Symphony No. 6 'At The End Of Day' (1997-99) for Orchestra by Per Nørgård. Programme note: ”… with the Lord a day is like a thousand years and a thousand years is like a day”  (New Testament 2 Peter 3:8)  My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra to be premiered at the millenium 2000.  The subtitle AT THE END OF THE DAY can be understood literally or it can mean “when all is added up”. However in my opinion nothing ever quite adds up there is always “something” missing any ending will be provisional ...  This symphony appears to end only a few minutes into the first movement the first passage as the music fades away to almost-silence after a start of flying colours. But then there is still “something” a small motive (first heard in the initial sound-waves) which reappears hesitant but persistent and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next until all the voices become obsessed with the same phrase a see-saw motive based on thirds. This section evolves into almost martial ferocity when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony emplyoing instruments that I have never used before: double-bass tuba double-bass trombone double-bass clarinet and bass flute).  The second movement the second passage apparently takes off where the first passage ended but now the events are more ambiguous and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia the characteristic baroque bass-variation.  Without a break follows the third and last passage in a

A Bright Kind Of High (1996) for Chamber Ensemble and Orchestra. A Bright Kind Of High is written for a virtuos ensemble (9 soloists) and ’back-up orchestra’. The piece could also be performed by the ensemble alone. Programme note 'A Bright Kind of High' was commissioned for a particular occasion namely for the concert where the Storstrøms Ensemble was awarded the Prize of the Music Critic Circle. The prize is normally given to a musician who receives it at a concert with the Tivoli Symphony Orchestra and who then plays or sings with the orchestra. The ensemble wanted tokeep up this tradition and asked me to compose a short work for nine musicians and orchestra. I choose to write a piece for virtuos ensemble and ’back-up orchestra’ which could also be performed by the ensemble alone. The work then exists in two versions one with and one without symphony orchestra. The music is built up around five soloistic passages. There is a duo for flute and basson with accompaniment a piano solo a duo for trumpet and harp a clarinet solo and a trio for the strings. The soli are woven into a quickly and constantly ascending music which has a certain relationship with a small piano piece by Robert Schumann ’Ritter vom Steckenpferd’. This is to be heard very clearly during the work if one knows Schumann’s piece. The title of my piece has no proper meaning outside context. It can be read as a kind of rewriting of ’feeling high brightly’ and both this and the music gets me to think of champagne. Niels Marthinsen

Beethoven's Symphony #4, like #5, portrays the transition from darkness to light. Despite being scored for a small ensemble and its classical structure the work is brimming with originality and grace - 'a slender Greek maiden' as described by Robert Schumann. / Orchestre

Third edition of the world's biggest songbook. This is a vast bumper collection, perfect for buskers, of 1001 all-time hit songs.Whatever your taste, there's guaranteed to be tonnes of songs you'll want to play, this book will last you years!Inside the spiral bound cover you will find a generous selection of hit songs, golden standards, jazz and blues numbers, classical pieces, hymns, gospel songs, stage, film and musical music! Arranged here in Melody line arrangements for Piano, Organ, Electronic Keyboards, Guitar and all C instruments, complete with lyrics and chord symbols. / Ligne Mélodique, Paroles Et Accords (Avec Grilles D'Accords)

Score-Carlos Surinach's Sinfonia Chica for Orchestra. Full score.The title Sinfonia Chica is derived from the derogatory label 'genero chico' which was first given to Spanish folk musicby the Italian musicians and their Spanish adherents who dominated all art music in Spain during the first half of the 18th century.The work represents a fusion of the traditional rhythms and melodic patterns of the Spanishtonadillas (early zarzuelas) and the stylistic characteristics of 20th century harmony structure and instrumentation.Duration: 16 minutes

Philip Glass has produced ten symphonies so far the ones immediately preceding this one inspired by sources as diverse as Allen Ginsberg poetry Aboriginal writings and Native American song. Symphony No 8 however has noreferences to non-musical materials and takes as its subject according to Glass ‘the language of music itself’.The three-movement work does not conform to classical symphonic form with an extended twenty-minute first movement a slow passacaglia for the second movement and a short dense theme joined by a counter theme then ending with an extended cadence to complete the work in the third movement. Symphony No 8 was commissioned by the BrucknerOrchester Linz under the direction of Dennis Russell Davis.American composer Philip Glass is widely known as one of the most celebrated influential and prolific of the modern composers. He is frequently referred to as aminimalist though he prefers to call himself a composer of ‘music with repetitive structures.’ His operas among them the renowned Einstein On The Beach are performed across the globe and he has created work for small andlarge ensembles film and experimental theatre and founded his own performing group The Philip Glass Ensemble.

Hob. I:91-This four-movement work with a slow introduction is Haydn?s last symphony for ?Small? Orchestra i.e. without Trumpets and Timpani. However it has long passages for solo Violoncello and is also scored for two Bassoons. The editor of this edition recommends a performance with low Horns (additionally included in the wind set) to prevent the musical character of the Andante from being compromised by the predominantly high registers.Continuing the collaboration between Bärenreiter and the Henle publishing company in the areas of large choral works operas and symphonies this edition is appearing based on the Henle Complete Edition of theWorks of Joseph Haydn. The complete performance material for several of Haydn?s Sturm und Drang symphonies and all the London and Paris symphonies has already been published.- Based on the Henle Complete Edition of the Works of Joseph Haydn.- Orchestral parts in a large format (25.5 × 32.5 cm).- Full score & performance material (BA10978) available for sale.

