SWING LOW, SWEET CHARIOT

SWING LOW, SWEET CHARIOT

SWING LOW, SWEET CHARIOT

SWING LOW, SWEET CHARIOT

Rudolph Sieczynski: Wien, Du Stadt Meiner Traeume

For unaccompanied low voice.Arrangement TTBB

BASS-ALBUM

24 arias and songs for low male voice and piano.

Søren Nils Eichberg: Piano Concerto No.1

For Piano Solo and Orchestra.Full Score.Orchestration2 Flutes2 Oboes2 Clarinets in Bb (1st also Eb Clarinet, 2nd also Bass Clarinet)2 Bassoons (2nd also Contra Bassoon)4 Horns in F2 Trumpets in C2 Trombones (2nd = Tenor-Bass Trombone)TimpaniPercussion I: Vibraphone (motor always off), Hi-Hat, High Brake Drum, Low Tom-TomPercussion II: Xylophone, Tubular Bells, Crotales, Hi-Hat, Low Brake Drum, High Tom-Tom, Gran CassaCelestaSolo PianoStrings

Lorentzen Carnaval - Version A Sc

Version A for actor, mezzo-sop baritone and tape. Version B for low voice, flute cello, guitar and perc: KP1034 Orig.idea by Carla Henius and Michael Leinert.

Brahms 29 Selected Songs Low Voice/Piano

Alexander Zemlinsky: Lieder Op.5 Book 1 (Low Voice)

Alexander Zemlinsky: Lieder Op.5 Book 2 (Low Voice)

Bent Sørensen: Shadows Of Silence (Piano)

Bent Sørensen THE SHADOWS OF SILENCE For pianoProgramme NoteThe Shadows of Silence (2003-2004)Quite some time ago I heard - through a conversation in a mobile phone - a wonderful concert of ringing church bells from an European capital. I found it very hard to concentrate about the conversation, because I was so engrossed by the chaotic world of bell sound. The night after, I dreamt that the sound of those low singing bells was rising up from a piano in a huge empty concert hall. That experience became the starting point for my piano piece, "The Shadows of Silence". But before the piece gets to the ringing bells it moves through a landscape of shadows - Shadows of the silence before the bells - Silence before the storm - Shadows of melodies which all the time leaves traces even in the short passages of storm. After the passage with the low ringing bells the shadows of silence returns melted in to a lament, which are sending two regards. One to two small beautiful - not very well known - bars by Mozart, and one to the sextet in my own opera, "Under the Sky"."The Shadows of Silence" was commissioned by The Carnegie Hall Corporation and is dedicated to Leif Ove Andsnes

Poul Ruders: Nightshade (Full Score)

Ruders writes: NIGHTSHADE is an instrumental dark-room, a grave-yard of low-pitched, tight-knitted, crawling chords sliced asunder by the cold extremely high positioned movements of the oboe and violin in particular: tones sustained to near-immobility and then scared into startling velocity, like geckoes on a Southern garden wall. Shades in the night are pale and gloomy phenomenons to behold; treacherous beauties in the mighty realm of invisibility and blackness. Belladonna (beautiful lady) is the morbid christening of that fearsome variety of flora: the deadly nightshade. The piece is, on one hand, a study in extreme sonorities; the infrequently used contrabass clarinet is being employed along with the contra-bassoon, forming the ultra-low foundation of the score and the bottom-register of the French horn and the trombone is set against the serene clarity of high violin and oboe. On the other hand, the piece is a tone-poem of sorts, on the various associations as they form within the mind of the individual listener when confronted with the very word NIGHTSHADE. Personally, I come to think of pale moonlight, tombstones, the compelling as well as frightening spell of a dark forest. A Study in black the piece has been called.

