Full Score-Symphony No. 2 began its life as Pozcatek a 'Michael Nyman Band' 'soundtrack' that was written for the Michael Nyman Band to accompany a selection of sequences from post-war Polish films thatNyman selected and edited in 2009. That work has already been networked a Pozcatek for piano trio (recorded by the Fidelio Trio for MN Records) and a song cycle 'Ex Votos Songs' with texts transcribed from Mexican ExVotos hence the possibly subtitle for this symphony: Ex Photos. The symphony which was completed in 2013 consists of four interconnected movements and is Arranged for orchestra. Duration of approximately: 28 minutes.

Haydn composed his Symphony no. 76 at the same time as his Symphonies nos. 77 and 78 for a planned trip to England that never took place. Nonetheless, H. C. Robbins Landon calls these works the ?English symphonies? as they arestylistically closely linked to the ?London Bach?, Johann Christian Bach. Haydn himself, in a letter of 1783 to his Parisian publisher Charles-Georges Boyer, described the symphonies as ?Leicht und nicht vil Concertirend?, meaningthat they were light in spirit and did not contain extensive solo passages but rather a clear sense of classical form. Continuing the cooperation between Bärenreiter and the G. Henle publisher regarding Haydn?s large-scalechoral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the ?Works of Joseph Haydn?. The Bärenreiter catalogue now includes the complete performance material for several ?Sturm und Drang?symphonies as well as all the London and Paris symphonies.

Clara Wieck’s sincerest wish was that her future husband, Robert Schumann, turn his extraordinary genius toward the larger and more challenging task of composing orchestral music. Confiding in her diary in 1839, just one year before her marriage, she explained that “it would be best if he composed for Orchestra: his imagination cannot find sufficient scope in the Piano…” In the years that followed their marriage Robert Schumann continued to devote much of his attention to Piano music, but he also found the time to comply with his beloved Clara’s wish by creating a number of musical pieces composed specifically for Piano and Orchestra. Although Schumann’s genius is most in evidence in his masterful solo Piano compositions and superb lieder, his lively and provocative imagination manifests itself with equal aplomb in the works composed for Piano and Orchestra. The same compelling romantic and lyrical qualities that captivate lovers of Schumann’s Piano music are evident in these compositions. Three of his finest are presented here in full score, including the A Minor Piano Concerto, one of the most popular and frequently performed concertos ever written. All demonstrate his remarkably innovative approach to music, diverting substantially from the classic models of the day, and display his immense creativity as well as his warmth and sensitivity. Included in this collection of Schumann’s compositions for Piano and Orchestra are: Piano Concerto In A minor, Op. 54 (published 1846) Concertstück, Op.92 (Introduction and Allegro appassionato; published 1852) Introduction and Allegro, Op. 134 (published 1855) These three works by one of the greatest masters of romanticism will delight musicians, music lovers and students, as well as devotees of Schumann. Pianists will be especially pleased to have these appealing Schumann works in one convenient edition available at an affordable price.

Exit Music for Orchestra was composed by Bent Sørensen in 2006-07. Exit Music was commissioned by the Bergen International Festival for the Bergen Philharmonic Orchestra and is dedicated to Per Nørgård 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 reappear in 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 Sørensen)

Orchestral work commissioned by the BBC and premiered by the BBC Symphony Orchestra under the direction of Andrew Davis The Barbican Hall November 1992.Quoting Lindberg: 'After having written a Piano Concerto in 1991preceded by three works for different orchestral effectives (Kinetics Marea and Joy) I felt that I had come to an end with a certain musical expression and also compositional technique. All these works were based upon anextended chaconne principle with chord chains cycling around undergoing constant transformation and being articulated in a very gestural way. The musical paradox and evidently also the challenge was the discrepancy between abrick-like method expressed in a world of gestures (with all difficulties involved in conceiving music out of phrases) aiming at a continuity in terms of progression and development.After the Piano Concerto in the autumn of1991 I strongly felt that I couldn't continue in that direction anymore. I started to work on a project called Corrente for 16 players as a study for the full orchestra version entitled Corrente II.In order to bring theharmonic and rhythmic world closer to each other I abandoned the chaconne principle and based the harmony on different scale aggregates. By combining these scales and by filtering or by enhancing them with additional pitchesbased on more acoustically oriented views of the scales by considering them as partials of virtual fundamentals I was able to work in a rich harmonic world without actually having to do harmonic transformations and progressions.The rhythmic material was based on pattern figures with a rather kaleidoscopic approach of repetition and variation.By combining these pattern figures and scales aggregates I wanted to give the musical expression a 'narrative'sense of streams and directions moving around in different orchestral constellations.Corrente II for symphony orchestra is based on the same material as the piece for chamber orchestra. As the timbral palette and the mass

