Future Force

SKU: LO.15-3483H

ISBN 9780787757625.

This forceful, driving original setting of an animated text by the American writer Sidney Lanier makes for an impressive concert or contest option that is deceptively easy to learn. Sail fast, sail fast, ark of my hopes, ark of my dreams; Sweep lordly o’er the drowned past, fly glittering through the sun’s strange beams; Sail fast, sail fast..

SKU: CF.YPS252

ISBN 9781491161357. UPC: 680160919949.

A new day. A new event. A new opportunity. We look forward to these things and the potential they hold. We live our lives looking forward, but we understand them looking backward (a thought of Danish philosopher Soren Kierkegaard). We do not always know what the future may hold, but we must remember: first, there are no guarantees beyond the time and opportunity we are given to do good. Second, change around us is inevitable. Finally, and the most important aspect, we have choices. This lesson is fixed to the composer's office door: Today is the greatest day of your life, if you want it to be. Why not look forward to the Promise on the Horizon and the possibilities for greatness that lie within it? The opening motif of this concert fanfare is purposely inquisitive as the piece seeks to establish its first steps. The subtle shift at measure 37 and again at measure 69 are reminders of the challenges that await us during the journey. Here again it is a matter of choice - do we choose to let circumstances define us, or do we define the circumstances? The section at 93 is a resounding answer that we will move barriers, overcome obstacles and keep our vision looking forward. The piece builds toward an exciting conclusion from measure 127 onward. The piece reinforces several basic rhythmic patterns in 6/8 time. As a number of these rhythms are repeated, it provides an easy opportunity for the entire ensemble to grow more comfortable performing in this meter. While it is a fanfare-type piece, remind young musicians to play with lightness and precision, rather than intensity in volume. Maintaining this style of articulation and accuracy helps the rhythms in 6/8 time maintain their buoyancy. It is vital that each musician listens for the melody and balances their part, especially in moments where the melody is passed between sections. If vibes are not available, a second bell set can be employed in its place. It is hoped that this piece is an uplifting way to open your next concert, and a meaningful opportunity for you to discuss the power of making positive choices with your students in the ensemble (as a reminder, regular practicing of their instrument is a positive choice). Wishing you and your ensemble well as you look to the Promise on the Horizon.
A new day. A new event. A new opportunity. We look forward to these things and the potential they hold. We live our lives looking forward, but we understand them looking backward (a thought of Danish philosopher Soren Kierkegaard). We do not always know what the future may hold, but we must remember: first,  there are no guarantees beyond the time and opportunity we are given to do good. Second, change around us is inevitable. Finally, and the most important aspect, we have choices. This  lesson is fixed to the composer's office door: “Today is the greatest day of your life, if you want it to be.” Why not look forward to the Promise on the Horizon and the possibilities for greatness that lie within it?The opening motif of this concert fanfare is purposely inquisitive as the piece seeks to establish its first steps. The subtle shift at measure 37 and again at measure 69 are reminders of the challenges that await us during the journey. Here again it is a matter of choice – do we choose to let circumstances define us, or do we define the circumstances? The section at 93 is a resounding answer that we will move barriers, overcome obstacles and keep our vision looking forward. The piece builds toward an exciting conclusion from measure 127 onward. The piece reinforces several basic rhythmic patterns in 6/8 time. As a number of these rhythms are repeated, it provides an easy opportunity for the entire ensemble to grow more comfortable performing in this meter. While it is a fanfare-type piece, remind young musicians to play with lightness and precision, rather than intensity in volume. Maintaining this style of articulation and accuracy helps the rhythms in 6/8 time maintain their buoyancy. It is vital that each musician listens for the melody and balances their part, especially in moments where the melody is passed between sections. If vibes are not available, a second bell set can be employed in its place. It is hoped that this piece is an uplifting way to open your next concert, and a meaningful opportunity for you to discuss the power of making positive choices with your students in the ensemble (as a reminder, regular practicing of their instrument is a positive choice). Wishing you and your ensemble well as you look to the Promise on the Horizon. .

SKU: PR.11641963S

UPC: 680160684472.

The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.

SKU: PR.11641963L

UPC: 680160684489.

The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.

SKU: HP.8287

UPC: 763628182878. Carl P. Daw, Jr.

Fifty new psalms & hymns written by the past-Executive Director of The Hymn Society in the United States and Canada, Carl P. Daw, Jr. The book contains texts only and can be viewed on our website under Online Hymnody. Suggested tunes will be posted soon as well.

SKU: CF.SPS75F

ISBN 9781491148402. UPC: 680160905904. 9 x 12 inches.

When Hearts Tremble is an emotion packed piece dedicated to musician friends lost all to soon. This beautiful composition by Brant Karrick reflects on the fragility of human existence, joyous memories of loved ones and their effect on everyone around them, and maintaining hope for what the future will hold when all feels lost. This tour de force piece perfectly displays Karrick's polished compositional craft with impeccable scoring, beautiful melodic writing, and exceptional orchestrational color.

SKU: PR.11540219F

UPC: 680160633067. 9 x 12 inches.

A commission by the U.S. Air Force Band of the West allowed Ewazen to consider the ten years following the events of 9/11/2001, resulting in A Time of Strife, a Time of Peace. The first movement considers the long wars and the losses entailed through soaring lyrical lines above a rhythmic, pounding accompaniment, as Ewazen puts it. The second movement is a bittersweet celebration on the death of the perpetrator and a future of joy, peace, and life. Ewazen says, A burst of joyous energy bringing this chapter in our history to a close..

SKU: PR.115402190

UPC: 680160633050. 9 x 12 inches.

A commission by the U.S. Air Force Band of the West allowed Ewazen to consider the ten years following the events of 9/11/2001, resulting in A Time of Strife, a Time of Peace. The first movement considers the long wars and the losses entailed through soaring lyrical lines above a rhythmic, pounding accompaniment, as Ewazen puts it. The second movement is a bittersweet celebration on the death of the perpetrator and a future of joy, peace, and life. Ewazen says, A burst of joyous energy bringing this chapter in our history to a close..

SKU: HL.49019205

ISBN 9790001177214. UPC: 884088907594. 9.0x12.0x0.087 inches.

At the age of 16, Georg Kreisler was forced to leave his home country and set off to an uncertain future. 'Then I was in exile in New York, had little money and much hunger and tried to cheer myself up with these piano pieces. I do not remember if they cheered me up, but on the other hand they have become a testimony to that time. Anyone who has been through a difficult childhood will understand the pieces soon.'.