Gathered from of our most successful seasonal cantatas this compilation of beloved carols is designed to work as choral anthems or for choir and congregational corporate singing. Erase the boundaries between loft and pew bybringing the church body together in the embrace of time-tested Christmas and Advent selections. Fully orchestrated by Brant Adams these arrangements will lift your sanctuary singing to new heights. Congregants sing along whilethe choir adds power depth and harmonic color. The final verses of these Christmas standards are among some of the most inspiring passages you will ever experience. These arrangements will be used year after year for?Hanging of the Green? gatherings ?Lessons and Carol? services or for festival hymn singing during the holidays. Available separately: SATB Listening CD Preview Pack (Book/CD Combo) Orchestration CD-ROM(Score and Parts for Flute 1 and 2 Oboe Clarinet 1 and 2 Bassoon Horn 1 and 2 Trumpet 1-3 Trombone 1 and 2 Bass Trombone/Tuba Timpani Percussion Harp Piano Violin 1 and 2 Viola Cello Double Bass) Handbell CD-ROM (3 octaves) StudioTrax CD (Accompaniment only).

Karl Aage Rasmussen's Etudes And Postludes (1989-90) for Piano solo.Programme NoteThe title suggests two kinds of music: something which is far away maybe almost out of reach but which you nevertheless try to embrace; and something close and familiar which you are taking leave of. Thus in a sense the pieces form a diary. The Postludes allude to other musics former music of my own and of others. The Etudes open new doors – they make use of working strategies and mind models that were quite new to me at the time. Piecesrelated to Charles Ives Igor Stravinsky and Friedric Chopin (together with a ragtime and a mournful melody) form the basis for a music pointing backwards – the Postludes. The Etudes are all based on different kinds of multiplication where a few notes or a tiny musical module repeatedly twists back on itself and closes a loop. The general name for this is self-reference and the Etudes reflect themselves endlessly the way a mirror mirrors another mirror. The result is that rhythmic and melodic patterns emerge unpredictably like gifts from unknown muses. Etudes and Postludes was commissioned by the late Yvar Mikhashoff and they are dedicated to his memory and to their first performer Erik Kaltoft. And between lines also to György Ligeti the re-discovered and sophisticated master of the classic etude for piano. The pieces can be played in any number and in any order. It is left to the discretion of the player to group pieces in suites respecting simple rules of variety.Karl Aage Rasmussen

Having studied under Jean Pierre Rampal and Tony Aubin at the Conservatoire National de Paris, flautist Guy-Claude Luypaerts now divides his time between his work as a soloist, teacher and orchestral conductor, without neglecting his com­positional activity. Luypaerts has remained true to his childhood land: for this resident of the seaside village of Panne in western Flanders, the North Sea coastline is a continual source of inspiration. This beloved landscape, where sea, sky and dune embrace, was the setting for the composition of the Partita for Flute in August 2014. The title can be seen as a tribute to two essential works in the solo Flute repertoire: Bach's Partita in A Minor, BWV 1013 and the Sonata in A Minor Wq 179 by his son Carl Philipp Emanuel. Dedicated to flautist Maxence Larrieu, who included it in the programme of his International Competition (2015), the Partita contains three movements. The energetic determination of Patience contrasts with the dreamy exhalations of Volutes, before the Chimères are unleashed upon an angry sea. / Flûte Traversière

The composer writes: 'My approach to writing these works for intermediate level lever harp was to fully embrace the diatonic and/or modal properties of the lever harp and to write into the strengths of the instrument. I also wanted to create works which whilst embedded in stylistically familiar territory also open up less familiar technical and musical elements for new players. For example the ???celtic??? themed works Coire Fhionn Lochan and The Road to Kilchurn Castle are derived from very familiar elements but which challenge the players ability to deal with irregular times and juxtaposed rhythmic material and Reverie which tests the harpists ability to maintain evennesswhile controlling gradual changes of tempo and dynamic within a very familiar technical landscape. One of the other important things was to write works specifically for the lever harp (as opposed to pedal harp) especially given that so much lever harp repertoire consists of arrangements or re-arranged pedal harp music. The lever system offers many advantages over the pedal system including the opportunity to employ chromatic possibilities that would otherwise be impossible. So some of these works indulge and celebrate these idiosyncrasies. I hope you will enjoy playing them as much as I enjoyed writing them.'

