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

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

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

Composed in 1948 Kodály's compelling Geneva Psalm 50 uses the original psalm tune as a cantus firmus while adapting the original Calvinist psalter's rhythms to the Hungarian language. In addition to Geneva Psalm 50 he also composed motets from Psalms 114 and 121. Zoltán Kodály's complete choral works for mixed voices were published in a new extended edition in 2018 (Z. 6725 and Z. 6725A). This volume containing 51 compositions has been edited by the renowned conductor Péter Erdei one of the most devoted interpreters of Kodály's choral works. The new edition takes into consideration the manuscript sources for the compositions housed in the Kodály Archives in Budapest. Thepublication features new easily-legible music scores edited on uniform principles. For better readability the new edition is printed in a slightly larger format than previous editions.The present publication is an offprint from the renewed edition of Kodály's complete choral works for mixed voices. It has the same format as the volume and has been printed on excellent-quality pale-yellow paper.

To Nocturner (2001) - for Chamber Choir (12 or 24 Voices). Texts by Ole Sarvig and Ib Michael. English version available: KP01444E Programme note: These two choral pieces for 12 voices consists of radical recompositions on of earlier themes: in Summer's Sleep we hear new combinations of two 'Sarvig melodies' from the 1970s (one of which is now in the Danish Hymnbook under the title 'Året' The Year); Michael's Night is based on an earlier simple choral song (Star Mirror 1987) now for 12 voices and composed such that an original idea of 'simultaneously displaced opposite motions' cf. the poem)comes out as desired. Of the Nocturnes Nørgård writes: 'Summer's Sleep was composed to stanzas of Ole Sarvig's poem The Year (from the collection Forstadsdigte ('Suburban Poems')) and forms the picture of 'the summer of life' which is asleep - while the 'heaven seed' waits for the summer wind ('invisible to every mind'). The many layers of text are expressed musically in a multilayered choral texture with 'looks' up and down through the various tempo and time-worlds: summer sleep summer dream. 'The second nocturne Michael's Night takes its name from the author Ib Michael whose poem Star Mirror (from the collection Himmelbegravelse ('Sky Funeral') (1986) I pushed/coaxed him to expand from one to nine stanzas. The four selected stanzas set in the nocturne focus on the pan-erotic elements of the moonlit starlit night. With the titles I have chosen I have stressed the mythic layer of the text the summer night not as a dream but as sensual reality. 'The two nocturnes are dedicated to Ivan Hansen on the occasion of his fiftieth birthday on 25th February 2003 out of gratitude for over a quarter of a century of inspiring collaboration'.

Per Nørgård's choral piece Tre Systrar (3 Sisters) for Mixed Voices SATB (1993). Text by Solveig von Schoultz.

11 polyphonies d'Argentine, de Bolivie, du Brésil, du Pérou et des Caraïbes Ces polyphonies appartiennent à quelques genres musicaux qui n'étaient pas représentés dans les volumes 1 et 2 : kaluyo (Bolivie), tonada, tango (avec texte), chacarera (Argentine), valse (Pérou), rumba (Caraïbes).Les deux premières oeuvres de ce recueil sont des canons de grande vitalité rythmique, à cinq et trois voix. Dulce Jesus Mío (Mon Doux Jésus) est l'un des très rares exemples d'oeuvre polyphonique a cappella des Archives de Chiquitos (XVIIe-XVIIIe s., Concepción, Bolivie) - oeuvre religieuse, elle fut certainement écrite par un indien (élève des maîtres jésuites) et elle possède un texte autant en espagnol qu'en chiquitano (dialecte commun aux diverses ethnies qui vécurent ensemble dans les Missions des Jésuites). Les autres oeuvres de cette sélection sont d'origine populaire, avec des textes en espagnol ou en portugais, mis à part Verano Porteño (Eté à Buenos Aires), tango d'Astor Piazzolla composé d'onomatopées. / Choeur Mixte / 48 pages / Partition

The Welsh traditional song Suo G n is here arranged for SATB Chorus and Organ Accompaniment by Stephen Cleobury. Written by an anonymous composer in Welsh it literally means 'Lullaby'. This beautiful arrangement is sure to be a favourite with audiences and choirs alike. It features lyrics in both English and Welsh. This traditional Welsh song has been a favourite within the repertoire for many years after having been first documented by folklorist Robert Bryan. With versions sung by Charlotte Church Katherine Jenkins and the Choir of King's College Cambridge  Suo G n is one of the most recognisable andwell-loved tunes in the Welsh and English repertoire. This new arrangement by Stephen Cleobury will be a welcome addition to any choir's performance with the combination of such a new take on an established classic with simple beautiful music.

3 Hymnic Dispositions- 3 Hymniske Ansatser (3 Hymnic Dispositions) for mixed choir SATB was composed by Per Nørgård in 1985-86. The work consists of music composed to 3 poems e.g.  Gunnar Ekelöf ´Komposition (Composition)   Thøger Larsen ´Strandvalmue´(´Beach Poppy´)  Rainer Maria Rilke ´Die Parke´(´The Parks´)    Programme note Just as the three movements in their succession move from the sea (Ekelöf) across the beach (Larsen) and into the country to the parks (Rilke) in an analogous wayeach of the three movements in their point of departure is hymnic in character - but later on moves into the more varied and complex tone paths of the inner regions of the mind.  3 Hymniske Ansatser (3 Hymnic Dispositions) is sung in Swedish (1. Komposition” Gunnar Ekelöf) in Danish (2. Strandvalmue” Thøger Larsen) and in German (3. “Die Parke” R.M. Rilke). The work could be performed in a programme with 'Prelude to Breaking' performed after this instrumental piece.  Per Nørgård 

COV \' ne Roll recrée le plaisir et l\'énergie des arrangements de rockabilly des balles de groupe de pop allemand le base-ball trois chansons emblématique par certains des plus notoires d\'aujourd\'hui R\'n\'B et actes pop : parapluie de Rihanna, Crazy In Love et ciseaux soeur I Don\'t Feel Like Dancin \' tout brillamment arrangé pour SATB accompagné de Beyonce chorale par Charles Beale. La série de la chorale Programme Faber musique fournit une multitude de concert précieux répertoire incluant les oeuvres de Brahms, Holst, pont, Standford, Warlock, Faure, SaintSaens, Schubert et Schumann, ainsi que répertoire Noël, choeurs de l\'Evangile, arrangements de chansons folkloriques et les hits de la montre./ Recueil / SATB

Per Nørgård’s setting of these sacred text for Mixed SATB chorus dates back to 1983 and includes Agnus Dei Qui Tollis Peccata Mundi and Dona Nobis Pacem.

Für Gemischten Chor 3-F?nf Pop-Songs f?r gemischten Chor SATB a cappella. Band 3 aus der Reihe Sing'n'Swing. Chorpartitur. Mit Akkordsymbolen und Gitarren-Diagrammen.