Score and Parts-Charles Ives' Postlude In F for Orchestra. Score and parts.The Postlude in F composed in 1895 is Charles Ives' earliest known work for large Orchestra. It is based on anearlier Organ piece which Ives performed at the Baptist Church in Danbury Conneticut on May 11 1890 (at the age of fifteen; on the cover page of the full score Ives mistakenly gave 1892 for the year of the Organcomposition). The version for Orchestra was probably produced as an orchestration assignment for a class of Horatio Parker Ives' teacher at Yale College. Ives recalled that the 'New Haven Orchestra' - that is the New Haven Symphony Orchestra organised by Parker in 1895- read through the work in 1896. The Postlude in F which was also preperation for work on the First Symphony (its first movement also completed in1895) contains some suprisingly mature and beautiful writing especially in the magical closing pages. - Kenneth D. Singleton.

Per Nørgård's Tidsrum / Spaces Of Time for Orchestra with obligate Piano dating from 1991. Programme Note Spaces of time is a 20-minute long one-movement orchestral piece “with piano” signifying that the piano not only as in my other orchestra works is part of the ensemble but also in a major passage attracts almost all attention. This passage is only one of the ´spaces of time´- spaces which give the work its title and represent individual musical perspectives.  Relations of tempo and scale characterize such a space (besides the mentioned“piano-concerto” or other intrumental features) and in this way associate with say a small room - with close-ups of the musical objects - or perhaps to an infinitely great space - a cosmic one where all is far away and vibrating.  One motive marked mainly by ascending stepwise movement unifies the spaces but the very varied scales may let the outines of the motive change between say 1/4-tone steps 1/2-tone steps diatonic and other scale steps up to such ambient steps that each one comprises almost a third of the total orchestral range. Very often 2 scales are woven together in a way that lets the “hidden tone” inside a major step in one of the scaels become a part of the other scale. By dynamic means one scale may be highlighted as a “figure” the other one as a “ground” in one passage - and vice versa. In this way a 12-tone chromatic scale may as well contain a Japanese 5-tone scale as a European 7-tone scale. In the final “space” the tones literally take leave of the listeners - by streaming down - as water sucked down into the ground by gravity - into the bass octaves and - into silence.  Spaces of time was comissioned by “Suntory Hall” in 1990-91 (artistic director Toro Takemitsu) in October 1991 with Aki Takahashi (piano)

Karsten Fundal's Entropia for Large Orchestra Soprano and Baritone soli Large Choir and Chamber Choir (SATB) and prerecorded sound (1997-2001). Commissioned by the Danish National Symphony Orchestra and Choir / DR. Parts are available on hire: hire@ewh.dk About Entropia: This orchestral work is chiefly an attempt to make a musical investigation into the complex question of the nature of time. The viewpoint taken on a philosophical level is chiefly inspired by the brilliant thinker and philosopher of time J.F. Fraser. The main conclusion of his investigation of the subject is in very short that the onlyadequate view to take of time as a phenomenon with all the knowledge that we have today is that time must be seen as a conflict or at least an interference between many different “temporal levels” (...) Karsten Fundal  