Children Of God for SATB choir with Piano accompaniment and optional Flute part included. Herb Frombach's pleading text invokes the Father to embrace all His children so that they might know His divine love. Vicki Tucker Courtney's melody incorporates 'O Waly Waly' and makes for a seamless marriage of text and music. Duration: ca. 2:50. Available separately: SATB BonusTrax CD.

Few composers since the mid-twentieth century have escaped Mahler's influence. This book is the first discussion of Mahler's ten completed symphonies to offer music lovers a comprehensive overview of the music as it strikes today's listeners. The book caters to the novice as well as the expert as David Hurwitz describes what the listener will hear section by section. He explains how each work is arranged how the various parts relate to one another and how one work leads to the next. The emphasis throughout is on the experience of listening and how each symphony embodies Mahler's dictum that the symphony 'must embrace the world. It must contain everything'. Hurwitz describes the emotional extravagance that lies at the root of Mahler's popularity the consistency of his symphonic thinking and his dazzling and revolutionary use of orchestral instruments to create an expressive musical language that is varied in content and immediate in impact.

Arr. D. Matthews. Par WAGNER RICHARD. The first performance of The Shorter Ring was given by William Howard, at Shoreditch Church (St Leonard's) as part of the Spitalfields Festival, London, in a programme to mark the 70th birthday of the composer, on 14 June 2013. David Matthews writes: In May 2012 William Howard asked me if I could make a condensed piano version of Der Ring des Nibelungen for him to play at a 70th birthday party for our mutual friend Colin Senior, who is a keen Wagnerian. William wondered if I could compress the fifteen hours of The Ring into three minutes. I thought this might be a little impracticable, but I managed to do it in five minutes, while retaining enough of the thematic material, I think, to give listeners a clear idea of the story. In this bicentennial year I hope the piece will give pleasure and amusement to Wagnerians, and may also encourage those who haven't heard the whole cycle to embrace the extraordinary experience that Wagner's great work affords./ Répertoire / Piano

Arrangeur: Jeffrey Beyer. Par TELEMANN GEORG PHILIPP. Georg Philipp Telemann's (1681-1767) Gulliver Suite, was composed only two years after the first publication of Jonathan Swift's Gulliver's Travels in 1726. In the suite, Telemann embraces Swift's satire by emulating the characters in a variety of musical ways. The five movements are: Intrada, Lilliputian Chaconne, Brobdingnagian Gigue, Reverie of the Laputans and their attendant flappers, and the Loure of the well-mannered Houyhnhnms/Wild Dance of the untamed Yahoos. This edition includes parts transposed for G flutes, such that any combination of flutes can be used. The Lilliputians can be piccolos, and the Brobdingnagians a pair of contra flutes. Or perhaps theopposite! Feel free to experiment, mix and match all you like! Georg Philipp Telemann's (1681-1767) Gulliver Suite, was composed only two years after the first publication of Jonathan Swift's Gulliver's Travels in 1726. In the suite, Telemann embraces Swift's satire by emulating the characters in a variety of musical ways. The five movements are: Intrada, Lilliputian Chaconne, Brobdingnagian Gigue, Reverie of the Laputans and their attendant flappers, and the Loure of the well-mannered Houyhnhnms/Wild Dance of the untamed Yahoos. This edition includes parts transposed for G flutes, such that any combination of flutes can be used. The Lilliputians can be piccolos, and the Brobdingnagians a pair of contra flutes. Or perhaps theopposite! Feel free to experiment, mix and match all you like!/ Répertoire / 2 Flûtes Traversières

This original a cappella work sings of the star above Bethlehem shining to lead all to the gift of love and light. A tinge of Appalachian style can be heard in this vocal setting and should be embraced. Optional percussion is encouraged bringing rhythmic life below the pulsed vocals. A perfect selection that fits nicely at any point during your program.

