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Michael Axen: Contemporary Drum Compositions Rhythmic Studies Hands & Feet

Michael Axen: Contemporary Drum Compositions Rhythmic Studies Hands & Feet

"This book is designed for the intermediate/advanced drummer to improve musical, technical control and reading ability, and presents several rhythmic styles, such as funk, jazz and Latin. I'm not trying to educate you on the 'correct' Cuban or Brazilian grooves, but have used this music as an inspiration for different phrashings and concepts. In the notes you can find book recommendations to explore the styles fully.Please feel free to use the material creatively, like repeating bars when you feel like it. You can also use the pieces for advanced sight reading, but I suggest that you take time to look carefully at the dynamics and stickings. All the stickings are based on a right handed player (please reverse them if you are left handed).The basic concept is to have rhythmic compositions with basic classical notation and technique, that you can play on a drumset or on a practice pad with your feet stompin' at the floor. The first part is snare and bassdrum with hi-hat foot suggestions. Later in the book hi-hat (with stick) and snarerim are added.The advantage of these concepts is that playing through these etudes is very closely related to what is going on in modern music. Especially important for players in Jazz, Rock and Latin, but also very useful for a classical percussionist who needs solid music training.The last part of this book is a few pages of technique studies and rhythmic concepts that is related to the compositions. The purpose is not to include all basic strokes and principles (there are already many great books for that) but to show you some concepts that I have found useful and special through my years of playing and teaching."                            Michael Axen

SEK 188.00
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Per Nørgård: String Quartet No.6 'Tintinnabulary' - Score

Per Nørgård: String Quartet No.6 'Tintinnabulary' - Score

Programme note The spectrum of sound, the gesticulation – in short, the very nature of the strings – has always had a central place in my output, demonstrated by the numbers of string quartets, concertos with string soloist, chamber and solo works. The interest dates back to my school years, when I was fortunate to be able to compose for a cello-playing schoolmate and to accompany him on the piano. I discovered then the innumerable nuances of sound and playing varieties offered by just one bow, four strings and five fingers..  The bell-like association if the title reflects the special texture of the work. Like the continously changing overtones of a struck, resonating bell the four parts are unified through one single basic line, broken up in a multitude of changing dynamics, of a multifacetted rhythm and resulting in an ever transforming harmony.  The duration of the work is ca 12 minutes.  Per Nørgård (1998)     

SEK 485.00
1

Plutonian Ode, Kopi

Plutonian Ode, Kopi

Plutonian Ode for Soprano (or Baritone) and Cello was composed by Per Nørgård in 1980-84. Programme Note: "Plutonian Ode" was composed for, and dedicated to, the English soprano Jane Manning (for the Brighton Festival 1984 - with cellist Floriaan Kitt). The text consists of two fragments of the poem by Allen Ginsberg with same title, an intensive verbal attack on the worst scenario: the atomic annihilation. The tick tock metronomic rhythm of the cello introduction indicates the original title, "26 minutes", and the time available for the American President to react with a counter attack after the information of an atomic attack on the country. The basic expression of the composition is a dramatic wake up call, in contrast to the deadly silence after an atom bomb, advocating for social relations and human meaningfulness. The constant ambiguity of the rhythms is combined with the transformation of the words (by the composer) changes of meaning, for instance "at last" - "Atlas" - "alas". Per Nørgård Work information: The Baritone/Cello-version of "Plutonian Ode" may be performed together with "Gondellied" (for baryton and cello) with the title "In Extremis"(1984). I. Gondellied. II. Plutonian Ode

SEK 375.00
1

Franz Schubert: Fantasy 'the Wanderer' Op.15

Franz Schubert: Fantasy 'the Wanderer' Op.15

The Fantasie in C major, Op. 15, popularly known as the Wanderer Fantasy , is a four-movement fantasy for solo Piano composed by Franz Schubert  in 1822. The whole work is based on one single basic motive from the lied “The Wanderer” and the four movements are played without a break.  It is widely considered to be  Schubert 's most technically demanding composition for the Piano. Schubert  himself said "the devil may play it," in reference to his own inability to do so properly. It is the perfect challenge for any proficient pianist, and the effort will be appreciated by audiences upon hearing this marvellous piece! Franz Schubert  was an Austrian composer who was extremely prolific during his short lifetime(he died at the age of 31). His output consists of over six hundred secular vocal works, seven complete symphonies,sacred music, operas, incidental music and a large body of chamber and Piano music. Today  Schubert  is ranked among the greatest composers of the late Classical era and early Romantic era and is one of the most frequently performed composers of the early nineteenth century.

