Schnee - Ten Canons For Nine Instruments was composed by Hans Abrahamsen in 2006-08. Commissioned by Westdeutscher Rundfunk for 'Wittener Tage für Neue Kammermusik 2008' with support from Ernst von Siemens Musikstiftung and The Danish Arts Council. Dedicated to Harry Vogt and Ensemble Recherche. Programme Note: In the beginning of the 90s I arranged some of J.S. Bach’s canons for ensemble – in total seven single standing works from his entire life span. I became totally absorbed into this music and arranged them with the intention of the music being repeated many many times as a kind of minimal music. Obviously I didn’t know which durations Bach had in mind but by listening to his canons in this way a profound new moving world of circular time was opened to me.Depending on the perspective on these canons the music and its time can stand still or move either backwards or forwards.In my own work an ongoing idea has persisted of at some point writing a work consisting of a number of canonical movements that would explore this universe of time. And when I was offered the commission for Ensemble Recherche and Wittener Tage it felt as the right time to do this.In Schnee a few simple and fundamental musical questions are explored. What is a Vorsatz? And what is a Nachsatz? Can a phrase be answering? Or questioning?The guideline or rule for the canons is very simple: We start out with an answering Vorsatz followed by a questioning Nachsatz. Throughout the time of the piece these two are intertwined more and more as more and more dicht geführt canons until at the end they are interchanged. Now the question and then the answer. The two canons are identical like a painting in two versions but with different colors. And where the first one does not include the space the second one does as well as containing more

2010 version-Thomas Simaku's Reflexions de la Croix for chamber ensemble: Alto Flute Clarinet (or Bass Clarinet) Piano Percussion Violin and Cello.Published 2003First performance: ConcordeEnsemble Dublin 7th March 2004.Score.

Set of parts Body And Soul for Clarinet Bass Clarinet Percussion Violin and Cello (2011). Score: WH31294

Per Flauto, Clarinetto Basso, Corno, Violino, Viola, Violoncello E Pianoforte. Par SBORDONI ALESSANDRO. / Répertoire / Flûte Traversière Clarinette, Basse, Cor, Violon,

Composer : Bach, Carl Philipp Emanuel Instrumentation : Fl,Vl,Bc Editor : Hill, Cecil

for Bassoon and Piano-Gabriel Grovlez (1879-1944) studied under Gabriel Fauré at the Paris Conservatoire. His compositions proved to be extremely versatile from Operas and Ballets to solo works. Grovlez's Sicilienne Et Allegro Giocoso is a sublime addition to the Bassoon repertoire. Much of the composer's works show neo-classical features which is also the case inSicilienne Et Allegro Giocoso where the texture is predominantly melody dominated homophony cadences are frequently heard and modulations to related keys occur despite tonality being interestingly exploited.Grovlez's C minor Sicilienne is unusual in style as it is composed in common time yet the triplets and sextuplets in the Bassoon part provide the 'tarantella feel' required of the musical genre. This is superbly contrasted by the quirky Allegro Giocoso (fast and cheerful) composed in the relative major. All these features make for an enjoyable and delightful performance!

For Soprano and Chamber Ensemble (Clarinet in A Viola Cello and Double Bass).This extended version of a knot of time was commissioned by Faith Wilson. First performance on 10th OCtober at the CBSO Centre Birmingham by Sarah Leonard (Soprano) and the Birmingham Contemporary Music Group conducted by Richard Baker.''a knot of time' began its life in 1992 as a piece for the Composer's Ensemble for Clarinet Viola Celloand Bass with Mezzo Soprano. It was originally the title of only one setting using the poem 'Cada cancion' by Lorca. The tessitura of the vocal line always seemed generally too low for the music and there were also problems withthe clarinet writing so I changed the mezzo-soprano to soprano. I also felt that I should add more settings for the piece to have more of a life and so was thrilled when Faith Wilson asked me for some music to celebrate her 60thbirthday in 2008. I decided immediately to add two more Lorca settings to this first setting. I wrote 'El grito' and 'El silencio' quite quickly in June 2008. I added 'Aire de Nocturno' in October of the same year but stilldidn't feel that it was complete and so added a brief and rather explosive setting to close in April 2010; 'El puñal en el corazon'. The whole piece will be premiered in October 2010 with the soprano Sarah Leonard and membersof the BCMG eighteen years after the initial response to Lorca's texts.'     - Simon Holt

For Flute Clarinet Horn Piano Percussion Violin Viola Cello and Double Bass.Score.