five to seven, in the described way. This rythms have the strange property that if you take each 5th note of the seven and each 7 note of the five you get a ratio almost identical: 49:50. This is very intriguing, as you can use the possibility of letting them be equal or the possibility of letting them interfere. In the first case you get an interlocking rhythm which is “smooth”; an equal rhythmic pattern. In the second case you get a similar situation, but where one of them is one short after 50 of the other ones, which results in a disturbing almost equality, but not quite. Therefore the title: because when I use the unequal rhythm I put the two layers in a similar tone register, or a similar way of playing, and when I use the equal one I put them a part tone wise speaking. This is a very technical description, but it is very hard to put it in more wide terms, but you might compare it with driving in a train and looking at two fence rows behind each other: if the poles are placed exactly halfway between each other you will experience an illusion of a fast jump if there is enough distance between them, as a result of the perspective. If they are placed in a way that there are almost the same numbers of poles, like 49:50, you will experience a very complex pattern, which seems unpredictable. But of course when using it in music the whole thing is somewhat different, but even then it gives an idea of my preoccupation. What also intrigues me is that the relations are very hard to use in a musical way, and that is also quire a challenge.´ Finally I have to say that I enjoyed very much writing for Poing, as these crazy guys are capable of doing almost anything you want in an nearly literal sense. - Karsten Fundal summer 2004.

SEK 280.00
1

Kaija Saariaho: Gates (Score)

Kaija Saariaho: Gates (Score)

Gates is the second section from the ballet MAA, scored for Chamber group, tape and live electronics. Written in 1991, commissioned by the Finnish National Opera, this work beautifully demonstrates the poeticism of Saariaho's music with a sensuous calm that permeates throughout. MAA translates from Finnish into world, earth or country. It is a complimentary title as the ballet does not have a plot as such, rather it is built around thematic archetypes such as doors, gates, stepping into new worlds, journeys and the crossing of waters. Gates can be played either as an acoustic or, often preferably, an amplified version. The acoustic version is suitable for small and resonant halls, or in a context of e.g. an early music program, in which case the piece can also be played on original instruments. This is the Full Score for one of Kaija Saariaho's most major works to date. The set of Parts is available: KP00327.

SEK 679.00
1

Poul Ruders: Wind-Drumming (Score)

Poul Ruders: Wind-Drumming (Score)

Programme Note Poul Ruders WIND-DRUMMINGWIND-DRUMMING was written in 1979 on a commission from The Danish Percussion Ensemble.The piece is a clash of two kinds of sound-associations; the mystic, exotic impact of Latin-American drumming, and the more well dressed reputation of Western concert-instruments, in this case a wind-quintet (w. electric flute).The two instrumental camps either melt into one soft humming ritual or are split wide apart, the winds tearing their way through the undergrowth of rainforest-drumming. There is more than one way of getting on to WIND-DRUMMING: obviously it is about the confrontation of two incongruent ways of living, a lament on the damage done to the tropical rainforests of the world by modern civilisation. One can hear it plainly as a direct rhythm-show, a downright number or a joyous homage to the most exiting kind of folkloristic music at all: the carnal spell of the Brazilian Samba.Poul Ruders

SEK 629.00
1

Kaija Saariaho: Gates (Parts)

Kaija Saariaho: Gates (Parts)

Gates is the second section from the ballet MAA, scored for Chamber group, tape and live electronics. Written in 1991, commissioned by the Finnish National Opera, this work beautifully demonstrates the poeticism of Saariaho's music with a sensuous calm that permeates throughout. MAA translates from Finnish into world, earth or country. It is a complimentary title as the ballet does not have a plot as such, rather it is built around thematic archetypes such as doors, gates, stepping into new worlds, journeys and the crossing of waters. Gates can be played either as an acoustic or, often preferably, an amplified version. The acoustic version is suitable for small and resonant halls, or in a context of e.g. an early music program, in which case the piece can also be played on original instruments. This is the Full set of parts for one of Kaija Saariaho's most major works to date. Score is avilable: KP00326.

