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

Per Nørgård's Symphony No. 4 (1981) - Indischer Roosengaarten und Chineesischer Hexensee (Indian Rose Garden and Chinese Witch See). Programme Note: This symphony in two movements entitles “Indischer Roosen-Gaarten und Chineesischer Hexensee” was inspired by Adolf Wölfli’s works - consisting of 20.000 pages of prose poetry and pictures -. An English translation of the title would read: “Symphony no. 4 - Indian Rose Garden and Chinese Witch See; after an idea by Adolf Wölfli (1864-1930) and dedicated to him.”  Wölfli was from 1895 (31 yearsold) until his death in 1930 confined to the mental hospital at Waldau near Bern Switzerland. Although he had no technical knowledge of music he considered himself to be a great composer and his paintings were almost always covered with long festoons of six-lined (!) music staffs. In 1912 Wölfli ordered paints and paper for a planned ´Musikbüchlein´ which was to be published in 1920 under the title “Indischer Roosen-Gaarten und Chineesischer Hexensee”. (Wölfi uses his characteristic illustrative phonetic spellings with double vowels). The work was never completed and I took it upon myself to realize Wölfli’s idea according to his vision but of course within my own preconditions.  The double and suggestive title is typical of Wölfli´s polarized conception of the world which shifts between idyll and catastrophe. This polarization is of almost Chinese nature in that no idyll exists without catastrophic disturbances just as there is a black “spot” in the white “fish” and vice versa in the famous Yin/Yang symbol.  One might explain this idea with a quote by the Norwegian author Knut Hamsun: “A prisoner on his tumbrel is wheeled to the scaffold. A nail chafes at his behind; he moves over and feels more

Score-While Promenade Overture can be performed with the orchestra seated throughout in traditional fashion it is engineered to allow the players to enter playing building the orchestra from an almost empty stage. Thepremise of Promenade Overture took root years ago when the composer was caught off guard by Haydn's delightful Farewell Symphony. This Haydn work is often used to end a concert because during the last movement theplayers gradually exit leaving two violins to finish the symphony on a bare stage. Since overtures usually begin concerts a reverse of this procedure - the entrance of the orchestra while playing - became both an interestingidea and a compositional challenge.

Commissioned by the first Sibelius Conductor's Competition held in Helsinki in May 1995 as an obligatory piece to be rehearsed by all the competitors Arena was performed in its totality at the annual Avanti! Chamber Orchestra'sfestival in Porvoo (Finland). Thematic thinking has never been a main feature in Lindberg's music but here horizontal lines (one would not yet dare to call them melodies) gain some independence for example in ornamental figuresand in the intense cello solo around the middle of the piece. Arena also reveals some clearly new material - Lindberg has talked about Beethoven-like formal thinking referring to a passage where the sense of movement seems toaccelerate to an extreme so that finally one perceives only a motionless surface. Another new element - which was already used to some extent at the warmly hovering ending of Aura - is the almost romantic sound world and thesuspension of the harmonies in the final climax which can make one think of Mahler and Berg or Lindberg's grand predecessor and compatriot Sibelius.This is the Score published by Chester Music; the duration of thepieces is approximately 16 minutes.

The Enchanted Forest. Par HENZE HANS WERNER. This music is taken from the second act of my early opera King Stag. In the original, the aria - here rescored for the orchestra alone - is sung by the protagonist (tenor) who yearns to return to the woods, to nature, to the origins of his animal existence. The rondo is set in a very fast dance tempo (a Tarantella?) and is in three parts: the first one is cheerful and comic, the second one lyrical, almost romantically so, whereas the third one is impetuous and dramatic. The music of both pieces has been considerably rewritten and altered, in harmonic, melodic and rhythmic aspects. - Hans Werner Henze/ Répertoire / Orchestre

To occupy the post of municipal music director Schumann came to Düsseldorf on the Rhine in 1850 and it was probably the impressions of the Rhineland that inspired the composer to write his Symphony No. 3. In a letter to the publisher Simrock Schumann himself wrote that the peculiarities of Rhenish life had found expression in the work. To Schumann the view of the Cathedral of Cologne was a highlight of his trips in the area surrounding Düsseldorf; even if there are no records testifying to his attending a church service it almost seems as if the impressions of such a service are reflected in the fourth movement of the symphony which was originally entitled'In the Character of the Accompaniment to a Solemn Ceremony'.

