SKU: HL.14030357
ISBN 9788759854471. English.
This is the Score for Bent Soreensen's 2001 composition, Six Songs, composed for Mezzo-soprano and Violin. Sorensen has set four verses by Japanese poet, Ono No Komachi and two by the Korean, Hwang Chin-i in a typically dramatic and colorful style. The music compounds the beautiful and passionate imagery of each text, which are all short verses loaded with meaning.
SKU: HL.14030888
ISBN 9788759881699. English.
Songs Of The Decaying Garden , for Clarinet solo, was composed by Bent Sorensen in 1986.
SKU: HL.14030284
ISBN 9788759861110. Danish.
Bent Sorensen 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 Sorensen.
SKU: HL.283507
Exit Music for Orchestra was composed by Bent Sorensen in 2006-07. Exit Music was commissioned by the Bergen International Festival for the Bergen Philharmonic Orchestra, and is dedicated to Per Norgard on the occasion of his 75th birthday. Programme note It began with a dream, as it always does when I compose. I dreamt that I was standing in an open doorway on a hill in an otherwise open landscape. I do not know what was behind the door, but in front of it - towards the landscape - I saw my music disappearing. I stood looking for the music, and started to hear it, to remember it in time with its disappearance. The dream continued to recur as strange pictures in my daydreams, and I continued to try to write down the music that had vanished. It was also the dream that gave the piece its title- Exit Music. Exit Music is based on three simple songs (the songs that vanish through the doorway): a little lullaby, which continues to reappearin fragments; a strange polyphonic pop song that refers to a section of my opera Under the Sky; and a passionate little love song, which concludes the piece on the strings, very quietly and in unison. These simple songs are then constantly overpainted by enervating repeated motes in fairly simple rhythms, which push the songs out of the room. (Bent Sorensen).
SKU: HL.283655
ISBN 9788759877098.
Thre e Stones for female Voice was composed by Bent Sorensen in 2006. Dedicated Lore Lixenberg. Text: Anon. Programme note: Three stones is written on request by Lore Lixenberg to whom the little piece is dedicated. It is three very small songs for solo voice, but the singer is also - while singing - playing on 'traces of instruments' - Antique cymbal, violin and stones. The texts for all three songs are anonymous - the second song use an anonymous english love poem. In the first and the third songs the text istaken from estruscan writing on stones. What the text is about, nobody knows. Enigmas written in stone! Bent Sorensen.
SKU: HL.14033503
ISBN 9788759877609. Danish.
This Night Of No Moon for Ensemble was composed by Bent Sorensen in 1998-99. Programme Note: The title THIS NIGHT OF NO MOON is taken from the haiku poem by the female Japanese writer Ono No Komachi (834-880), about the emptiness without one's beloved - the night without a moon - the night without hope. In this piece songs and melodies are hidden - songs and melodies for this title and for other Haiku poems by the same poet. The piece is in four movements and is commissioned Michio Nakajima Mirrk Art Forum for BIT-20. (Bent Sorensen).
SKU: HL.14027822
ISBN 9788759877579. English.
Roses Are Falling - 5 songs for Mezzo-Soprano and Piano by Bent Sorensen (1998) with lyrics by Selima Hill. Programme note: Roses are Falling had its origin in a small opera sketch I created with the English poet Selima Hill in just under a week during an opera workshop in the south of England in the autumn of 1998. After the workshop I was asked to make a song cycle out of the material. The opera sketch begins with a woman and a man sitting alone in a room. They have drawn aside from the rest of a large party and they have just decided to finish their love affair. The other guests at the party come into the room, and amidst the crowd the man leaves the room. The women is leftthere alone among all these inconsequential people: alone, singing her own thoughts and torment. The first three songs were all taken from this part. In the fourth song, which was written late, the text is taken from one of Selima Hill's poetry collections. The fifth and last song comes partly from the beginning of the opera, where the man and the women sit alone (she knows what is coming), partly from the end of the story, where despite the gab in time and space they touch each other with their dreams. His voice is heard as a whisper that merges with hers: He takes me in his arms like the moon that turns and take the evening from the sun. Roses are Falling was premiered in 2000 in London by Lore Lixenberg and Domenic Saunders.
SKU: HL.283656
Triptykon (Triptych) for Soprano solo and Piano was composed by Bent Sorensen in 2006. Three songs with texts in Norwegian by Tor Ulven and Rolf Jacobsen. Commissioned by the The Queen Sonja International Music Competition 2007, with support from NOMUS.
SKU: HL.14030332
ISBN 9788759867792. English.
Programme Note SIRENENGESANG was composed in the spring 1994 and was commis-sioned by the AVANTI! Chamber Orchestra. The work was written with support from NOMUS. The music is not a romantic reflection on presumed siren songs. The title expresses an impalpable conception which manifests itself in dense quartertone-distorted melodies and manic, almost frozen tone-repetitions. Sometimes the music becomes static screams, sometimes there is room for small naive fragments of melody. By the end of the piece a fragment from the 'Angel-Duet' of my THE ECHOING GARDEN emerges. SIRENENGESANG is dedicated to Per Norgard. Bent Sorensen.
SKU: HL.14030980
ISBN 9788759871973. 12.0x16.0x0.285 inches.
Score available: KP00250 The composer writes: 'Even when I was writing Adieu, I knew that I wished to write Angel's Music. The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on Angel's Music was started in Rome, where I spent the autumn of 1987 staying at The Danish Academy. Whether this stay has influenced the quartet or not is impossible to say. however, it is true to say that, in the Roman churches I visited, I saw countless angels playing in the top of frescoes and altars. Without these angels, together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico, (in fact there are only a few paintings by him in Rome, but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are, in the short rhythmic agitating part of the quartet, reminiscences of the Italian medieval Trotto dance, and in the most expressive part of the piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet, the distant, extremely muted sound in the high register which opens the piece, was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that little songs (maybe angel songs) could be created in this density, these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form, I felt, that not only should the little songs be created, played and die out in an echo, but also that the general pattern of the quartet should give the feeling of music which, from the distance, is getting closer and closer, culminates and at last disappears like an echo. Related to this, the general pattern of Angel's Music is divided into three: a pre-echo, culmination and echo.. The relationship between the three part is 5: 6: 4. The reason why I can say this precisely and prosaically is that it was necessary to me to mark the overall guidelines before I started to compose. I had to do this in order to enable the relationships to crawl from the general pattern almost fractionally into the smallest cells of the music, or more correctly; crawl from the small cells into the general pattern.'.
