Present Shadows

SKU: BR.EB-9387

ISBN 9790004188576. 0 x 0 inches.

Commissioned by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)

World premiere: Paris, Cite de la musique, January 14, 2020.

SKU: HL.388205

ISBN 9781705156049. UPC: 196288025337. 5.0x5.0x0.076 inches.

This brief choral cantata is well suited for use during Holy Week as a Tenebrae observance or as a time of reflection. A musical service of shadows, Candles of Grace is filled with emotive texts and deeply expressive music portraying the events of the Passion. A thoughtful orchestration adorns this chamber cantata with refined beauty and grace, giving directors an instrumental or track option for their presentations. From the delicate opening phrases to the fragile whispered ending, this work is essential for remembering and experiencing the suffering of the Lord. Songs include: Prelude (The Shadow Falls); Bring Me to the Cross; The Garden Call; Man of Sorrows, What a Name; Jesus, Lover of My Soul; Keep Me Near the Cross; Scenes from a Solemn Cross; Epilogue. Score and Parts (pno, fl, vn 1-2, va, vc) available as a digital download. For the Accompaniment and Part Dominant Tracks: Audio is accessed online using the unique code generated upon purchase and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right. HL00388204: Accompaniment Tracks HL00388214: Part Dominant Tracks.

SKU: LO.99-1778L

SKU: HL.4002970

UPC: 884088497521. 9.0x12.0x0.044 inches.

This uniquely constructed work was commissioned by the 2008 South Carolina High School All-State Band and consists of a series of gorgeous melodic textures surrounding one ever-present note. The listener hears this note briefly in the beginning and the end, but it is skillfully hidden in between. From lush soft passages to crescendos that leave your audience breathless, this composition will provide you and your ensemble with an unforgettable musical experience! Dur: 5:00 Includes audio that can be accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

SKU: HL.35031862

ISBN 9781540006769. UPC: 888680713317. 5.0x5.0x0.077 inches.

Portraits in Grace is a musical gallery of faith displaying the life, ministry and passion of Jesus. Through scripture, narration and song, the backdrop is created for the reflections of the Lenten season, particularly during Holy Week. As the cantata moves through Christ's extraordinary life, each song displays the sacred beauty of the Savior, and lingers with His many graceful acts of love. The work ends with Christ's death on the cross and the bittersweet beauty of this redemptive gift to the world. With options that include the visual arts, the presentation can be expanded to include more members of your congregation, taking the cantata beyond the loft. A small consort of instruments is available, as well. Songs include: Prelude; Portrait; Fairest Lord Jesus; The Healer; Behold the King; We Remember; A Sacred Garden; Let Us Gather in the Shadow of the Cross; Portrait of the Cross, Recessional of Shadows. Score and Parts (fl, cl, hn, hp, pno, vn, vc) available as a Printed Editional and as a digital download.

SKU: BT.MUSAM92231

ISBN 9780711943568. English.

The ultimate pack for the true Coldplay fan, featuring everything you need to get to know the band, their remarkable recording career and how to play their biggest songs - all in one great value box! This specially presented pack offers four superb products for a fraction of the price they would cost to buy individually: Coldplay: The Complete Guide To Their Music An authoritative rundown of all the band's records, track-by-track Coldplay Chord Songbook Full lyrics and guitar chords for the best Coldplay hits in a pocket-sized songbook Matching double CD of the songbook tracks Your very own backing band on CD! Rock With Coldplay: How To Play DVD Set The best-selling instructionalDVD featuring note-for-note tuition for a further set of Coldplay classics including Shiver , Trouble and In My Place.

SKU: PR.114418630

ISBN 9781491114063. UPC: 680160642724. 9 x 12 inches.