Per Nørgård: Symphony No.8 (Score)

2010-2011for OrchestraDuration: c. 35 min.Parts are for hire: hire@ewh.dkOrchestra4 Flutes (Fl.2&3 dbl. Alto Flute, Fl.4 dbl. Piccolo)3 Oboes1 English Horn3 Clarinets in Bb (Cl.3 dbl. Cl.in Eb)Bass Clarinet3 BassoonsContrabassoon4 Horns in F4 Trumpets in C (Tpt.1 dbl. Tpt. piccolo)3 TrombonesTubaTimpaniPercussion (4 players):Celesta, Glockenspiel, Vibraphone, Xylophone, Marimba, Crotales, Chimes (Tub.Bells), 8 Thai Gongs,Gong (low), Tam-tam, Wind Chimes, Oil Drum (Steel Drum), Suspended Cymbal, 3 Cymbals, Small Cowbells,Maracas, Woodblock, 2 Chinese Blocks, 2 Metal Staves, 2 Tambourines, 4 Bongos, 4 Small Drums,Military Drum, Bass DrumHarpPianoViolin 1Violin 2ViolaVioloncelloDouble BassThe score is notated in C

Violin Concerto

Arne Nordheim VIOLIN CONCERTOThe Violin Concerto was composed in 1996 as a commission from the Oslo Philharmonic Orchestra for Arve Tellefsen. The solo part has the leading role in the work and is very difficult to play. The composer and Arve Tellefsen, therefore, were very much in contact with each other during the composition of the work.Arne Nordheim says that for this concerto like in other works he has composed, ideas have come to him so to speak out of nowhere. ?It is as if parts of me are extreme; that which is low down or high up, that which is very weak or very strong?.The composer has himself told how he has worked with gradual condensation and dissolution in the concerto. It is possible to hear continuous changes of mood in the work but the fundamental mood is, according to Nordheim, sadness.

Sonatas

Poul RudersSONATAS2011for Large Wind Ensemble,Percussion, Harp and PianoPreface / Programme NoteNormally, when being confronted with the term ´sonata´, we tend tothink of a substantial composition for piano solo in three movements,predominantly by Mozart or Beethoven. The word, however, derivesfrom the Italian ´sonare´ meaning ´to play´. In the 16th. Century acomposition entitled ´sonata´ merely indicated a piece of music forinstruments, as opposed to the ´cantata´ - a piece involving voices.The Italian cantare simply means ´to sing´.The present suite SONATAS is a composition subtitled ´six piecesof music for large wind ensemble, percussion, piano and harp´. Itopens with a REVEILLE, a short ´wake-up call´, a fanfare openingthe gate into what follows. The second movement is calledPASTORALE and certainly is that, a peaceful unfolding of gentlechords and sounds of a bucolic nature. Nothing dramatic happens,whereas in the third movement SCHERZO the wood winds chaseeach other in a wild relay run.Then, all of a sudden, the mood changes, and we are plunged rightinto the middle of the darkest night. In the NOCTURNE, unnervinglysubtitled sinistro, the low rumbling chords in the trombones andprickly outburst in oboes and horns form the sinister back drop tothis wordless Grand Guignol. Which merges seamlessly intoPANORAMA, an unfolding festive, almost pageant like ´sound-scape´of dancing rhytms and jubilant scales. Slowly, however, the tempodrops and the former boisterous body of sound is being slowly andmercilessly ´skeletonized´ - and at the end there is nothing left.RETRAITE - "the last post". The day is over, the sun sets.

Poul Ruders: Final Nightshade - An Adagio Of The Night (Score)

