Revival in the Land, Book

SKU: GI.G-CD-952

UPC: 785147095224.

Welco me to the revival! Come on in and leave your troubles at the door. “Worthy God” is a moving declaration of faith and devotion by a true emerging voice on the contemporary gospel scene. Part of the full-length CD Building Up the Kingdom, “Worthy God” is sure to ignite the fire of the Holy Spirit in the hearts of all the assembled, and our raised voices will set the rafters ablaze. About M. Roger Holland II: What do you get when you mix a musician who is a pianist, organist, singer, composer, arranger and symphony maestro together? M. Roger Holland, II!! A man who knows Jesus and thanks him with every note he sings, plays, or writes. When you listen to Roger, you will know that God has touched His servant and in that touch, there will be a blessing for you! Roger has always had a passion for music. It started with him tinkering on his toy piano as a child and grew to him being accepted to the High School of Performing Arts in New York City. Roger's falsetto has opened many doors for him. He was a member of the All City High School Choir. Hearing his vocal abilities, he was recruited by the internationally known Boys Choir of Harlem. His musical talents garnered him a position playing keys on two Broadway plays in New York, The Color Purple and Memphis. When you witness the musicianship of M. Roger Holland II you will recognize the influences of some of the people he has worked with like Walter J. Turnbull, James Williams, Joseph Joubert, and Bettye Forbes. When you hear his writing, you may notice the stylings of Stevie Wonder. There is no denying the influences of Marvin Gaye, Peabo Bryson, and Luther Vandross when it comes to his vocals. The gospel inflections are representative of Richard Smallwood, Thomas Whitfield, and Kirk Franklin. The compositional techniques of classical composers such as Wolfgang Amadeus Mozart and the arranging styles of Negro Spirituals by Roland Carter, Jester Hairston, and Moses Hogan are prominent as well. Leading the Gospel Choir of Union Theological Seminary fueled Roger's fire and drew him into seminary. His passion for music led him on a spiritual journey from Westminster Choir College to Manhattan School of Music where he received his graduate degree and ultimately the very same Union Theological Seminary where he received a Master of Divinity degree. Roger is the Minister of Worship & Christian Arts at Calvary Baptist Church in Jamaica, NY, where weekly he ushers in the Holy Spirit through praise and worship. He also serves as Liturgical Consultant for the Office of Black Ministry in the Archdiocese of New York. God is truly using Roger as an instrument to share His message!   For Bookings Contact: Cortney Wright Thomas 646-269-4055 cwthomas406@gmail.com.

SKU: UT.QC-4

ISBN 9788881094783. 6.5 x 9.5 inches.

Saggi di Jean-Pierre Bartoli, Alan Davison, Therese Ellsworth, Erik Entwistle, Jeremy Eskenazy, Michaela Freemanová, Stephan D. Lindeman, Rudolf Rasch, Renato Ricco, Jeanne Roudet, David Rowland, Massimiliano Sala, Laure Schnapper, Rohan H. Stewart-MacDonald, Marie Sumner Lott


The career of Jan Ladislav Dussek (1760-1812) was notable for its peripateticism. Starting out in his native Bohemia Dussek spent periods of time in Germany and the Netherlands, settling in London for about ten years in the 1790s, progressing to Hamburg and ending his days in Paris. Although his activities centred on the piano, like so many musicians of his day Dussek branched out from performing and composing to encompass teaching, publishing and instrument retail, with varying success. A plethora of reviews and biographical accounts attest to Dussek’s renown throughout Europe as a pianist and composer, particularly when it came to sensitive and cantabile playing; and he interacted with some of the most eminent musicians, artists and political figures of his time. Dussek’s reputation declined sharply in the nineteenth century, however, and with the exception of isolated revivals of his work, for instance in London in the mid-nineteenth century, he has remained on the verge of obscurity in the minds of many musicians and music-lovers until the present day: even his well-known innovation of placing the piano sideways-on to the audience to display his striking profile is often mistakenly attributed to Franz Liszt. Although Dussek has provided the subject of a number of student dissertations over the years, in the published literature he has largely been restricted to cameo appearances or brief entries in historical surveys.
The bicentennial anniversary of Dussek’s death provides a fitting occasion for bringing together scholars from all parts of the world to produce the first multi-author, multi-lingual study of the composer. Several chapters deal with aspects of Dussek’s biography and iconography that receive only sparse treatment elsewhere; others survey the different branches of his output, including the piano sonatas, the piano concertos, the chamber music with and without harp and the three String Quartets, Op. 60, which are currently enjoying a revival via recordings and a new edition.
This book has two fundamental aims. One is to stimulate renewed interest in, and debate about, a less than celebrated – one might say unjustly neglected – figure. The other aim is to approach Dussek’s multi-facetted, geographically diverse career as an interface between ourselves and the music business at the beginning of the nineteenth century, whose complexity and vicissitudes emanated from the sociological dynamics and political events with which Dussek was, to an almost unique degree, inextricably associated. The highs and lows of Dussek’s career, the surviving contemporary accounts of Dussek the performer and composer, and the letters he exchanged with colleagues in several nations vividly portray the struggles of a worldly, ambitious, versatile and extremely perspicacious musician striving to carve out a place of eminence and material security for himself. This meant negotiating the complex progression, underway at this point in history, from the patronage system to the emergence of the artist as a socially and financially autonomous entity.

SKU: FP.FPT06

ISBN 9780951479544.

Endl ess Fascination brings together Thomas Pitfield’s most significant autobiographical writings, new critical essays reappraising his work, and the recollections of family, friends, pupils and colleagues. It is illustrated with portraits, musical examples and over 100 reproductions of his art and craft works, supplemented by a CD of music by the composer and his acquaintances.

Tho mas Pitfield (1903-1999) was born in Bolton, Lancashire, into a conventional and narrow-minded working-class family. Drawn to music and driven by a compelling urge to compose, he overcame initial setbacks and lived according to principles he worked out for himself, maintaining a modest and honest lifestyle directed by the precepts of vegetarianism and pacifism, and keeping faith with his innate gifts to make a living and a home for himself and his like-minded wife Alice. He became a notable and prolific composer who enjoyed numerous performances and broadcasts of his works, especially in the North West region of England, some by leading artists such as John Barbirolli, Vilém Tauský, Benjamin Britten and Peter Pears, John McCabe, and Ronald Stevenson. His music, often written for specific occasions or performers, was typically light-hearted and small-scale, with frequent reference to folk-music; larger-scale pieces included two piano concertos, concertos for violin, cello and recorder, and more than a dozen stage works. He was also an artist, craftsman and poet (with an enthusiasm for nonsense verse), whose work reflects the revival of interest in the arts and crafts during the first half of the 20th century. Running as a thread though everything he did was his unswerving love for the natural world and in particular the beauty of trees.