Hob. I:91-This four-movement work with a slow introduction is Haydn?s last symphony for ?Small? Orchestra i.e. without Trumpets and Timpani. However it has long passages for solo Violoncello and is also scored for two Bassoons. The editor of this edition recommends a performance with low Horns (additionally included in the wind set) to prevent the musical character of the Andante from being compromised by the predominantly high registers.Continuing the collaboration between Bärenreiter and the Henle publishing company in the areas of large choral works operas and symphonies this edition is appearing based on the Henle Complete Edition of theWorks of Joseph Haydn. The complete performance material for several of Haydn?s Sturm und Drang symphonies and all the London and Paris symphonies has already been published.- Based on the Henle Complete Edition of the Works of Joseph Haydn.- Orchestral parts in a large format (25.5 × 32.5 cm).- Full score & performance material (BA10978) available for sale.

Hob. I:91-This four-movement work with a slow introduction is Haydn?s last symphony for ?Small? Orchestra i.e. without Trumpets and Timpani. However it has long passages for solo Violoncello and is also scored for two Bassoons. The editor of this edition recommends a performance with low Horns (additionally included in the wind set) to prevent the musical character of the Andante from being compromised by the predominantly high registers.Continuing the collaboration between Bärenreiter and the Henle publishing company in the areas of large choral works operas and symphonies this edition is appearing based on the Henle Complete Edition of theWorks of Joseph Haydn. The complete performance material for several of Haydn?s Sturm und Drang symphonies and all the London and Paris symphonies has already been published.- Based on the Henle Complete Edition of the Works of Joseph Haydn.- Orchestral parts in a large format (25.5 × 32.5 cm).- Full score & performance material (BA10978) available for sale.

Commissioned jointly for Colin Currie by the City of Birmingham Symphony Orchestra and the Borletti-Buitoni Trust. First performance on 14th May 2008 at Symphony Hall Birmingham by Colin Currie (percussion) and the City ofBirmingham Symphony Orchestra conducted by Martyn Brabbins.NOTE FOR PERFORMANCEIn table top the unpitched solo percussion part in the 9th movement the scoring was initially left open. The present full score showsa suggested instrumentation  which was devised by Colin Currie in conjunction with the composer. Soloists  should attempt to match the timbres used but should not feel constrained by the  exact choice ofinstruments.COMPOSER’S NOTEThe percussion instruments used in a table of noises in some ways represent the odd things that were on my great uncle Ash’s parlour table that fascinated me as a child. There is even abottle; there was always a milk bottle with the silver top pushed in surrounded by other essentials for his life. From birth he was quite severely handicapped in one of his legs and couldn’t walk too far without his trusty crutch.He kept everything he needed within arm’s length. In the list of instruments for the solo part there’s everything from deep log drum sounds to very high metallic chime sounds. Wood glass metal and a whistle. Mostlysmall-scale things with a large gong behind used sparingly. I think that we managed to keep below 30 instruments in all which I was keen to do. I didn’t want scores of things that are only played once they have to earn theirkeep. I didn’t want to use a marimba but thought that trying to make the xylophone sound in a more expressive way would be more of a challenge. The percussionist sits for much of the time on a Cajon a flamenco instrument which isessentially a wooden box. The player hits the front of the box in various ways rather as you play a conga. There are guitar strings inside and bells to add to the overall colour. I would like to thank Colin Currie for the

From Beethoven's Symphony No. 7 this movement is one of the master's most recognizable and performed themes. Featured in the Oscar-winning film The King's Speech here is a skilled and effective version with flexible instrumentation perfect for small or inexperienced groups. Dur: 2:45

Par SCHOENBERG ARNOLD. The two poems by Stefan George 'Litanei' and 'Rapture ' were worked by Schoenberg into a set of variations and into a finale far removed from traditional notions of form. The vocal reduction of the 3rd movement 'Litanei' is available as UE 6862, the vocal reduction for the 4th movement 'Entrückung ' is available as UE6863. The string parts are available as UE 2994. 'This quartet adds a new element to Schoenberg's creative oeuvre: brevity. It was already indicated by the succinctness of the Chamber Symphony and is clearly expressed in the structure of the F sharp minor Quartet with four shorter movements. There is only a small step from the harmonic language of this work to a complete renunciation of tonality. The last movement - although, in the main, belonging to F sharp mayor - no longer carries a key signature. Chromatic alteration turns the fourth chords into harmonies never heard before, free from any tonal context.' (Anton Webern)/ Répertoire / 2 Violons, Alto, Violoncelle et Soprano

Gustav Mahler: Das himmlische Leben (The heavenly life) for soprano, clarinet and piano from Des Knaben Wunderhorn Mahler?s Symphony No. 4 in a small setting for soprano, clarinet and piano. Klaus Simon arranged the fourth movement (?The heavenly life?). Instrument: for soprano, clarinet and piano Edition type: sheet music Composer: Mahler Gustav Vocal range: high Arranger: Simon Klaus Languages: German

As its title indcates, this is a miniature symphony, its structure compacted as much as possible. The classical form is respected, dwon to the smallest details, so that the various development sections lead to a recapitulation of the two themes and to a more asservative conclusion. Throughout the work the style is extremely sparse and straightforward. The nostalgia expressed by the theme of the second movement leads us towards effects of perspective that modify the light thrown on the melody, at first distand and soon more insistent, more dominant, before dying away in the gentle mist. The third movement is somewhat facetious and sly. Despite its brilliantly luminous progress, the ending is nostalgic, whimsical and, once more, humorous.