Winternach was written in1976-78 and the title was taken from a poem by the Austrian poet Georg Trakl. The four movements which are all very precise and dreamingly poetic are almost classical in terms of clarity and discipline in orchestration and form: hence the dedication of the third movement to Igor Stravinsky. However the music has a strong impressionistic quality as well: four introverted still lifes of the velvety dark iceness of a silvery winter night (one can veritably sense the fairy-tale-like sleigh ride in the two outer movements). The second movement is dedicated to the eccentric lithographer M.C. Escher and the first and last movements are both dedicated toGeorg Trakl. As in the well-known orchestral work Stratifications we can enjoy Amrahamsen's fiscination with having several events occur simultaneously: a thoughtful as well as playful multilayered quality mirrors the poetic and mysterious worlds of painting literature nature and most important of all: music.

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 Four Seasons)-Antonio Vivaldi (1678-1741) stands with Handel and J.S. Bach as one of the titanic figures of late Baroque composition. Not only was he lauded as a composer of vocal and instrumental works both sacred and secular he was without serious competition the most prolific composer of his age. In addition to hundreds of vocal works includingforty-nine operas he composed five hundred concertos. The Four Seasons are probably the best known of his concerti with the second movement

(The Four Seasons)-Antonio Vivaldi (1678-1741) stands with Handel and J.S. Bach as one of the titanic figures of late Baroque composition. Not only was he lauded as a composer of vocal and instrumental works both sacred and secular he was without serious competition the most prolific composer of his age. In addition to hundreds of vocal works includingforty-nine operas he composed five hundred concertos. The Four Seasons are probably the best known of his concerti with the second movement Largo portraying time spent by a roaring firelistening to the rain pounding against the window.This new arrangement for concert band retains allthe warmth of the original.

(The Four Seasons)-Antonio Vivaldi (1678-1741) stands with Handel and J.S. Bach as one of the titanic figures of late Baroque composition. Not only was he lauded as a composer of vocal and instrumental works both sacred and secular he was without doubt the most prolific composer of his age. In addition to hundreds of vocal works including forty-nine operas he composed five hundred concertos. The Four Seasons are probably the best known of his concerti with the second movement Largo portraying time spent by a roaring fire listening to the rain pounding against the window. This new arrangement for brass band retains all the warmth of the original.

This is one of the best Cello concertos of the twentieth century and readily communicates the Bohuslav Martinu strong feelings for his homeland. Written over the Christmas and New year period of 1944-45 in New York it is full ofhis reactions to that last dramatic winter of the war and the desire to go home. It is an expansive work over 35 minutes in length in the standard three movements. Typically for Martinu the first movement is inModerato tempo. The opening gesture is highly characteristic: A pulsing rhythm establishes itself in the orchestra and a striving rising theme with a contradictory rhythm contends with it. The second movement Andante pocomoderato has a general pulse that is not much slower than that of the first. It is episodic with a faster central section and then a truly magical and heartfelt treatment of the main subject in which Martinu expresses hislonging for home. The final movement Allegro is a driving energetic conclusion with a solo cadenza that breaks the ongoing rhythm and provides a touching moment of contemplation before the joyous conclusion. This editioncontains a Piano reduction of the Orchestral part for rehearsal purposes.

Per Nørgård's A Choral Hymn (On Frostbound Earth) from 1983 for Mixed Choir SATBB. Based on 'Choral Hymn' and a fragment of 'The Year'. Orig. version 'Choral Hymn': WH32008 for SATB Orig. DK version 'Korsalme': WH32007 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”. One of these was later included in the Danish Hymnbook under the title “Året – Som året går” (The Year).  Thesethree “Sarvig tunes” were derived from the same material as the second movement of the symphony and could be harmonized together in several different tempo relationships at the same time - like fractals. This inspired me to write several choral and instrumental works in the following decade based on these melodies for instance “Frost Psalm” “Winter Cantata” “Cycles” “Cantica” and this “A choral hymn (On frostbound earth) all coloured by the Nordic and mythic poem “The year” by Sarvig the beginning of which goes :  The passing year will pass its deep  So shall our mind reach winter´s sleep.  And as the tree stands leafles bare   Is winter´s realms: our minds aware.  - Ole Sarvig (translated by Helen and Ole Sarvig)  Per Nørgård  

Jordens Vej for SA Choir and Organ by Per Nørgård (1981). Text by Ole Sarvig. Manuscript copy. 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 onthese melodies: “Frost Psalm” “Winter Cantata” “Cantica” a.o.  One of these ‘Sarvig melodies’ is now in the Danish Hymnbook nr. 720 under the title 'Året'(The Year).  Jordens vej for choir and organ was the basis of the work Korsalme (1982) for mixed choir and instruments (ad lib.). Per Nørgård

Les Trois Mousquetaires-Les Trois Mousquetaires est une commande de la société Miraphone pour le Miraphone Tuba Quartett et la Musique des Gardiens de la Paix qui en assurèrent la création à Guebwiller (France) le 28 juin 2003. / Même si l?on n?a jamais lu une seule ligne du roman mythique d?Alexandre Dumas Les Trois Mousquetaires (1844) on connaît nécessairement le quatuor parfait (avec sa célèbre devise « Tous pour un un pour tous ») que forment D?Artagnan Athos Porthos et Aramis. Aussi ne compte-t-on plus les nombreuses adaptations du roman ni les nombreux historiens qui s?intéressent au très réel Charles de Batz de Castelmore d?Artagnan mort au siège de Maastricht en 1673. Letissu musical des Trois Mousquetaires (The Three Musketeers) s?intéresse davantage aux éléments de la personnalité d?un personnage qu?au rôle qu?il joue dans l?intrigue. La trame est vivante on y vit intensément. Maxime Aulio a orienté son choix sur D?Artagnan le parfait gentilhomme sensible et romantique qui se laisse facilement séduire par les femmes à l'image de la douce Constance Bonacieux dont il s'éprend et de la perfide Milady de Winter dont la beauté l?envoûte. Le premier mouvement - D?Artagnan - est fidèle au caractère du jeune noble provincial venu de Gascogne : enthousiaste et héroïque en toutes circonstances. Le second mouvement - Constance Bonacieux - est galant prévenant et passionné. Le troisième et dernier tableau est quant à lui aussi ensorceleur et sournois que la femme fatale qu?il dépeint Milady de Winter.

Collection de 64 ?uvres de Tchaikovsky des symphonies aux concertos, en passant pas les opéras, les ballets et les ?uvres pour piano. Partitions pour piano solo du niveau facile à intermédiaire. / Classique / Partition /

Stella natalis is a work in twelve movements by Karl Jenkins celebrating different aspects of Christmastide - winter the sleeping child tidings of peace thanksgiving - with words ranging from the psalms to new texts by Carol Barratt. Conveying the Christmas message of peace goodwill compassion and a new beginning Stella natalis (?star of birth? ?star of origin?) draws on an expanded palette of inspiration including the Old Testament Zulu text and reference to Hindu gods. The scoring is for mixed chorus with an optional second ad lib chorus suitable forchildren's voices and trumpet keyboards percussion and string orchestra. This vocal score features a fully realised keyboard reduction for rehearsal purposes.