Concerto giocondo e severo (Cheerful and Serious Concerto) Op. 132 for Orchestra by Vagn Holmobe (1977).   Programme note Concerto giocondo e severo was composed in 1977 and first performed in the following year on  18th April by the Aarhus Symphony Orchestra during a vist to Gothenburg with Jorma Panula conducting. This work is scored for a much larger orchestra than the other conertos (including a large percussion section) but the orchestration is relatively transparent. It is only occasionally that everybody is on the pitch at the same time. The concerto is in onemovement but is divided into a succession of different tempi and sections that contrast with each other in character. A fortissimo chord from the whole orchestra starts the the slow somewhat tentative introduction. But another fortissimo outbreak is required before strings and the woodwinds together prononunce the beginning of the first rapid section. Knud Ketting

ACT has been described as both a musical onslaught and also a playful tour de force an impressive and skilful work for full Orchestra. When Wallin’s Clarinet Concerto was performed by the ClevelandOrchestra in 2002 the composer was so buoyed by the warm reaction of audience and musicians that he was inspired to create this work for Orchestra to summon all its forces as one entity in forward motion together. Of the genesisof this piece Wallin wrote that ‘The foundation of mankind’s success is our ability to cooperate. For me one of the most amazing examples of human collaboration is the symphony Orchestra'. RolfWallin is a renowned Nordic composer whose work encompasses elements of classical training jazz early music and avant garde rock while incorporating a wide range of techniques and expressions.

Full Score-John Luther Adams' Become Ocean for Orchestra (Full score) 'Become OceanOver the years my orchestral music has become simpler and more expansive. Clouds of Forgetting Clouds of Unknowing (1991-95) contains four different musical textures. In the WhiteSilence (1998) has three. For Lou Harrison (2002) reduces this to just two. In Dark Waves (2007) I finally got to one. When Ifirst heard that piece I began to wonder if I could sustain asimilar sound for a longer span of time. The result is Become Ocean a meditation on the vast deep and mysterious tides of existence.Thetitle is borrowed from a mesostic verse that John Cage wrote in honor of Lou Harrison's birthday. Likening Harrison's music to a river in delta Cage writes: LiStening to it we becOme oceaN. Lifeon this earth first emerged from the sea. And as the polar ice melts and sea level rises we humans find ourselves facing the prospect that once again we may quite literally become ocean.' – John Luther Adams

Score-Silvestre Revueltas' ‘Sensemaya’ was written in 1937 for chamber orchestra; one year later the composer transcribed it for a huge orchestra of twenty-seven wind instruments fourteen percussion instruments and strings. The rhythms are laid out precisely and have considerable visceral impact very much in a manner that recalls Igor Stravinsky's The Rite of Spring. However Revueltas' masterful orchestration and ability to evoke the ancient Maya civilization with decidedly modern music are uniquely his own. It is a unique orchestral spectacle something only Revueltas could have written and in its way it is one of the most brutal works of its time. The workbegins with a low note in the bassoon as the percussion plays the sinuous syncopated rhythm that drives the work. Soon a solo horn enters playing the first of this work's two major themes a muscular ominous motif. Other horns join the first one to play the theme growing louder and more emphatic but rigorously yoked to the underlying rhythm. Eventually the horns blast as loudly as they can with obsessive trills on the bassoon far underneath and the violins enter with the slashing second theme. The horns take up this new theme and bring it to a climax after which the music returns to its opening texture. This recapitulation brings with it a mood of foreboding. The rhythm becomes even more obsessive and finally the music reaches a massive climax during which both themes are played overlapping sometimes in part and sometimes in whole by woodwinds brass and violins in what sounds like a musical riot. The coda feels like the final dropping of a knife.

  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

This work was written with a mix between computer technology and the more traditional orchestra the piece was composed in such a way that it would support it's own acoustics. Lindberg worked with amplification of instruments and electronically transformed sounds thus producing greater possibilities to abandon acoustic limits. In order for the piece to be supported by it's own acoustics the piece had to be written in terms of foreground and background harmony every foreground chord would always have it's background a shadow existing without it's main chord.Another theme to the piece is that of textural motion as rapid gestures and motions are a big part ofthe composer's interest. Static repitions seemed to limit the piece however so they were compensated for on another level so with a repetitive rhythmic pattern the harmonic material changes rapidly or when a chain of chords is static the rhythmic and timbral qualities vary frequently. Work for Orchestra commissioned by the Finnish Broadcasting Company.