SEK 173.00
1

Per Nørgård: String Quartet No.9 - Into The Source (parts)

Per Nørgård: String Quartet No.9 - Into The Source (parts)

PrefaceThe three movements of the quartet may be perceived as three different expressions of an unstable core: an inherent unrest leads to frequent changes of direction. The first movement is full of dramatic contrasts; it is followed by a second movement, whose basic mood of meditative rest is challenged by occasional centrifugal utbursts, while the third movement takes the inherent conflicts to a higher level, contrasting material of introspective lyricism with excessively pathetic moods.The final ?way out? is a retrograde one, (back) ?into the source?: through a constant accelerando-diminuendo the piece disappears into a vanishing point. The ?into the source? of the title may be visualized as a reversed fountain-action: the broad fan-like spread of the first movement, a more coherent-solid second movement, and finally - in the third movement - a return-run, ever more vehemently, like a suction into the spring itself ?The musical motifs are varied; there are traffic-situations (which I heard!) with stomping and machine-like rhythms in different, but simultaneous tempi, and there are more abstract upwards and downwards half-tone-scales, with changing accents, creating glimpses of melodies.INTO THE SOURCE, String Quartet No. 9, was composed on a double-commission from the Orion Quartet and the Vertavo Quartet. The premiere performances took places in Santa Fé in 2002 and in Oslo in 2003.Per Nørgård

SEK 981.00
1

Per Nørgård: String Quartet No.9 - Into The Source (score)

Per Nørgård: String Quartet No.9 - Into The Source (score)

PrefaceThe three movements of the quartet may be perceived as three different expressions of an unstable core: an inherent unrest leads to frequent changes of direction. The first movement is full of dramatic contrasts; it is followed by a second movement, whose basic mood of meditative rest is challenged by occasional centrifugal utbursts, while the third movement takes the inherent conflicts to a higher level, contrasting material of introspective lyricism with excessively pathetic moods.The final ?way out? is a retrograde one, (back) ?into the source?: through a constant accelerando-diminuendo the piece disappears into a vanishing point. The ?into the source? of the title may be visualized as a reversed fountain-action: the broad fan-like spread of the first movement, a more coherent-solid second movement, and finally - in the third movement - a return-run, ever more vehemently, like a suction into the spring itself ?The musical motifs are varied; there are traffic-situations (which I heard!) with stomping and machine-like rhythms in different, but simultaneous tempi, and there are more abstract upwards and downwards half-tone-scales, with changing accents, creating glimpses of melodies.INTO THE SOURCE, String Quartet No. 9, was composed on a double-commission from the Orion Quartet and the Vertavo Quartet. The premiere performances took places in Santa Fé in 2002 and in Oslo in 2003.Per Nørgård

SEK 750.00
1

Per Nørgård: String Quartet No.10 - Harvest-Timeless (parts)

Per Nørgård: String Quartet No.10 - Harvest-Timeless (parts)

Programme Note During the composition of my tenth string quartet a flower-name, høst-tidløs, came to my mind - and it would not me leave again. [høsttidløs is actually autumn crocus in English, but the composer prefers harvest-timeless, to maintain some of the associations of the Danish flower-name, red.] The paradoxical union of a seasonal time (harvest) and no-time-at-all was a good fit to the sections of the work that I had composed at that time, and I decided to tentatively stick to that title for the work-in-progress, and now, having finished the piece, I can say that is is still a fitting title - and it stands. Enough about the title, I will go on to describe the music, a somewhat more precarious project. My tenth string quartet is probably the most basic string quartet that I have composed; melodically - and in sound - it employs the naturally based overtones and undertones* (perceived at major and minor, respectively), and rhythmically it is based on growth, on the principles of the Golden Section, and the structure itself contrasts abundance and exuberance with sections of immobility and contemplation. However, Melos, melody, is definitely the dominating aspect of my STRING QUARTET NO. 10; behind even the most rhythmically complex or pure sonoric sections lies a firm - if hidden - basis of melodic or polyphonic ideas. The work was composed in 2004-2005 for the Kroger Quartet.

SEK 589.00
1

Per Nørgård: String Quartet No.10 - Harvest-Timeless (score)

Per Nørgård: String Quartet No.10 - Harvest-Timeless (score)

Programme Note During the composition of my tenth string quartet a flower-name, høst-tidløs, came to my mind - and it would not me leave again. [høsttidløs is actually autumn crocus in English, but the composer prefers harvest-timeless, to maintain some of the associations of the Danish flower-name, red.] The paradoxical union of a seasonal time (harvest) and no-time-at-all was a good fit to the sections of the work that I had composed at that time, and I decided to tentatively stick to that title for the work-in-progress, and now, having finished the piece, I can say that is is still a fitting title - and it stands. Enough about the title, I will go on to describe the music, a somewhat more precarious project. My tenth string quartet is probably the most basic string quartet that I have composed; melodically - and in sound - it employs the naturally based overtones and undertones* (perceived at major and minor, respectively), and rhythmically it is based on growth, on the principles of the Golden Section, and the structure itself contrasts abundance and exuberance with sections of immobility and contemplation. However, Melos, melody, is definitely the dominating aspect of my STRING QUARTET NO. 10; behind even the most rhythmically complex or pure sonoric sections lies a firm - if hidden - basis of melodic or polyphonic ideas. The work was composed in 2004-2005 for the Kroger Quartet.

SEK 364.00
1

Vinterkantate, Kopi

Vinterkantate, Kopi

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 these melodies: “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 is available in both the (original) Danish version (“Vinterkantate”) and an English version (Winter Cantata), translated by Helen and Ole Sarvig. (Per Nørgård)

SEK 619.00
1