SKU: PR.ZM34651
SKU: WD.080689632174
UPC: 080689632174.
From the incredible creators of Dove-Award winning How to Have the Best Christmas Ever, Joel Lindsey, Jeff Bumgardner, Heidi Petak and Daniel Semsen, is this new dramatic musical from Word Music & Church Resources, AN UNEXPECTED CHRISTMAS. This heartfelt musical that brings people of all different paths of life together in the most unexpected way…in the middle of an airport terminal on Christmas Eve. Filled with surprise, humor, and realistic experiences that many people face every year at Christmastime, this musical is one that will bring laughter, inspiration, hope and emotion to every audience. Your choir, congregation and community are guaranteed to feel the spirit of Christmas with this relevant dramatic Christmas musical. They will love this engaging story—A story that will remind them of peace, love, and good will towards men, joy that comes in spite of the chaos of the season, and the many emotional ways that we, as Christians, need Christmas…no matter where we might find ourselves on December 25th.
SKU: HL.48009794
UPC: 073999175349. 8.5x11.5x0.427 inches.
Contents: As cheers the sun * And shall my sin-stain'd soul * Author of Peace * Ah! Think what ills * Alas! Erastea * Banish love from thy breast * Beneath the Vine * Bless'd the day * Capricious man * Daughter of Gods * Endless pleasure, endless love * Faithful cares in vain extended * Guardian Angels * Hide me from day's garish eye * My heart with tender pity swells * Me, when the sun begins to shine * No more shall armed bands * No, no, I'll take no less * Oft on a plat of rising ground * O killing shock of unexpected pain * O lovely youth * Sinners, lifts your eyes and tremble * Straight mine eye hath caught new pleasures * Together lovely innocents.
SKU: AP.39517S
UPC: 038081460260. English.
A very playable, choice selection from the hit movie The Hobbit: An Unexpected Journey, this tune will delight audiences and players alike. Crafted specifically for beginners in their first or second year of instruction, solo sections are included which easily divide between sections to spread the fame. (2:30) This title is available in MakeMusic Cloud.
SKU: AP.40432S
UPC: 038081458243. English.
A very playable, choice selection from the hit movie The Hobbit: An Unexpected Journey, this tune will delight audiences and players alike. Crafted specifically for beginners in their first or second year of instruction, solo sections are included which easily divide between sections to spread the fame. This title is available in MakeMusic Cloud.
SKU: PR.11641737S
ISBN 9781491136133. UPC: 680160688432.
Son et lumière (“sound and light,†a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious†voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.Son et lumière (“sound and light,†a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious†voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.
SKU: PR.114417500
UPC: 680160634910. 9.5 x 13 inches.
Stream for Clarinet and String Quartet (2015) was commissioned by the Philadelphia Chamber Music Society in celebration of its 30th Anniversary Season, through support of The William Penn Foundation. The first performance was in April 2016 at the Kimmel Center in Philadelphia. Notes from the composer: The 'line' in Stream is often threaded together into a chain made up of separate 'points' played by the strings, and sometimes by the string and the clarinet. An analogy might be that each instrument, at times, produces a single 'ray of light' from within the larger light source. Moreover, there are many passages where the intended effect is that of the strings providing a 'halo' surrounding the solo clarinet. Similarly, the clarinet often dovetails with, as well as emerges or submerges in and out of, a strand in the string music..What's in a name?   In my titles, I generally aim to capture something that I believe to be essential about the particular work.  At some level this is to offer an entry-point for the listener, a glimpse of the composition in its totality.  STREAM as a title came to be when much of the music was already fully composed, and it encapsulates much of what I wish to say in words about this work: it suggests flow - whether gentle or forceful; it implies a journey, one that could take us onto unexpected terrains yet is always moving forward; embedded into this word is also the idea of stream of consciousness, and with it, free association and unexpected twists of fancy. Approximately 16 minutes in duration, STREAM is to be played without a break, yet there are strong elements of a three-movement structure here. An expository quasi-first-movement lays out important materials of varying character; the middle part, suggesting contrast and repose, is initially slow and reflective, but then embarks on new explorations of the notion of stasis, while the final movement is dominated by fast-moving music of high energy that consolidates the previous materials. Important throughout is the way in which seemingly transitional stretches of music emerge and propel the music onward in ways that are at once unexpected and fantastical. A composer's statement about this work would not be complete without acknowledging the degree to which the work was inspired by the awareness that it was being created for a quintet of extraordinary performers of the most beautiful and flowing musicianship - clarinet virtuoso Anthony McGill and the intrepid Brentano Quartet. Shulamit Ran .
SKU: PR.11441750S
UPC: 680160634934. 9.5 x 13 inches.
SKU: PR.114423350
ISBN 9781491135112. UPC: 680160686339.
This stunning addition to the bassoon repertory features dramatic outer movements framing a slow and plaintive aria. Harberg’s program notes put the drama and its crying-out high notes in the context of writing in 2021: “The composition was deeply influenced by disruptive forces unfolding around us. While this unrest made writing difficult at times and brought me to uncomfortable places within myself, the process was also full of unexpected discoveries and musical solutions I never would have found in less troubled times.â€.Connections are all around us. I first met bassoonist Adrian Morejon while writing my Suite for Wind Quintet for the Dorian Wind Quintet in 2017. He and I quickly became fast friends and decided to collaborate on a new piece. Over the next two years, Adrian assembled a phenomenal group of 28 bassoonists from around the world to be co-commissioners. Adrian and I premiered the resulting sonata at the International Double Reed Society’s 2021 Virtual Symposium.The SONATA was composed between January and June 2021. In composing it, my goal was to offer bassoonists a substantial work that would show off the instrument’s remarkable strengths including its athletic agility, gorgeous singing qualities, and enormous range. While I generally avoid being programmatic, this composition was deeply influenced by the disruptive forces unfolding around us. While this unrest made writing difficult at times and often brought me to uncomfortable places within myself, the process was also full of unexpected discoveries and musical solutions I never would have found in less troubled times.I am deeply grateful to Adrian for our collaboration, and to everyone in the consortium for making the SONATA possible.