SEK 589.00
1

Sinful Songs - Partitur, Kopi

Sinful Songs - Partitur, Kopi

Bent Sørensen SINFUL SONGSThe first ideas for this piece came to me during a train journey through Denmark. It was summer and I was looking out of the window; I heard some fast jig-like dance rhythms. These appear early in the work - hushed and hidden like almost all the music, apart from the roaring horns in the beginning!As is always the case for me, the title was there at once - and as always it is difficult for me to explain it! The work is filled with little songs and fragments of melodies - some of them distinct, most of them hidden - but whether they have ended up becoming particularly sinful, I don't know.The musicians are positioned in a circle around the audience, so the music will not sound the same at any two different points in the hall. The music moves at varying speeds both around the circle, and backwards and forwards between different instrumental groupings.SINFUL SONGS was commissioned by and dedicated to the Birmingham Contemporary Music Group.Bent Sørensen

SEK 981.00
1

Poul Ruders: Dramaphonia (Score)

Poul Ruders: Dramaphonia (Score)

'Dramaphonia' for piano solo and 11 instruments forms the first part of a trilogy of solo-concertos, the remaining two being one for percussion and smaller symphony orchestra ('Monodrama') and the last ('Polydrama') for violoncello and full orchestra. All three pieces are in one movement each and may be performed together, thus presenting a vast "concerto grosso" of the duration of one hour and a half. Each concerto, however, stands by itself, offering its own story: having employed the word "drama" in all three pieces, I naturally want to imply that something is "going on", a series of hidden events created by each listener?s own "inner theatre" which enables him to stage his own, personal associations, and in the case of 'Dramaphonia', the compositorical tension alters between action and frozen panoramas. In the percussion concerto, the rhythmical progression is being constantly intensified, whereas the metric proportions of Dramaphonia tighten and loosen, like a magnifying glass being wielded in and out of focus. 'Dramaphonia' is commissioned and dedicated to LONTANO and Poul Rosenbaum.

SEK 1317.00
1

Poul Ruders: Romances (Score and Parts)

Poul Ruders: Romances (Score and Parts)

Programnote According to tradition, a mid- or late-19th century instrumental Romance - or Romanza - is a shortish composition of predominantly melodic nature, with a slight leaning toward the sentimental.In several European languages, such as German, French, and Danish, the word for navel, i.e., an unfolding drama in writing, is Roman, and although there's nothing literary about my Six Romances for viola and piano, each piece tells its own story open to individual inner interpretation. Portal forms the opening chapter, so to speak, paving the way for the second movement, named Even Song. Maybe it's just a simple tune heard at sunset, perhaps the melody is carried from far away, over the hills from inside the village church...Titles such as, Ballad, and Dirge (song of mourning) immediately reveal the nature and mood of the music to come, where-as the concluding piece Duet is slightly more 'mysterious.'In a classic duet the two instruments in question, or more likely voices complement each other benevolently. In the present case, however, the viola and the piano both stand firm, protection their own turf - and - 'the twain shall never meet!'The piece is very short indeed, it just stops, leaving the listener to finish the 'story' in his or her own imagination. A true open ending. Poul Ruders

SEK 543.00
1

Poul Ruders: Corpus Cum Figuris (Score)

Poul Ruders: Corpus Cum Figuris (Score)

Corpus Cum Figuris is a uniform composition in three major parts. The first part is a slow marche funébre, a kind of prologue with dark and sombre sounds and a massive wall of chords which leads us to the other part of the works where the static and solemn atmosphere is suddenly stopped and replaced by a rhythmic/melodic ritual which accelerates the music. In the third part the block structure is softened gradually, different figurations and stylistic elements arise to live their own lives: distant waltzes and pictures from the Middle Ages appear in this gigantic sonorous body. After a wild percussion orgy a short flash-back and a scream from the edge end Corpus cum Figuris. The piece has no literal content at all, even though the title leads the thought to Adrian Leverkühn?s Apocalipsis cum Figuris from Thomas Mann?s Doctor Faustus. More likely, my piece will arouse associations as with all my music. It has to be heard in it?s own conditions, in this case as a big body of music or perhaps as a great screen where the details, of course, are part of the whole body but at the same time are foreign and odd. It is as if one climbs a mountain and from the top of that mountain discovers a world which is completely different from expected. Corpus cum Figuris for 20 musicians was composed in 1984, commissioned by Ensemble InterContemporain and the Danish Radio. Ensemble InterContemporain world premiered the work in April 1985 conducted by Peter Eötvös. The piece was also played at the ISCM-festival in Amsterdam by Netherland Radio Chamber Orchestra conducted by Ernest Bour.

