SKU: GI.W104

Every year, Christmas is new—new tour, new music, a new feeling of expectation of joy and a warmth special for Christmas. Add a dose of tradition and it becomes a new Christmas carol. The World for Christmas contains a balanced mix of uptempo and contemplative music for the Christmas season that will easily set your desired Christmas atmosphere. Many of the songs contain a bit of both, like Mel Torme’s “The Christmas Song” and the beautiful “Santa Baby.” “Staffan Stalledräng” takes a leaping pace, and Joni Mitchell's “River” perfectly depicts that feeling when the joy of Yuletide contrasts with how to feel. The song “Gläns Över Sjö Och Strand” is unexpectedly inspired by the pianist Lennart Simonsson. We have been working with good friends on some arrangements and audio mixes. Mikael and Göran have come up with new harmonic colors for the arrangements “Santa Baby” and “Julfemman.” Tony from Take 6 has beautifully mixed Fredrik’s arrangement of “Sleigh Ride.” Ilkka, who works with Finnish colleagues in Rajaton, has spread a light from the east. Now a thousand Christmas lights are lit. Erik and Luca from the Italian Cluster have also lent us their talent and taste in “Let It Snow,” The artist, Hans Lif, was tasked with making cookie cutters for the nice gingerbread cookies on the album cover. We sincerely hope that our children will get The World for Christmas. The blue green forever turning world. Nothingmore, nothing less.  .

SKU: BA.BA11060

ISBN 9790006559022. 42 x 29.5 cm inches.

... she stood leering hideously, and much dust sodden with tears lay upon her shoulders.

These snippets from Johann Heinrich Voss's translation of Hesiod's Shield of Hercules, where the din of battle is brought to a standstill for the wink of an eye, made me think of music that describes the 'inwardness' of a particular feeling, close to the much-cited metaphor of an entire life flitting past the inner eye in the space of a second, when, as in Hesiod, Atropos severs the thread of life. Viola and piano join forces on an equal basis to inscribe ever more lines and shapes which, however, relate in their inmost essence to intertwining circles laden with melancholy.
(Philipp Maintz)

SKU: CF.FAS111F

ISBN 9781491151792. UPC: 680160909292. 9 x 12 inches. Key: D minor.

Incursion?is a collaboration between composer Sean O'Loughlin and the students of the Westport, Connecticut Public Schools. Inspired by the students' desire for a dark and scary sounding piece, O'Loughlin created aggressive rhythmic figures that set the tone of the piece with a dark and foreboding melody in the lower strings.? The piece develops through various contrasting sections and and use of col legno, which students will enjoy playing.

Incursion was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 6th Grade Orchestra, Anthony Granata, director. It is a piece influenced by many ideas from the students, including a desire for a dark- and scary-sounding piece. The collaboration process on commissions like this are very rewarding for both the students and composer.

The piece begins with an aggressive rhythmic idea that sets the tone for the composition. The lower strings enter with a foreboding and dark melody that carries on this feeling. The upper strings then split into counterpoint with the lower strings at m. 17. The counterpoint splits into three parts at m. 25, which culminates in a return to the opening rhythmic figure at m. 33.

A contrasting slow section features some lush and haunting passages. Measure 54 brings the opening rhythmic figure back again, but this time includes an optional col legno technique. A recapitulation of the counterpoint and subsequent development follows. Measure 83 brings back the opening rhythmic idea one more time to conclude with a rousing finish.

Incursion was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 6th Grade Orchestra, Anthony Granata, director. It is a piece influenced by many ideas from the students, including a desire for a dark- and scary-sounding piece. The collaboration process on commissions like this are very rewarding for both the students and composer.

The piece begins with an aggressive rhythmic idea that sets the tone for the composition. The lower strings enter with a foreboding and dark melody that carries on this feeling. The upper strings then split into counterpoint with the lower strings at m. 17. The counterpoint splits into three parts at m. 25, which culminates in a return to the opening rhythmic figure at m. 33.

A contrasting slow section features some lush and haunting passages. Measure 54 brings the opening rhythmic figure back again, but this time includes an optional col legno technique. A recapitulation of the counterpoint and subsequent development follows. Measure 83 brings back the opening rhythmic idea one more time to conclude with a rousing finish.