Score-Of almost any of the works of Bloch's maturity the 'Sinfonia Breve' has the least amount of Jewish ‘flavour’. In 1952 when this piece was written Bloch was exploring some other vocabularies rather than the one that is most often identified with him. His flirtation with (twelve-tone techniques still sounds like Bloch. The title of the work indicates a more formal structure than many of his more poetic creations. It does follow the classical four movement pattern and Bloch links them by utilizing appropriately transformed thematic material. The first movement commences with an important thrusting theme. The second movement is meditative and quite beautiful. Thestring section dominates and Bloch exhibits the same mastery of counterpoint that one finds in his string quartets. The Scherzo begins with an off-beat major 7th figure. The first trio is a slower lyrical contrast. The second trio has the most exotic writing of the whole Sinfonia. The finale recalls much of the important material from the previous movements. This grand summation ends calmly.

Inspired by the spiritual “Were You There ” this musical experience is based on several monologues by thosse who were at the cross. The work leads us through many emotions: from the Holy Love shown to Mary Magdalene to the intimacy of Mother Marty's Still My Son to the regret of Peter in It Should Have Been Me. The musical can be of almost any length since each momologue and anthem may be used independently. However We WereThere is used it will provide a powerful Holy Week resource for years to come. Maximum length if all pieces are used: 53 minutes.Includes: Were You There?; Holy Love; Christ Is Our Brother; Surely This Was the Sonof God; How Can It Be?; Still My Son; It Should Have Been Me; We Were There; At the Cross.

It took Borodin almost five years to write his first symphony and the composition of 'Symphony No. 2' was to take just as much time. One should not forget however that music was mainly a leisure activity for the professor of organic chemistry in St. Petersburg.His work on 'Prince Igor' begun after the world premiere of Symphony No. 1 finished in favour of the second symphony but part of the musical material found its way into the new composition and even the extant programme testifies to the critical analysis of the music theatre: the gathering of Russian warriors in the first movement the Old Slavonic bard in the andante and the party scene to the sounds of the gusli inthe finale.

The composer writes:'My Symphony is in two movements which however are played without a break. Taken together they progress from the extremely high almost unison screams and glissandi of the opening via blurred melodic and swarming rhythmic formations towards the slow ending with its simple and more clearly out-lined melodic fragments. The designation 'symphony' is in this case much more a title than a genre indication. During my work on the piece I never considered having any other title than this magical and associative word: 'Symphony'.'

J S Bach composed the Fantasia and Fugue in C Minor in approximately 1723 when he was in Weimar. Elgar proposed an Orchestration of the work dividing the work into two parts with Richard Strauss in the 1920’s. In the end Elgar created the entire Orchestration himself and it was given its premiere in 1922 almost two centuries precisely since Bach wrote the original.

Score-Charles Ives' Third Symphony ‘The Camp Meeting’ is the most concisely-scored of his five symphonies. Containing only Strings a few Winds Horns and Trombone this is a clear and uncluttered reminiscence of nineteenth centuryAmerica as viewed through some of its traditional hymn tunes and in doing so evokes the old 'camp meetings' which were such a feature of pioneer life. The first movement ‘Old Folks' Gatherin'’ is a patchwork of hymntunes drifting through an unpredictable constantly changing harmonic orientation. After a climax is reached a quiet passage opens with oboe and flute over hushed distant strings. Ives reintroduces part of the middle section and settles down to a quiet coda ending the movement almost imperceptibly. The second movement ‘Children's Day’ opens with strings in two parts over Haydnesque eighth notes in the horns. ‘There is a Fountain Filled withBlood’ ‘Happy Land’ ‘Naomi’ and ‘There's Music in the Air’ all are heard. As this is a movement depicting children at play Ives is playful himself weaving hymn tunes into one another in a somewhat tongue-in-cheek manner. Thethird movement ‘Communion’ is darker in tone than the others and provides a psychologically satisfactory close to the work as a whole. This is the 1990 edition of the Score The Charles Ives Society Critical Edition edited byKenneth Singleton and reprinted in 2001. It contains substantial notes on Ives and this work.

