Commandé pour Tenebrae et leur directeur, Nigel Short. John Tavener écrit:'Mère et enfant célèbre le miracle de l'accouchement. Il célèbre aussi Marie dans son aspect universel en tant que mère de tous les Prophètes, et co-rédemptrice du Christ. Mais derrière tout cela est la lumière théophanique, unique et infini, et le même dans toutes les traditions religieuses. La musique est à la fois tendre, extatique, et lumineux et suit le texte. J'ai interpolées dans le poème Brian Keeble, textes célébrant l'éternel féminin en grec, puis à l'apogée une explosion en sanskrit de l'ATMA. Telle est la réalité suprême, le vrai Soi, brillant et infini, le seul Dieu unique, exprimée en musique par pulsation coups impressionnants sur le Falun temple hindou avec orgue et choeur en blocs massifs. Cela semble dire que 'Mère et enfant 'le réel sont deux-delà de la naissance et au-delà la mort et au-delà du temps.' / Orgue

Symphony No. 3 (1972-1975) by Per Nørgård. Per Nørgård's third symphony commissioned by The Danish Radio Symphony Orchestra (conductor Herbert Blomstedt) was premiered in Copenhagen in 1976 and received wide attention. The work gives comprehensive expression to a new realm of musical experience which the composer began to explore toward the end of the 1960s. While the first period in Nørgårds production in the 1050s represents his personal interpretation of the Nordic music tradition – evidenced for example in his “Piano Sonata No. 2” (1957) and“Constellations” for chamber orchestra (1958) – and the second period in the 1960s saw him working with serial techniques musical collage and a new sound-palette - especially in the orchestral works “Iris” (196-67) and “Luna” (1967) – with “Voyage into the Golden Screen” (1968) Nørgård arrived at a new compositional technique based on the use of a special form of a so-called “infinity series” a principle of musical motion to be applied to all kinds of scales (chromatic diatonic et cetera). It is characteristic that that Nørgård in the 1970s chose to cultivate diatonic infinity series already evident in the mythological opera “Gilgamesh” (1971-72). Thus the Symphony No. 3 begun directly after the opera combines the infinity series major and minor scales the partial series of natural harmonics and “sub-harmonics” (Nørgårds terminology) with rhythmic patterns based on the Golden Section (the Golden Mean) in a nexus of synchronous yet disparate elements which serve the composers vision of musical coherence.. The works which followed the symphony – the operas “Siddharta” (1975-79) and “The Divine Circus” (1981-82) and Symphony No. 4 (1981) – usher a new

I Eat The Sun And Drink The Rain is a work for choir and live electronics and this sheet music songbook features a selection of four of those pieces arranged for SATB Choir and Piano Accompaniment. The pieces are Abendglühen Corno El Sol L'Infinito and Meernacht all composed by Sven Helbig.I Eat The Sun And Drink The Rain is a concept album in which Halbig appears both as composer and as author of almost all the songs. Over the course of this selection he weaves a loose narrative that addresses pressing questions of contemporary life.Such a powerfully resonant work includes delicate choral passages above pulsating chords in perfect balance. Now your choir can learn to sing the dynamic and emotionally-powerful work of Sven Helbig.

Patrick Marcland's Vers... was commissioned by Ensemble Musicatreize of Marseille and written furing a residency there 2005-2006.The texts were written piece by piece for the composer at a writing workshop of theEnsemble and the first performance of the complete work was gven in Marseille in June 2006.ContentsI. Oh! Derober cette robeII. Quand la terre rougeIII. Le ciel infinimentIV. Triste lamatiereV. Si l'ami

Programme Note ABENDLIED & MÄRCHENFARBEN for accordion ensemble incl. choir and percussion ad lib. (1980).MÄRCHENFARBEN is a virtuoso piece for accordion ensemble based on Nørgård´s ?infinity series? and a special multi-layered rhythm also heard in the composers well known choral work ?Wie ein Kind? (second movement) from the same year 1980.This rhythm with the onomatopoeic nickname ´pischop´ has a swaying and breathing quality which seems well suited for an ensemble of accordions. Two percussion parts to be added ad lib. - are composed into the tone music of the accordions in ?Märchenfarben?.The piece was composed in 1980 for the very talented Det DanskeHarmonika Ensemble and its leader Jeanette Dyremose an ensemble that enlarged the instrumental piece with an introduction (as suggested by the composer) singing and playing Nørgård´s choral song ?Abendlied? (1980) to a sunset idyllic poem by Adolf Wölfli (1864-1930) including here the word ´märchenfarben´ the title of the shimmering and colorful instrumental music to follow with Märchenfarben. The duration of Abendlied & Märchenfarben is around 15-17 minutes (5-6´ + 10-11´).Per Nørgård