This relaxed swing chart really has a carefree feel. As it develops it begins to take on more and more attitude before arriving at an easy yet effective shout chorus. No solos to worry about in this one just straight-ahead ensemble writing that involves every member of the ensemble.

Wald for Ensemble was composed by Hans Abrahamsen in 2008-09. Co-commission by the Schönberg Ensemble and BBC for Birmingham Contemporary Music Group.Programme NoteWald is in a way a series of variations from the beginning of my woodwind quintet Walden (1978). This thematical idea is very simple - a rising call of a fourth and the response in other voices. This idea is repeated several times but because the call has a slower pulse than the responses the process leads to them changing order.In Walden I borrowed the title from the Americanphilosopher Henry David Thoreau who in the middle of the eighteenth century in a little wooden hermit house at the bank of the lake Walden pond wrote the book Walden of his life and time in the forests. Here he experimented living for two years in order to come closer to nature and to see if it was possible to live simply without all the unnecessary needs created by society. The book is filled with poetry but is also cutting and critical of society. In my piece Walden I tried to search for the same simplicity handling the most simple material but at the same time trying not to lose the poetry.Wald is a twin piece to Walden but also to my former piece Schnee.Robert Schumann wrote in 1848-49 a wonderful piano piece Waldszenen. He wrote this collection of short pieces with beautiful titles like Einsame Blumen Vogel als Prophet and also Jäger auf der Lauer just a few years before Thoreau wrote his book Walden. For them the forest is the magical romantic place that gives a spiritual insight to man but also from where we get our food through hunting. For me the forest still has this magical quality and Wald has scenes with a hunting horn that calls (I many years ago played the magical 'Waldhorn' and remember playing in the forest near my home) flocks of birds that when agitated take

POD-Dans og Tegn i Luft for Ensemble was composed by Niels Rosing-Schow in 2015-16. Scored for Flute Clarinet Bassoon Harp Piano Violin Viola and Violoncello. Commissioned by The Danish Chamber Players for their 25-year Anniversary.Programme Note: A scenario from a park in Shanghai: a group of people dances to the crackling music from a ghetto blaster. Next to then a man is drawing Chinese characters on the street with a large brush dipped in water. The sound of the music comes and goes while the calligraphy soon evaporates in the warm air. Time hardly passes and makes itself present in analmost palpable way. The noise from the surrounding city threatens every now and then to destroy the poetic moment. At the appearance of a couple of guards the scene dissolves as from a magic touch as if nothing had happened. - Was this real at all? The music tries to reconstruct the memory of this imagery by putting together sound fragments of the scenario. But will the futile image appear? Or is it just the slight touch of melancholy from the memory which is left until it dissolves as signs in the air. Niels Rosing-Schow April 2016

The well-known English melody gets new life in this arrangement that alternates between bossa nova and swing. It can be used any time of year and also works well on your holiday concert as What Child is This? which uses the same melody. A recurring Birdland-style groove keeps the energy moving forward. No solos in this one — just straight-ahead ensemble writing!

Ständchen - 2013 Version for 10 instruments was composed by Bent Sørensen. This is an arrangement of movements 1+2 (of 4) of the orginial version which was also called STÄNDCHEN (2005-2006) and had the same instrumentation as the Franz Schubert OCTET from 1824 (ob/bsn/hn/str5). STÄNDCHEN Version 2010 (just movement 4) is a version for 6 instruments (cl/tbn/gtr/perc/vn/vc). Commissioned by Scenatet. Parts for hire: hire@ewh.dk

This timeless spiritual classic gets the front burner treatment from Disney writer Chris Sharp. A lush opening chorale gives way to a driving New Orleans street beat with tenor solo (as written or with changes) and an easy shout chorus. A real cooker!