The Disturbing Duckling-D'Monstrantz Vöögeli (The Disturbing Duckling) by Per Nørgård. Work for bird voices (CD) and human voices (12 SATB soloists) with text (sung in German) by Adolf Wölfli (1864-1930). A CD of Bird Song is available separately - use product code KP00830. Text (sung in German): Adolf Wölfli (1864-1930).Programme note:'D´Monstrantz Vöögeli' is the main (and middle) movement of my three-movement choir suite 'The Alarming Duckling' the title of which is borrowed from a painting from 1959 by the Danish artist Asger Jorn apainting which - as this choral piece - is partly based on 'found objects': Asger Jorn painted on top of an idyllic old fashioned landscape painting with a house and trees - and he painted a very disturbing alarming duckling. It may be ugly the duckling but in any case it is most peculiar in its surroundings with spontaneous colorful wide painted feathers standing and looking dreamy beyond a birch in the golden light of the afternoon (a very big duckling indeed!) In 'D´Monstrantz Vöögeli' the dark nightly visions are unfolding with texts by the Swiss schizophrenic artist Adolf Wölfli (1864-1930). His transcending poems prose paintings and ideas inspired me for many compositions in the 1980s i.e. Symphony nr. 4 ('Indischer Roosen-Gaarten und Chinesischer Hexensee' - Hommage a Wölfli') The opera The Divine Circus and a series of choral works. The piece is written for 12 vocal soloists - singing whistling screaming and whispering. In 'D´Monstrantz Vöögeli' - for a choir of humans and birds - many 'found objects' are used: The tape/cd only contributes with unmanufactured birdsong - even though using full half and fourth speed so it is easier to understand and learn from the brilliant birds (especially the fantastic American Musician Wren

His Choral Music SATB-Celebrating the 250th anniversary of his birth Mozart's music has given immense pleasure to millions of people for two hundred and fifty years. The unique sparkle wit vivacity and profundity of his work reveal acomposer of unlimited inspiration and technical ability.This collection includes 18 of his greatest choral music pieces in easy but effective arrangements for SATB Voices.

Per Nørgård's Wölfli - A Discarded MisfitDramatic Choir Montage for an Actor/Recitator and Chamber Chorus (2007). Extracts from the preface:No idyll without catastrophe – no catastrophe without idyll.Adolf Wölfli (1864-1931 Switzerland) is a central figure in the so called mad arts i.e. art created by patients who are certifyably mentally ill. Wölfli’s vast and eclectic production consists of approximately 20.000 pages of prose poetry pictures and fragmentary musical compositions. All of which was created at an institutionin Waldau Bern from 1900-1931 (...). Danish composer Per Nørgård (born 1932) discovered by accident Wölfli’s art at the Louisiana Museum while on his way to a Schönberg concert a concert he never made it to. The encounter with Wölfli’s art was to become a major source of inspiration for Nørgård in the 1980’s. The inspiration resulted in Nørgård’s SYMPHONY NO. 4 (1981) entitled Indischer Roosen-Gaarten und Chineesischer Hexensee (after the title on a planned Musikbüchlein by Wölfli) and the opera THE DIVINE TIVOLI (1982) and numerous choral works. Nørgård’s works from the 1980’s inspired by Wölfli are characterised by being wild dramatic and moving.The present work WÖLFLI has its point of departure in the choral works of the 1980’s and songs and interludes from the opera. All this is combined with additional prose poetry and pictures by Wölfli which come together to form a music-dramatic portrait of the confined his thoughts and artistic universe. Whereas the opera was a scenic tour de force of intense drama polyphonic scenarios and whirling instrumentation thefocus in WÖLFLI is monologue and

This is an excellent example of Mozart's choral writing. Leavitt's editorial markings enhance the musicality of the work.Available separately: SATB. Performance Time: Approx. 2:15.

In its expression and structure the ?Regina coeli? K.108 (74d) in four movements composed in Salzburg in May 1771 clearly shows that Neapolitan church music served as Mozart?s model. The two outer movements in which a primarily homophonic chorus unfolds against a rich orchestral backdrop enclose two soprano arias sparkling with coloraturas of which the first aria has a choral epilogue at the end of each of its two sections. Appositely the last movement also picks up the solo-tutti contrast which in addition underscores the predominant role of the solo soprano characteristic of the entire composition.Urtext of the New Mozart EditionFull score &performance material (BA4886) and vocal score (BA4886-90) for sale

A reproduction of the Breitkopf and Hartel edition. One of Mozart's greatest most enduring choral works.

Mozart's Sanctus and Dona Nobis Pacem are brought together for performance either individually or as a set. Key dynamic markings piano reduction and an English version of the original Latin text combine todistinguish this choral for today's vocal ensembles. The contrasting settings create an exciting work for festival concert or contest.