The film noir genre of 1940s cinema typically includes a strong but flawed male lead (often a detective), a beautiful woman who coerces the male into committing murder or is a killer herself (a “femme fatale”), and a twisting plot line that involves one or more homicides. These movies typically are shot in black and white, with emphasis on shadows and light, alcohol and cigarettes, trench coats and fedoras. Most of the story lines do not have happy endings. Inspired by this genre, NOIR VIGNETTES consists of four movements, each depicting an aspect of film noir: Murder at Midnight, Loaded Gun, Femme Fatale, and Last Cigarette.
In the mid-1940s, film critics in France noticed a trend emerging in movies from the United States, which they coined film noir (which translates to “black film”). These movies were dark, moody, and pessimistic, reflecting the agitation and anxiety present in society following World War II. Several characteristics are commonly found in many of these movies, including a strong but flawed male lead (often a detective), a beautiful woman who either coerces the male lead into committing murder for her or is a killer herself (a “femme fatale”), and a twisting, turning plot line that involves one or more homicides. Additionally, there are several visual elements that these movies share: many are shot in black and white, with great emphasis on the use of shadows and light; alcohol and cigarettes are heavily consumed by men and women alike; and men typically wear trench coats and fedoras. Most of the story lines do not have happy endings. Examples of film noir include Orson Welles’ The Lady from Shanghai, Billy Wilder’s Double Indemnity, and John Huston’s The Maltese Falcon.NOIR VIGNETTES consists of four movements, each depicting a different aspect of film noir: Murder at Midnight, Loaded Gun, Femme Fatale, and Last Cigarette.This piece was commissioned by the University of Illinois Research Board on behalf of double bassist Michael Cameron; and it also published for Double Bass and Piano (114-41811). The cello version is transcribed by the composer.-- Stacy Garrop.

SKU: CF.YPS238

ISBN 9781491159552. UPC: 680160918140.

Rugby Heritage was commissioned and premiered by Rugby Middle School in Hendersonville, North Carolina, Anthony Ammons, conductor. The Andante passage is based on Floreat Rugbeia, the school hymn composed in 1870 by Reverend C. E. Moberley of the famed Rugby School (UK). A rousing rendition of the hymn, performed by students and staff of the Rugby School during the Covid-19 lockdown of 2020, may be viewed at https://www.youtube.com/watch?v=Zhaup27XyAY. The composition opens with a fanfare that foreshadows the opening motive of Floreat Rugbeia (compare Tpt. 1, m. 1 and m. 31). A stately, British-style march section follows. The march theme is drawn from a second motive of the original tune (compare Tpt. 1, m. 7 and Cl. 1, m. 62). The Andante presents a lyrical, harmonically rich setting of the original tune in its entirety. A brief retransition leads to a varied restatement of the march that brings the composition to a close.
Rugby Heritage was commissioned and premiered by Rugby Middle School in Hendersonville, North Carolina, Anthony Ammons, conductor. The Andante passage is based on Floreat Rugbeia, the school hymn composed in 1870 by Reverend C. E. Moberley of the famed Rugby School (UK). A rousing rendition of the hymn, performed by students and staff of the Rugby School during the Covid-19 lockdown of 2020, may be viewed at https://www.youtube.com/watch?v=Zhaup27XyAY.The composition opens with a fanfare that foreshadows the opening motive of Floreat Rugbeia (compare Tpt. 1, m. 1 and m. 31). A stately, British-style march section follows. The march theme is drawn from a second motive of the original tune (compare Tpt. 1, m. 7 and Cl. 1, m. 62). The Andante presents a lyrical, harmonically rich setting of the original tune in its entirety. A brief retransition leads to a varied restatement of the march that brings the composition to a close.

SKU: HL.35008933

UPC: 884088498207. 5x5 inches. Words and Music by Joseph M. Martin Narration by Pamela Martin Orchestration by Brant Adams.

From the creators of Song of the Shadows comes a work of great depth and power. Through music and symbols, worshippers are invited to a season of contemplation as the mystery and power of Christ's passion are presented. Using new music and beloved hymnody, Joseph Martin provides a work of greatly expressive beauty. Pamela Martin and Brant Adams reprise their respective roles as librettist and orchestrator in this creative and moving offering for Holy Week. Highly recommended!

Includes: Testament of Tears; Winds Through the Olive Trees; In Love Christ Came Amongst Us; and more.