SKU: HL.360036
ISBN 9781705122822. UPC: 840126947168. 9.0x12.0 inches.
This glorious collection provides hours of repertoire for instrumentalists. Includes: Amazing Grace (My Chains Are Gone) â?¢ As the Deer â?¢ The Blessing â?¢ Build My Life â?¢ Do It Again â?¢ Draw Me Close â?¢ Everlasting God â?¢ Goodness of God â?¢ Great Are You Lord â?¢ Here I Am to Worship (Light of the World) â?¢ How Great Is Our God â?¢ In Christ Alone â?¢ Living Hope â?¢ Mighty to Save â?¢ Oceans (Where Feet May Fail) â?¢ Open the Eyes of My Heart â?¢ Shout to the Lord â?¢ 10,000 Reasons (Bless the Lord) â?¢ This Is Amazing Grace â?¢ Way Maker â?¢ Yet Not I but Through Christ in Me â?¢ Your Name â?¢ and many more!
SKU: LO.10-4935S
ISBN 9780787758370.
This scripture passage from Philippians speaks to Jesus receiving the name above all names and proclaims that at the name of Jesus ev’ry knee shall bow. Beginning and ending prayerfully, this anthem builds to a glorious climax in the middle.
SKU: HL.1461573
UPC: 841300102472. 20.0x20.5x32.25 inches.
DSP Modes The XPRS82 and XPRS152 feature four DSP modes including Live, Music, Speech, and Monitor. 16 Customizable User DSP Modes In addition to the four presets, each XPRS2 full-range speaker includes 16 custom usre DSP modes – which can be saved with custom names – to ensure the EQ settings are maximized for every scenario. XPRS152 Full-Range Speaker Design The larger of the XPRS2 Series, the XPRS152 full range speaker, features a 15″ woofer with a 3″ voice coil and a 1″ exit compression driver with a 1.75″ voice coil for superb sound coverage across mid to large venues and audiences. With a frequency response of 45Hz -20 kHz and a maximum SPL of 133 dB, the versatile full-range speaker delivers powerful sound built to thrive in even the harshest of sound environments, such as a live DJ set or concert.
SKU: HL.1461572
UPC: 841300102465. 14.25x15.25x21.5 inches.
DSP Modes The XPRS82 features four DSP modes including Live, Music, Speech, and Monitor 2. 16 Customizable User DSP Modes In addition to the four presets, each XPRS2 full-range speaker includes 16 custom user DSP modes – which can be saved with custom names – to ensure the EQ settings are maximized for every scenario. XPRS82 Full-Range Speaker Design The XPRS82 features an 8″ woofer with a 2″ voice coil and a 1″ exit compression driver with a 1.75″ voice coil for excellent audio performance. With a maximum sound pressure level (SPL) of 127 dBand frequency response of 60 Hz -20 kHz, the XPRS82 is built to ensure all audio, including music and spoken word, are reproduced as accurately as possible.
SKU: FG.55011-372-5
ISBN 9790550113725.
Images of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss. Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water. The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound. It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.