Mozart, Wolfgang Amadeus La clemenza di Tito K. 621 Facsimile of Mozart's autograph score The Seven Great Operas in Facsimile Editions of Mozart?s Autograph Scores ?Idomeneo?, ?Die Entführung aus dem Serail?, ?Le nozze di Figaro?, ?Don Giovanni?, ? Così fan tutte ?, ?Die Zauberflöte ?, ?La clemenza di Tito? ? Mozart?s seven great operas, his brilliant contribution to music theatre and world culture, are unequalled in their depth of human characterisation and musical expression. Through happy coincidence, all seven opera scores have survived almost complete in Mozart?s manuscript. The Packard Humanities Institute (PHI, Los Altos , California ) has now embarked on producing a facsimile edition of the seven autograph scores. Mozart scholars, libraries and of course all lovers of Mozart?s stage works now have the opportunity of acquiring these priceless manuscripts in flawless reproductions. At the same time, all risks about preserving Mozart?s legacy for the world of music are taken care of. The Packard Humanities Institute (PHI) charitable foundation, known for its philanthropic programmes in the arts and sciences, has forged an ideal cooperation for the Mozart project. Under the scholarly direction of an editorial board (Ulrich Konrad , David Packard, Wolfgang Rehm , Christoph Wolff; General editor Dietrich Berke) the International Mozarteum Foundation Salzburg and the libraries where Mozart?s manuscripts are held are working together with the Packard Humanities Institute. The production of the volumes is exquisite, for the digitalization of the manuscripts has been undertaken using the latest technology, which allows for an astounding level of authenticity and precision in detail. The printing follows the uncompromisingly high standards demanded by the edition. All seven volumes include essays on the history of literature and ideas by Hendrik Birus , Hans Joachim Kreutzer and Robert Miller as well as musicological introductions by leading Mozart scholars in German and English. The facsimile edition will be distributed by Bärenreiter- Verlag . - consolidation of Mozart manuscripts held in different places - highest level of precision in reproduction and authenticity of colour through use of the latest technology - unique offer thanks to project sponsorship by the Packard Humanities Institute (Los Altos, California) Precision in reproduction thanks to cutting edge technology In preparing the manuscripts for reproduction, equipment was used in line with the highest technical standards currently available. Mozart?s original manuscripts of the seven operas are held by several libraries. For five of the operas, the different acts have even ended up in different libraries following World War II. Thus, the autograph of Act I of ? Così fan tutte ? is in the Jagiellonian Library in Kraków and the second act in the Staatsbibliothek zu Berlin ? Preußischer Kulturbesitz . In order to achieve a uniformly high level of precision in reproduction and authenticity of colour both within a work and for all seven editions, the use of the same technical equipment in all the different places was a prerequisite. Specialist from the Salzburg firm ? Kirchberger Photography? were employed, were provided with the latest equipment by the Packard Humanities Institute and also given special additional training in the modern technology by specialists in the USA. Proofs of each edition were compared with the original in each location and improved until the likeness could not be bettered in all details. Mozart?s music and text notation is reproduced extremely clearly, and even those places where Mozart corrected or had rubbed out marks he had already made, appear in these editions in a previously unmatched transparency.

Rossini's popular overture is now available with complete performance material on sale. It is newly edited based on the forthcoming volume of the 'Works of Gioachino Rossini' (BA10506).This scholarly-critical practical edition contains almost two works in one as Rossini composed this overture firstly for his opera 'Aureliano in Palmira' and then also used it in 'The Barber of Seville'. The two overtures differ simply in their instrumentation.This new edition is an Urtext edition. Free of later additions to the instrumentation and other changes it reproduces this famous work in the version which Rossini intended.Conductors can nowchoose to perform the overture to 'The Barber of Seville' without the frequently added second flute second oboe and drums which were not part of the opera's original instrumentation.First Urtext edition of the popular overtureForeword (Ger/Eng/It)Optimal page-turns in the parts

In 2012, the American composer Elliott Carter died at the ripe old age of almost 104. To the last, he devoted his time to composing. Instances is the last orchestral work written by the two-time winner of the Pulitzer Prize. / Orchestre