Ad Cor for Orchestra (2015)

Three Nocturnal Movements - For Violin Solo Violoncello Solo And Orchestra by Per Nørgård (2015). Based on Remembering Child for Viola and Orchestra(1986). Premiered by Peter Herresthal (violin) and Jakob Kullberg (cello) with Bergen Philharmonic June 6th 2015 in Bergen Norway. The original version was premiered by Pinchas Zukerman and the St. Paul' s Chamber Orchestra conducted by Arturo di Mecke on September 12th 1986.Programme Note:The news of the tragic death of Samantha Smith reached me in the early stages of preparation for the commissioned work for viola and chamberorchestra. Already an admirerer of this childworker for peace and nuclear disarmament I completed my work strongly inspired by this unique and uniquely symbolic fate of our time. Music from humble sources - including my composition Beach Poppy a choral work from 1960 - are woven into the texture of the composition. I was guided by the original meaning of the word 'remembering' (making whole healing) in opposition to 'dismembering' (tearing apart): The healing power of the child.(Per Nørgård)

After The Rain for String Orchestra draws on Max Ernst's disturbing painting Europe After the Rain which depicts the bleak remains of a landscape left after some inexplicable catastrophe.The work was commissioned by the City of London Sinfonia and first performed in the Queen Elizabeth Hall London 1992.

Symphony No. 5 by Poul Ruders.Commissioned by the Danish National Radio Symphony Orchestrafor World Premiere on January 9 2015.

Concerto For Bassoon And Orchestra was composed by Anders Koppel in 2015. Commissioned by Odense Symphony Orchestra on the occasion of Carl Nielsen’s 150 years birthday. 1st performance: October 30 2015 by Morten Østergaard (Bassoon) and Odense Symphony Orchestra conducted by Eva Ollikainen in the Carl Nielsen Hall Odense Koncerthus.

Gary Carpenter's Dadaville for Orchestra. Commissioned by the BBC for the First Night Of The Proms 2015. First performance: BBC Symphony Orchestra conducted by Sakari Oramo @ Royal Albert Hall London on the 17th July 2015.

New Dawn-Sadie Harrison's Sapida-Dam-Nau (New Dawn) for Orchestra. Composed and published 2016. Dedicated with admiration to the Afghanistan Women’s Orchestra ‘Zohra’. Sapida-Dam-Nau was written whilst Sadie Harrison was Composer-in-Association with the Afghanistan National Institute of Music and its composition was generously supported by a Finzi Trust Scholarship 2015-2016. It was premiered on 18th January 2017 at the World Economic Forum at Davos Switzerland conducted by Kevin Bishop.

Mixed Messages is a work for Orchestra composed by Nico Muhly. It was commissioned and premiered by The Philadelphia Orchestra and Yannick Nézet-Séguin their musical director. The premiere took place on 13th May 2015 in Philadelphia. This is the Full Score and a performance lasts around 11 minutes.

Traces in Spaces for Oboe and Orchestra by Sunleif Rasmussen. First performance by Henrik Skotte (oboe) and Odense Symphony Orchestra conducted by Eva Ollikainen October 30 2015.

Nations - Concerto For Piano And Orchestra was composed by Asbjørn Schaathun in 2015-16. Premiered by Ingfrid Breie Nyhus and Oslo Philharmonic conducted by Christian Eggen on Mar 31 2016.

The solo Oboe part for Traces in Spaces for Oboe and Orchestra by Sunleif Rasmussen (2015). Full score: WH32744

Rock Crystal for 2 Sopranos Baritone and Orchestra + Soundfiles by Henrik Hellstenius with text by Adalbert Stifter. This piece is a version of Love Songs II written for the stage performance: 'Theatre of the Ear: About The Nature' commissioned by The Norwegian Opera. Premiered at the Ultima Festival in Oslo September 2015.

Ad Cor for Double Choir and Orchestra was composed by Pelle Gudmundsen-Holmgreen in 2015. Text by Ursula Andkjær Olsen (spoken text) and the Old Testament (sung text). This work was commissioned by The Crossing Chamber Choir and Donald Nally conductor with major support from The Pew Center for Arts & Heritage. First performance: Philadelphia Episcopal Cathedral (as part of 'Seven Responses') on April 24 2016. Instr.: 2x SSSAAATTTBBB chorus; 1.0+ca.1.1/1000/perc/hp.pf/str

Nuova edizione a cura di André Richard e Marco Mazzolini. The new edition of Luigi Nono?s Prometeo serves a twofold objective. First, it proposes to document the musical text as defined through the experience of the performances in which Nono took part. Second, it aims to provide performers and scholars with the necessary information relating to the performance practice of the voices, instruments, and electronics (data, programming schemes, instructions for the implementation of sonic treatments). The technical and performance-related material is preceded by an essay which illustrates the philosophical background of the work, as closely linked to its formal aspects. The edition avails itself of the text of the second, final version of Prometeo, performed for the first time in Milan at the Stabilimento Ansaldo (September-October 1985) and reprised in Frankfurt (Alte Oper, August 1987), Paris (Théâtre National de Chaillot, October 1987) and Berlin (Kammermusiksaal of the Philharmonie, August 1988), with Nono at the Sound Direction. While the purpose of the edition is eminently practical, the specific nature of the work, combined with Nono?s own compositional approach, has made it necessary for the editors to access a number of sources, in order to accurately define the musical text. These include the autograph score supplied to the publisher and the printed copy that Nono used in all of the performances he took part in, the scores and parts used by the performers who worked with the composer, the work protocols of the Experimentalstudio of Freiburg (where Nono realized the live electronics part for Prometeo), the radio broadcast recordings of the performances in which Nono was directly involved. The concept of the edition owes much to André Richard?s extended experience realizing Prometeo, from the premieres of Venice (1984) and Milan (1985) up until 2015. He assumed a variety of roles in his plurennial involvement, from preparing the chorus and vocal soloists to leading the Sound Direction, to the design of the sonic space. As to the notation for the electronics of Prometeo, particular attention was devoted to solving the problem posed by the absence of a reference standard, as well as of specific indications in the autograph score. Based on the work protocols of the Experimentalstudio of Freiburg, the editors have developed a semiographic code that is coherent and expressive enough to avert stylistic ambiguities and, at the same time, open and flexible enough to allow for the exercise of interpretative freedom in a constantly evolving technological context.