SKU: GI.G-003029
UPC: 641151030609.
Following his Ten Christmas Flourishes (WLP 003037), Welsh composer Meirion Wynn Jones adds to the WLP Organ Library with Ten Easter Flourishes. A collection of enlivening, celebratory introductions for beloved Easter hymns will similarly be a pleasure for organists to play! Some tunes are paired with more than one text during the days of Easter-Ascension-Pentecost, making this a most practical collection. Includes: ??O Sons and Daughters?, ??I Know That My Redeemer Lives?, ??Jesus Christ Is Risen Today?, ??Christ the Lord Is Risen Today?, ??All You Who Dwell Below the Skies?, ??The Strife Is O??er?, ??At the Lamb??s High Feast?, ??Good Christians All?, ??The Day of Resurrection,? and ??Now the Green Blade Rises.?.
Follo wing his Ten Christmas Flourishes (WLP 003037), Welsh composer Meirion Wynn Jones adds to the WLP Organ Library with Ten Easter Flourishes. A collection of enlivening, celebratory introductions for beloved Easter hymns will similarly be a pleasure for organists to play! Some tunes are paired with more than one text during the days of Easter-Ascension-Pentecos t, making this a most practical collection. Includes: “O Sons and Daughtersâ€, ⠜I Know That My Redeemer Livesâ€, “Jesus Christ Is Risen Todayâ€, “Christ the Lord Is Risen Todayâ€, “All You Who Dwell Below the Skiesâ€, “The Strife Is O’erâ€, “At the Lamb’s High Feastâ€, “Good Christians Allâ€, “The Day of Resurrection,†and “Now the Green Blade Rises.â€.
SKU: GI.G-10722
ISBN 9781622776641.
As with his volumes of Flourishes for Christmas and Easter, Welsh composer Meirion Wynn Jones applies his imaginative craft to these beloved and festive hymn tunes. For use as introductions to the hymns, or as interludes before a final stanza (or both), the freshness of the musical language and skillful use of the organ's sonic colors will help take these hymns of praise to a new level.
SKU: MN.10-053
UPC: 688670100536.
Often listeners respond very well to settings that demonstrate a sense of humor and fun without being irreverent. David Schelat walks that tightrope admirably in this collection of hymn tune arrangements. There is a variety of moods and techniques here, as well as a few that present more challenges than others (LLANFAIR, for example, which has pedal flourishes). A great new collection to have around.
SKU: PR.114407260
UPC: 680160011209.
Ports of Call, a suite of five movements for two violins and guitar was written for the Trio Triento for their New York debut. Composed in the Summer of 1992, it was premiered in April 1993. 1992 was the 500th anniversary of the 1492 expulsion of the Jews from Spain and, of course, Columbus' trip to America. To commemorate these important events, I was commissioned by organizations in 20 major cities to write an oratorio. The result was Ever Since Babylon. The musical material was greatly influenced by tunes from around the Mediterranean region. These Sephardic melodies took on treat meaning for me, and I took five of them and expanded them into these five pieces which are actually dances. I felt that the combination of two violins and guitar lent itself well as a vehicle for this music. The names of the cities are used because the tunes originated in these particular locations. Marseille, a typical provencale dance with naturally changing meters and a light, airy, touch. Alexandria, much more mysterious and languid, reflecting the heat and inertia of that glorious city in slow though sometimes steady movement. Salonika, a wild dance in typical Greek fashion celebrating a holiday with abandon. The whirling movement goes relentlessly from beginning to end. Haifa is represented by two beautiful chant-like pastoral tunes which introduce the beauty and luminous quality of this, one of the most beautiful parts in the Eastern Mediterranean. Valencia, the last, a tribute to medieval Spain. The music is a culmination of the influences of the three great cultures, Moslem, Christian, and Jewish, which flourished there for hundreds of years. It is an uplifting dance with just a tinge of sadness in the center, since the Golden Age of which the tune was a part, had come to a tragic end in 1492. --Samuel Adler.