SEK 1432.00
1

Bernhard Lewkovitch: Improperia (SATB)

Bernhard Lewkovitch: Improperia (SATB)

This work is intended for performance on Good Friday during the "Adoration of the Cross" ceremony of the Roman (Catholic) rite. The pitch of the sung parts is given by a member of the choir who, after discreetly obtaining a tone with the aid of a tuning fork (or other such device), intones "Popule meus" (and later "Hagios") clearly on the notes indicated in each case. The recited "Hagios" choruses should be performed as speech on diverse tones, but in the natural speaking registers and in compliance with the rhythms and expression marks indicated. When reciting the word "Sanctus" the consonant "nc" should dominate.The two speech choruses develop into a "Miserere nobis" sung on chance (random) tones with fixed time values (durations), the second time, however, culminating in completely free improvisation. At this point each singer sings "Miserere nobis" independently of the others. The sentence may be repeated (ad lib.) with new variations until, at a sign from the leader, each initiated phrase is terminated in a diminuendo.These improvised sections should allow for considerable freedom of expression. They should be a result of spontaneous inspiration, but should at all times be characterised by sacral dignity and should conform to the character of the work as a whole. All sections to be performed quasi attacca - keep the intensity.The reproaches are to be recited by a male chorister in his normal speaking register, but quasi cantabile.It is left at the discretion of the performers to decide how many of the recited verses in the last section of the work are to be performed. When "Popule" is sung for the last time the word "mihi" should be uttered as a sigh.Bernhard Lewkovitch

SEK 135.00
1

Asbjørn Schaathun: Actions Interpolations And Analyses (Score)

Asbjørn Schaathun: Actions Interpolations And Analyses (Score)

ACTIONS, INTERPOLATIONS AND ANALYSES, symphonies for bass-clarinet and large ensemble (1987-90), is what is commonly termed a work in progress. So far Schaathun has completed three of five parts. The is the composer's first large-scale attempt to investigate possible connections between ostensibly unrelated material. Explained in simple terms, it involves taking two of Schaathun's "own" type of texture (composed by means of different techniques) and letting them "rotate" around a familiar musical object (in this case a short excerpt from Stravinskij's Symphonies of Wind instruments in which he employs the famous "frozen" chords). In the course of the piece the elements takes over various characteristics from one another and the form progresses from fairly clear-cut textures to a situation where the various textures are superimposed, creating a dramatic flow. On a more advanced level, the piece is about trying to mediate between different musical textures as metaphors for the different levels of the sound itself. One of the main questions in this context is; What is size in music? Is it possible to take a small chord(i.e. narrow register, few instruments, simple tone colours) and then blow it up (wide register, many instruments, advanced mixtures) in such a way that the listener still perceives it as the same chord? You have simply moved closer to the sound. At any rate, when Schaathun composed the piece, he himself travellig into the sound, as if were viewing a texture from a distance. He then recomposed the same situation and drew closer, and then recompose it a third time and simply get close enough to discover the world of sounds that thus emerged. A world of sounds capable of travelling at a tremendous speed... However, like all concertos, the piece is of course about the individual and his relationship to his surroundings (society). Schaathun has often pondered on the reason for this preoccupation wih solo concertos. The answer derives from his firm conviction that nothing would ever happen if it weren't for the initiative, the Action, of the individual.

SEK 1065.00
1