SKU: HH.HH089-SSC
ISBN 9790708041399.
Alcalay, herself an accomplished pianist, here combines virtuosic pianism with masterful colouristic orchestration.
SKU: HL.2050291
UPC: 797242874093. 6.75x10.5x0.313 inches.
The silence since the astounding proclamations of the prophets centuries before has been deafening. The Children of God have relied more on the ritual of the Law than the reality of the Lord. The Messiah seems more like a myth than a coming Conqueror. The Glory of God has been hidden from mankind since the Fall. Even Moses could not look upon the Glory of God and live. He was placed in the cleft of a rock and could only observe the Almighty from the back as He passed by. The world is waiting in a solemn stillness - but Heaven is as distant as ancient promises.All of that is about to change...Tonight - God will fulfill His promise in ways beyond imagination. Tonight - the eternal and the temporal will intertwine in a way that can never be unwoven.Tonight - God will show His love in the most miraculous way - through the gift of His Son. Tonight will be the birth of Jesus, the Christ. Tonight - we will once again be allowed to see God's glory. Tonight - Heavenly music and earthly rejoicing will be in concert. Tonight - all creation sings! Tonight - Heaven Touches Earth!
SKU: HL.49011149
ISBN 9790001113717. UPC: 884088281755. 9.0x12.0x0.073 inches.
SKU: LM.VV169
ISBN 9790560051697.
Mode s - Pour la main gauche - Deux en deux - Les cinq doigts - Passage du pouce - Six pour quatre - Ex tension - Intervalles chantants - Les gammes - Les silences - Preparation au mordant - Gammes chromatiques - Contrepoint - Pemieres octaves - La main gauche - Doubles notes - Accord brises - Legato par la pedale - Notes tenues - Trille - Touches noires - Croisements - Atonalite - Les quartes - Agilite et legato - Ornements - Passage ou pouce - Variations - Arpeges - Arpeges a deux mains.
SKU: IS.FP4175EM
ISBN 9790365041756.
Joze f (Jef) Schampaert's 1952 Notturno e Danza (Nocturne and Danse) for flute and piano, written as a concours piece for the Royal Conservatoire Antwerp in Belgium, is a bit of a curious beast. While the rest of the Belgian school was experimenting with a return to lush romanticism (Alpaerts, Maes, and the musical progeny of Benoit), or beginning to prod the tonal bounds of listenable 12-tone and serialism (Constant and Verbesselt), Schampaert took towards a different sound: that of the Impressionists, transmuted through his distinctly Flemish touch. The Nocturne and Danse is no exception. The core of the Nocturne is a relatively straightforward melody, but it's quickly pulled apart into Debussyian fragments and melodic cells - a rhapsody in miniature, with touches of Ibert's stranger runs and figures through. The Danse retains a clearer sense of melody, but one that's even closer to Debussy and Ravel - grace notes and intertwined, changing runs are integral melodic material, by turns dark then playful. A small cadenza again touches on a sense of Ibert before the piece is brought to a quiet close.
SKU: FT.FM646
ISBN 9790570485451. English.
The music of Emanuel Vahl is shaped by his Russian heritage and training, and his consequent move to Israel. Tonally centred, but with modern sensibilities and unmistakeable touches of the folk music of his two homes.
SKU: PO.PEL27S
ISBN 9781877564420.
From the compulsive unfurling of the opening movement, the choppiness of the second, the curvaceous swell of the third and the upward cresting of the fourth, we experience in Lilburn's music for Allen Curnow's Landfall in Unknown Seas a life-affirming endeavour. The work touches both the heart and the mind and was a much-needed tonic for New Zealand wartime audiences.
SKU: MN.80-407
UPC: 688670804076. English.
Matthew Koraus has crafted a sturdy and very singable set of acclamations for the Eucharistic Prayer based on the hymn tune Diademata, ideal for the long season of Easter as well as Christ the King and other festive times. His adaptation of Elvey's hymn tune includes unexpected touches such as passing tones, rhythmic variations, and inventive harmonies, enabling the acclamations to remain fresh over time. Holy, Holy, Holy, all 3 Memorial Acclamations, and Amen are arranged for Assembly, Choir (in unison or with Descant), and Organ, with optional Two Trumpets or Brass Quartet.
SKU: FT.FM453
ISBN 9790570483525.
Pass e-temps is the digression from a fixed idea of a snowy day, with the mere thought of discovering new and interesting harmonies and sonorities from the warm, agile tone of the bass clarinet. This short, binary form piece explores the whole range of the bass clarinet, with nimble arpeggios from top to bottom. The harmonies have the feeling of a modal, almost folk-like tune, but spiced with touches of rich chromatiscism throughout.
SKU: HL.14014459
In its original form the Suite was written in answer to a commission from the Farnham Festival and was first performed on 11 May 1971. I was, however, not entirely satisfied with it and did not pass it for publication until 1982, when I revised it in considerable detail. In its revised form it was first performed on 18 June, 1983, at Monash University, Melbourne. The music requires little explanation. The titles of each of the five movements indicate their character: 'Fanfare'; 'Dance', which has Elizabethan overtones; 'Popular Song', which explores jazz rhythms and harmonies; 'Ceremony' - a solemn chorale; and 'Finale', a light-hearted Rondo with fugal touches. The overall intention is simply to entertain both the players and their audiences.
SKU: HH.HH431-FSP
ISBN 9790708146339.
Only a handful of Schreivogel’s compositions for his instrument have survived. Among them is this sparkling three-movement sonata for violin and continuo in E flat major, evidently composed late in his life, which represents the Italian galantstyle at its most resourceful, musically as well as technically. Some moments recall Vivaldi, others Tartini, but this sonata does not lack individual touches, especially in its complex harmony and rhythm.
SKU: CN.R10004
A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.
SKU: PR.510007640
UPC: 680160127702.
SKU: HH.HH034-FSP
ISBN 9790708024071.
The composer stresses that the two pianists can only realize the symmetrical structures through cooperation. They must be travelling in agreement along the same path. An extremely important work from a uniquely powerful composer.