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Cadenza 150 150 Christian Winther Christensen

Cadenza

:00
2013
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Værker er skrevet til cellisten Zoë Martlew.

Concerto for a Movie Loop 150 150 Christian Winther Christensen

Concerto for a Movie Loop

2.2.2.2/2.2.0.0/2 perc/2 timp/archi
DURATION: 7:00
YEAR OF COMPOSITION: 2012

The work Concerto for a Movie Loop is written for orchestra, piano and projection. On the screen Christian Winther Christensen playing the theme from the C minor prelude Op. 3, No. 2 by Rachmaninov is projected. Winther Christensen calls it a “cliche concerto” because he mixes cliches from both new music and the noise aesthetic that, amongst others, is inspired by Helmut Lachenmann. The orchestra continuously plays alongside the pianist in loops that each last a minute or so but are constantly changing, which is also a characteristic of the work’s cliches. Noise elements gradually take over from the regular sounds of the instruments as the piece develops, with the composer placing focus on non-musically created sounds concretised from the sounds of various physical movements in the final section of the work – for example the sound of the composer sitting down on the piano stool.

Täuschung 150 150 Christian Winther Christensen

Täuschung

 + electronics (max/MSP patch)
:00
2012
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A Small Monument for a Symphony 150 150 Christian Winther Christensen

A Small Monument for a Symphony

2.2.2.2/2.2.0.0/2 timp/archi
10:00
2012
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This work, composed for orchestra, is one of the more abstract works on Winther Christensen’s work list. A Small Monument for a Symphony is a kind of ghost symphonic work, which has often been seen before in modern music. Winther Christensen uses the ghost metaphor in that a recognisable texture from classical music is used throughout the work – without however being all to obvious. A concrete example is the transition from the 3rd to 4th movement, which refers to the optimistic transition from the 3rd to 4th movement of Beethoven’s 5th Symphony.

Piano Preludes 150 150 Christian Winther Christensen

Piano Preludes

:00
2012-2015

Preludes is performed on a piano completely covered in masking tape. The work is part of a greater work, which will end up including 24 preludes. The preludes are composed for Rolf Hind and Rei Nakamura.

C major: For muted piano and max/msp (build on Chopin’s 1st. etudes from op 10.)

C minor: For muted piano and max/msp (build on Bach’s 2 prelude for wohltemperierte clavier)

Db major: For muted piano (build on the opening to Tchaikovsky’s 1st. piano concerto)

C# minor:  For muted piano (build on the prelude from Rachmaninoff’s prelude Op. 3, No. 2)

Eb major: For muted piano (build on Brahms’ first intermezzo from op.117)

Eb minor: For muted piano (is a free composing but have some similar stuff to Debussy and Rachmaninov)

F major: For muted piano and video (build on Schumann’s Träumerei from Kinderszenen op. 15)

G minor: For muted piano (build on a theme from Schumann’s Humoreske op. 20)

Free scores

Nachtmusik 150 150 Christian Winther Christensen

Nachtmusik

Alto fl, bass cl, vl, vlc, pno
:00
2011-12

Nachtmusik [ohne eine aufdringliche Nachtstimmung] comes as a continuation from the piece FESTMUSIK [mit Japanischem geist und Deutschem akzent]. A kind of ironic occasional music. The piece is written at nighttime between November and January 2010-2011. A winter with a lot of silence coming from the dense snow. The tonality is a principal element of the work, especially the G minor chord. The piece is a kind of “sturm und drang” like Mozart’s symphony no. 40. the piece was premiered by Curious Chamber Players in Stockholm 2011.

Andante con moto 150 150 Christian Winther Christensen

Andante con moto

INSTRUMENTATION: Alto fl, cl, vl, vla, vlc, pno
DURATION: 7:00
YEAR OF COMPOSITION: 2010
Festmusik – mit japanischem Geist und deutschem Akzent 150 150 Christian Winther Christensen

Festmusik – mit japanischem Geist und deutschem Akzent

1.1.1.0/1.1.1.0/perc/pno/1.1.1.1.1
8:00
2010
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Festmusik – mit japanischem Geist und deutschem Akzent (2010)
This work, composed for orchestra, was premiered at a festival in Zürich where Christian Winther Christensen was the main composer together with the Norwegian Rolf Wallin and the Frenchman Phillippe Leroux.Festmusik is the tile of a work by Richard Strauss that was commissioned by Japan on the occasion of the emperor’s 2600 birthday and performed in 1941: Festmusik zur Feier des 2600 järigen Bestehens des Kaiserreichs Japan für großes Orchester (Japanischer Festmusik). In the work lie several references to Beethoven – even though the title refers to Strauss. Winther Christensen says of this: “There are passages where the string trio has to play in unison. They try to play the theme from Beethoven’s 9th Symphony “Ode to Joy”, which is extremely difficult since it is placed in an extremely high register so there is hardly place for the bow and fingers. It is so beautiful because while they are singing of being united it is quite impossible to play together.” The use of the Beethoven quotation also functions as a kind of negation of the entire work. When the work was performed in Zürich Winther Christensen received warm reviews, for instance the following: “The promising work of the Dane Christian Winther Christensen is characterized by an ironic-cynical conciseness. His unmistakeable writing is based on peculiar playing techniques and tonal elements. Thus it came as no surprise when he in his new work premiered at the festival “Festmusik – mit japanischem Geist und deutschem Akzent” (2010) quoted not only Richard Strauss but also Beethoven’s “Ode to Joy”. Neue Zürcher Zeitung, 16 November 2010.

String Trio 150 150 Christian Winther Christensen

String Trio

vl, vla, vlc
5:00
YEAR OF COMPOSITION: 2008-2009
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Being Apu Sarkar 150 150 Christian Winther Christensen

Being Apu Sarkar

There are three versions of Christian Winther Christensen’s Being Apu Sarkar – a mini opera, a version for the performance collective Dygong, of which the composer is a member – and then the Zoom version for prepared piano, percussion (glass) and saxophone. In the opera, Apu Sarkar is being eaten by the protagonist because he wants to be like him – but not to worry: the cannibalism is a symbol of something completely different: meeting people with an open mind.