Until the launch of the Flying V and Explorer in 1958 electric guitars were supposed to look like...guitars. Suddenly Gibson turned conventional design upside down almost literally by using straight lines and angular body shapes changing the way electrics could look and in the process creating a set of rare future collectables.Flying V Explorer Firebird tells the story of those first peculiar instruments and goes on to describe Gibson's second attempt at nonstandard designs with the Firebird of the early '60s. The book shows how most of these were a commercial failure at first and goes on to detail the influence of the designs on Guitar-makerssuch as Hamer Jackson Dean Ibanez and BC Rich all of whom embraced Gibson's original weird-is-good design ethic. In parallel with the story of the makers is an absorbing account of the players who discovered these odd-shaped instruments including Zakk Wylde (Black Label Society) Edge (U2) and Rick Nielsen (Cheap Trick).Interviews with players and makers illuminate the story of this fascinating assortment of Electric Guitar innovations alongside specially commissioned images of every key model and brand and an enviable collection of Guitar memorabilia plus a gallery of leading guitarists photographed in action with their instruments. If it's weird and has strings it's in Flying V Explorer Firebird.

from Dear Evan Hansen-Praised by critics and embraced by Broadway lovers  Dear Evan Hansen is a powerful and moving show with a contemporary pop/rock score that is astonishingly heartfelt and beautiful. This Act I song explores the universal question of “how do I fit in” through an irresistible hook and compelling lyric.

This concerto is one continuous movement that is clearly divided into 3 main sections. The first movement is moderately fast and rhapsodic in charachter followed by a second section with an accompanied cadenza in the middle thefinal movement is a fast-paced energetic crescendo that leads to the climax of the work at the end.The solo part is a long and endlessly varied narrative that embraces the whole technical vocabulary of the cello available toboth composer and soloist with the harmonic aura being established by the orchestra from the beginning. The orchestra provides a platform of chords based on major and minor thirds which are the building blocks for the entireconcerto both for soloist and orchestra.The harmonic scenery created by the orchestra is very much at the service of the soloist always seeking to support and highlight the poetic and dramatic content of the solo part as wellas providing a transparent and clear harmonic framework. The accompaniment for the piece is dense at times polyphonic and sometimes multi-layered but only towards the very end is the orchestra allowed to dominate in the finalclimax of the work. Commissioned by William Conway. First performed with the Scottish Chamber Orchestra in 1995.

(Four Cities)-Faz'l Say?s ?Four Cities? Sonata can be considered as a journey through four cities of Anatolia. This work has taken its inspiration from Faz'l Say?s memories and events of his life. Bodrum is well known as a city greatly frequented by tourists which sets it apart from the other three locations. These four very different cities with their individual cultures have been selected from the nearly 2000-km wide expanse of Anatolia. SivasSivas is a conservative city located in Eastern Anatolia which is known for its large Alevi population. As¸'k Veysel is an Alevi Ozan (poet) and Faz'l Say has been inspired by his song ?Saz'm? (my saz/myinstrument) in the first part of this work. The movement is concluded on a melancholy tone in imitation of this ethnic instrument. HopaA traditional wedding provided Faz'l Say with his inspiration for this second movement which embraces Eastern Black Sea culture. Horon is a very fast folk dance in 7/16 time which is played on the kemence a typical instrument of the Eastern Black Sea region. The music also touches on Caucasian Georgian and Laz dances anonymous songs ?Laz women? and ?Cilveloy nanayda? (a Turkish song). AnkaraAnkara was declared the capital city of Turkey by Atatürk in 1923. This city with its population of four million was where the composer was born and also spent his childhood. ?Ankara?n'n Tas¸'na Bak? a rebellious song dating back to the First World War can be discerned in the mournful middle section. The movement with its atmosphere of tragedy evokes the republican spirit and the ambience of former times. BodrumBodrum is universally known as the Saint-Tropez of Turkey. A famous street in the city is fringed with countless bars and pubs from which a cacophony of different music can be heard ranging from jazz pop and rock to folk songs. Faz'l Say blends the sounds from these pubs in this movement which includes a walking theme in a swinging jazz tempo. The movement makes a

This #1 pop hit from 1984 by Foreigner is one of the band's best known songs and remains an enduring radio favorite. A new generation of fans embraced Mariah Carey's cover of the song in 2009 making it a fabulous programmingchoice for choirs of all levels! Available separately: SATB SAB SSA ShowTrax CD. Combo parts available as a digital download (flu 1-2 tsx tbn syn gtr b dm). Duration: ca. 3:30.