Premiered by The New York Philharmonic, conducted by Lorin Maazel, at Avery Fisher Hall, Lincoln Center, New York City, 10th June 2004.Orchestration3 Flutes, 3rd dbl. Piccolo2 Oboes1 English Horn in F3 Clarinets in Bb, 3rd dbl. Bas Clarinet in Bb2 Bassoons1 Contra Bassoon4 Horns in F3 Trumpets in Bb3 Trombones1 Tuba1 (set of) Timpani2 Percussion (two players)1: Bass Drum (large), Chinese Cymbal, Mark Tree2: TamTam (large), Vibraphone, Antique Cymbal1 Harp1 Piano dbl. CelestaStringsAll non-octave transposing instruments are notated in their relevant transpositions.Horns notated in bass clef sound a fourth above the notated pitch.All accidentals apply to each single note only, except tied notes. Naturals for 'safety'.Programme NoteThis piece marks the conclusion of what could now be called 'The Nightshade Trilogy', three pieces which explore the contrasting worlds of Light and Darkness. As opposed to the earlier chamber work Nightshade, which dealt with extremes of high and low pitches, and the chamber orchestra composition Second Nightshade, a two-fold piece contrasting darkness/anxiety and light/calm, Final Nightshade, for full symphony orchestra, takes us on a journey in which the forces of dark and light struggle - and co-exist - in a predominantly polyphonic web, with brooding undertones. The melodic point-of-departure is not, surprisingly, to be found in either of the two preceding pieces of the Trilogy, but in an older piece, Corpus Cum Figuris from 1985. Over the ensuing years I've dreamt, on and off, of 'doing something' with the opening measures of this older work, perhaps even building a new composition on that very simple, inward-looking time was ripe, and there's a nice nostalgia angle to the idea: Corpus Cum Figuris was the first piece of mine to be performed by the New YOrk Philharmonic, at the Horizons Festival, conducted by Oliver Knussen, in 1986. Final Nightshade based on the few opening bars of Corpus Cum Figuris offers a new world of intertwining melodies played mostly in Violins and Flutes - along with the darker, at times even menacing forces of the rest of the Orchestra. The world itself, nightshade, is wonderfully evocative: pale moonlight, elusive shadows, dark, silent forests in the dead of night. Which is why I've given the new work of sub-title, 'An Adagio of the Night' - it's a slow-paced Nocturne, with 'Lightness and Hope' prevailing towards the end. Or do they? Poul Ruders, September 2003

Poul Ruders: Listening Earth - A Symphonic Drama for Orchestra (Score)

Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra, conducted by David Robertson, 29th November 2002.3 Flutes, 1st and 2nd also Alto Flutes in G, 3rd also Piccolo3 Oboes, 3rd also Cor Anglais in F3 Clarinets in Bb, 3rd also Bass Clarinet in Bb3 Bassoons, 3rd also Contra Bassoon4 Horn in F3 Trumpets in Bb3 Trombones1 TubaTimpani4 Percussion, four playersPlayer 1 - Vibraphone, Glockenspiel, Water Chime, Bell Tree, Japanese Wood Blocks, Cymbal (Suspended), TamTam (Medium)Player 2 - Triangle, Tubular Bells, Crotales, Marimba, Chinese CymbalPlayer 3 - TamTam (Large), Java Gong (Large, very low), Bell Lyra (Handheld), Sizzle CymbalPlayer 4 - Bass Drum, Glockenspiel, Xylophone1 Harp1 Piano, also CelestaStrings - 16/14/12/10/8All transposing instruments are notated in their relevant transpositions.Any accidental apply only to the note that it immediately precedes, except tied notes.Naturals appear occasionally 'for safety'."LISTENING EARTH" is a symphonic drama, a one- movement composition in four parts based on the work by two writers, Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English, a classical scholar, essayist, poet and politician, but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon.The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems, nature, paintings, I was immediately convinced when I carne across the Addison hymn, that here was exactly what I wanted to use as my major source of inspiration for this piece, commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety, but have chosen the following 3 excerpts, all acting as mottos for the first three sections of the piece, thus turning the piece into a straightforward tonepoem in the classical sense:The spacious firmament on high,With all the blue ethereal sky,And spangled heavens, a shining frame,Their great original proclaim. The title of the piece presents itself in the following verse: Soon as the evening shades prevailThe moon takes up the wondrous tale,And nightly to the listening earthRepeats the story of her birth;The third part of the piece follows these dramatic lines: Whilst all the stars that round her bum,And all the planets in their turn,Confirm the tidings, as they role,And spread the truth from pole to pole. Then 11 September, 2001 happened and personally - and as an artist - I quite simply couldn't end the piece on such a happy and glorious note, however beautiful, so, when the American modem-music web site sequenza2I.com in the days following the attack on New York City and Washington D.C. brought W.H.Auden's poem "September 1, 1939", I found the appropriate text on which to base the fourth and final section of 'listening Earth", which now turns into "Angry Earth'. Auden wrote the poem on the eve of 1 September, the day Hitler and his hordes rolled into Poland:... Waves of anger and fearCirculate over the brightAnd darkened lands of the earth,Obsessing our private lives;The unmentionable odour of deathOffends the September night. (From Another Time by W.H.Auden, published by Random House. Co