SKU: HL.14007173

8.25x11.75x0.17 inches.

In this collection, the composers have attempted to provide pieces that display the individual tone-colours of the modern organ. Works of this nature are scarce, but their value, particularly for the recital, is considerable. This contrasted set could well be played as a group in one programme.

SKU: HL.14032192

ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).

Symphony No. 6 for orchestra, 1997-99. Preface / Program 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 Gteborg 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 contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard.

SKU: BR.EB-9399

ISBN 9790004188736. 9 x 12 inches.

One of my favourite pieces of music as a child - and I still love it - was Schubert's Trout Quintet. It was partly the wonderful music, of course, so light-hearted and joyful on the surface, yet with twists and turns and murky depths of feeling too. But I also liked the picture of a trout on the album sleeve - such beautiful creatures! Last year, while resident at the Villa Concordia in Bamberg, as I took daily walks along the Regnitz river, I observed the trout as they calmly hovered and swayed in the shallows... But if they felt my shadow they were gone in a split second! If you ever get a chance to look closely at brown trout you see that they are covered in myriad brown/red spots of varied sizes; camouflage I suppose. Now those patterns seem to be mixing in my mind with the shifting colours of the spectral arpeggios that flow through this little piece. It's a watery piece, with rippling waves, shimmering surfaces and textural veils around the melodies which flow through it. But it also takes inspiration (and it's title) from a Pablo Neruda poem: the third stanza of Every Day You Play includes the line The sky is a net crammed with shadowy fish. There's no singer, but I imagine an invisible or imaginary voice somewhere behind (or beyond) the music, and so the score includes a melodic setting of the text. Even though this is not performed by a voice, the melody is always played by the ensemble - especially high register cello - making the piece something like the inverse of a song without words. (Christian Mason)

World premiere: Aix-en-Provence, October 16, 2020 Commissioned by the Grand Theatre de Provence - Aix-en-Provence.