A new vocal score for the last movement from Beethoven's famous Ninth Symphony in D Minor (The Choral Symphony) containing the popular Ode To Joy.German text by Johann Christoph Griedrich von Schiller with English version by Natalia Macfarren.Revised by Michael Pilkington. Includes piano reduction of the orchestral score.

Symphony No. 3 (1972-1975) by Per Nørgård. Per Nørgård's third symphony commissioned by The Danish Radio Symphony Orchestra (conductor Herbert Blomstedt) was premiered in Copenhagen in 1976 and received wide attention. The work gives comprehensive expression to a new realm of musical experience which the composer began to explore toward the end of the 1960s. While the first period in Nørgårds production in the 1050s represents his personal interpretation of the Nordic music tradition – evidenced for example in his “Piano Sonata No. 2” (1957) and“Constellations” for chamber orchestra (1958) – and the second period in the 1960s saw him working with serial techniques musical collage and a new sound-palette - especially in the orchestral works “Iris” (196-67) and “Luna” (1967) – with “Voyage into the Golden Screen” (1968) Nørgård arrived at a new compositional technique based on the use of a special form of a so-called “infinity series” a principle of musical motion to be applied to all kinds of scales (chromatic diatonic et cetera). It is characteristic that that Nørgård in the 1970s chose to cultivate diatonic infinity series already evident in the mythological opera “Gilgamesh” (1971-72). Thus the Symphony No. 3 begun directly after the opera combines the infinity series major and minor scales the partial series of natural harmonics and “sub-harmonics” (Nørgårds terminology) with rhythmic patterns based on the Golden Section (the Golden Mean) in a nexus of synchronous yet disparate elements which serve the composers vision of musical coherence.. The works which followed the symphony – the operas “Siddharta” (1975-79) and “The Divine Circus” (1981-82) and Symphony No. 4 (1981) – usher a new

Ode to Joy - Final Movement of Symphony No.9 in d Op.125-The Symphony No. 9 in D minor Op. 125 is the final complete symphony composed from 1822 to 1824 by the German composer Ludwig van Beethoven. It was first performed in Vienna on 7 May 1824. For SATB and Piano.

Per Nørgård's A Choral Hymn (On Frostbound Earth) from 1983 for Mixed Choir SATBB. Based on 'Choral Hymn' and a fragment of 'The Year'. Orig. version 'Choral Hymn': WH32008 for SATB Orig. DK version 'Korsalme': WH32007 Programme note When in 1975 I had finished composing my 3rd Symphony (begun in 1973) I wrote three simple melodies for two psalm texts by Ole Sarvig “The Year” and “Choral Hymn”. One of these was later included in the Danish Hymnbook under the title “Året – Som året går” (The Year).  Thesethree “Sarvig tunes” were derived from the same material as the second movement of the symphony and could be harmonized together in several different tempo relationships at the same time - like fractals. This inspired me to write several choral and instrumental works in the following decade based on these melodies for instance “Frost Psalm” “Winter Cantata” “Cycles” “Cantica” and this “A choral hymn (On frostbound earth) all coloured by the Nordic and mythic poem “The year” by Sarvig the beginning of which goes :  The passing year will pass its deep  So shall our mind reach winter´s sleep.  And as the tree stands leafles bare   Is winter´s realms: our minds aware.  - Ole Sarvig (translated by Helen and Ole Sarvig)  Per Nørgård  

Winter Cantata / Vinterkantate (1976) by Per Nørgård for a variable ensemble of soloist mixed choir and instruments (minimum: vocalist and organ). Programme Note: When in 1975 I had finished composing my 3rd Symphony (begun in 1973) I wrote three simple melodies for two psalm texts by Ole Sarvig: ?The Year? and ?Choral Hymn?. These three tunes were derived from the same material as the second movement of the 3rd Symphony and could be harmonized together in several different tempo relationships at the same time - like fractals which inspired me to write several choral and instrumental works in the following decade based on thesemelodies: ?Frost Psalm? ?Winter Cantata? ? Winter Hymn? ?Cantica? and others. One of these ´Sarvig melodies´ is now included in the new Danish Hymnbook under the title ?Året?(The Year). Ole Sarvig´s poem ?Året? (The Year) is Danish perhaps Scandinavian in character but its symbolic atmosphere is global (now snow is covering the whole earth). The basic composition of this cantata based on Sarvig´s many verses was done by letting soloist choir and instruments change in feelings and moods: from the almost silent inward-looking beginning (I: Chorale dolorosa) to a dancelike and happy optimism (II: A heaven germ on winged foot thrust deep into the earth its root) followed by nightmarish tone rows as the ?year-wheel of fortune? is turning (III: Sacrifice The Year) and the temptations of the snake (IV: In Paradiso) to the allegorical fights between egoism and altruism (V:The Cycle Autumn. Purgatory) before the ?waiting for a disaster?- atmosphere at the end of this choral Odyssé. Winter Cantata was from the beginning (1976) designed as an open work to be arranged by different combinations of soloists choir and (different) instruments. The printed version by Per Nørgård and Ivan hansen for soloist mixed choir and instruments (obo violin trombone vibraphone/percussion and organ) is from 1990. The work

Carl Rütti (b. 1949) studied music at the Zürich Conservatoire. Studies in London with Kendall Taylor and Richard Latham kindled a fascination with English choral singing and inspired works for unaccompanied chorus. A steady output of mostly sacred choral music has followed including the large-scale Requiem (2007).Rütti's music blends the English choral tradition with other genres including jazz and the blues in rich colourful textures and has been performed all over the world. He has worked with notable choirs including in the UK The Bach Choir BBC Symphony Chorus Norwich Cathedral Choir and Cambridge Voices and in the USA the St Louis ChamberChorus. Many of his works have beenrecorded.He teaches piano at the Zürich Conservatoire gives concerts and recitals as a pianist and organist and is the organist of the local church in Oberägeri Zug.

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

Francis Jackson is a British organist and composer. He was the organist and director of music at York Minster for 36 years. Both nationally and internationally acclaimed Jackson has given recitals and concerts all over the world and made numerous recordings of solo Organ music and of choral music with the choir of York Minster. He has written extensively for the Church and his output includes anthems Organ solos Organ sonatas monodramas a concerto a symphony and some solo songs. Magnificat And Nunc Dimittis In G Minor are two magnificent pieces of sacred choral music arranged for SATB Voices. Total performance time isapproximately 8 minutes and 10 seconds.

The vocal score to the Choral Finale of Beethoven's famous Symphony No.9 In D Minor 'Choral' Op.125 for Soprano Alto Tenor and Bass Soloists SATB Chorus with Piano accompaniment. The text is based on Schiller's Ode To Joy and is presented in both English and German with the English version by Henry G. Chapman.

A choral symphony for baritone solo SATB chorus and orchestra. Commissioned by the Southampton Choral Society and first performed in 1975 at the Guildhall Southampton . Words by John Clare.

No. 2 - The Light of Heaven-The Light Of Heaven from Garden of Light (A Millennium Symphony) for soprano mezzo-soprano tenor baritone chorus and orchestra was commissioned for the Third Millennium Celebration by Walt Disney Pictures premiered in October 1999 by the New York Philharmonic conducted by Kurt Masur with the New York Choral Artists and The American Boychoir. Arranged for Soprano Tenor SATB Choir and Piano accompaniment.