SKU: CF.SPS71

ISBN 9781491143544. UPC: 680160901043. Key: G minor.

Nordanvind is a tour de force symphonic rhapsody that is built on three Scandinavian folk songs. Composer Carl Strommen has composed these Viking-influenced melodies into a concert setting that brings out all of the history of the Scandinavian people. The piece is at times bold and aggressive, at other times beautiful. Carl employs all of the instrumental colors of the concert band to create a new work for more advanced ensembles.
Modern Scandinavians are descendants of the Vikings, an adventuresome people who were known for their love of the sea, their naval prowess, and as fierce fighters . The Scandinavian Vikings were warriors from Denmark, Norway, and Sweden who traded, raided and settled in various parts of Europe, Russia, the North Atlantic islands, and the northeastern coast of North America .Starting around 1850, over one million Swedes left their homeland for the United States in search of religious freedom and open farm land . Augustana College was founded in 1860 by graduates of Swedish universities and is located on the Mississippi River in Rock Island, Illinois . Home of the “Vikings,” Augustana College is the oldest Swedish- American institution of higher learning in the United States . This powerful and lively piece takes inspiration from Swedish history and from Swedish folk songs and hymns .Havsdrake (Dragon of the Sea)The Nordanvind or “North Wind” blows a cold wind during a journey of a group of courageous Viking rowers . The “Dragon-ship” or long ships designed for raiding and war was a sophisticated, fast ship able to navigate in very shallow water . To musically portray these magnificent seafaring vessels, the director is encouraged to use an Ocean Drum (or a rain stick) during the introduction . Wind players may consider blowing air through their instruments to suggest the North wind . Adding men’s voices to accompany the haunting low brass and percussive “rower” sounds can be helpful in creating the dark and ominous portrayal of Viking adventurers .Slangpolska efter Byss - KalleIn Sweden, a “polska” is a partner dance where the dancers spin each other (släng in Swedish “to sling or toss”) . Slangpolska efter Byss - Kalle is attributed to Byss-Kalle, who was a notable Swedish folk musician, specifically a nyckelharpa player . Slangpolska efter Byss - Kalle is a traditional “polska” dance song most often played on the Nyckelharpa or keyed fiddle and is commonly heard in pubs and at festive events throughout Sweden . Approximately 10,000 nyckelharpa players live in Sweden today, and the Swedish and the American Nyckelharpa Associations are dedicated to this Swedish National instrument . The director is encouraged to share video and audio examples of the nyckelharpa playing the original Slangpolska efter Byss - Kalle .Tryggare Kan Ingen Vara (Children of the Heavenly Father)Tryggare Kan Ingen Vara Is a traditional Swedish melody, possibly of German roots, and was believed to be arranged as a hymn by the Swedish hymn writer, Karolina Wilhelmina Sandell-Berg (1832–1903) . As a daughter of a Swedish Lutheran minister, she began writing poems as a teenager and is said to have written over 1,700 different texts . There are two different accounts as to the inspiration for this hymn . The first story is that Lina (as she was called) wrote the hymn to honor her father and to say thank you to him for raising her and protecting her . A second belief is of her witnessing the tragic death of her father . She and her father were on a boat, when a wave threw her father overboard . It was said that the profound effect of watching her father drown is what caused Lina to write the text to this hymn . Although this is a treasured song to people of Swedish descent everywhere, it speaks to all people about a father tending and nourishing his children, and protecting them from evil .SPS71FThe Augustana College Concert BandFounded in 1874, the Augustana Band program is one of the oldest continuously active collegiate band programs in the country . The Concert Band is one of two bands on campus and was formed more than thirty years ago . The Concert Band attracts students of every skill level and from a wide variety of majors . Students in the ensemble play a large part in choosing their music for performance, which include works from the standard repertoire, orchestral transcriptions, and the latest compositions from leading composers .Rick Jaeschke began his musical career as a clarinet player in the 1st US Army Band . He received a Bachelor of Music degree from Susquehanna University, a Masters of Music from James Madison University, and a doctorate from Columbia University in New York . He was also fortunate to study conducting with Donald Hunsburger and with Frederick Fennell .Dr . Jaeschke taught band and choir at Great Mills High School in Southern Maryland, and for fifteen years, he was the district Music Supervisor in Armonk, New York, where he taught high school concert and jazz bands, beginning band, and music technology . During that time, the music program flourished, and the high school band consistently received Gold Medals in the New York State Festivals, as well as in national, and international festivals . As a clarinet and saxophone player, Dr . Jaeschke performed in the New York metropolitan area with the Rockland Symphony Orchestra, the Putnam Symphony Orchestra, Fine Arts Symphony Orchestra, and served as the concert master for the Hudson Valley Wind Symphony .For several years, Dr . Jaeschke served as the Fine Arts Coordinator for the District 204 schools in Naperville, IL, a district selected as One of the Best 100 Schools in America for Music . Currently, Dr . Jaeschke is an Associate Professor at Augustana College where he teaches music and music education courses, and directs the Concert Band . He has served on various educational boards, is a National edTPA scorer, and has presented at state, national and international music conferences . He lives with his family in Bettendorf Iowa, and enjoys any opportunity to explore the open water in his sea kayak .

SKU: CF.CM9741

ISBN 9781491161210. UPC: 680160919802. Key: Bb major. English. African American Spiritual.

In 1961, a diverse group of student activists organized a movement called Freedom Riders to challenge racial segregation in Southern states. Their strategy was to ride busses into cities with segregation laws and deliberately break them. For instance, white students would use colored only restrooms, while black students would sit at white only food counters. The hope was that, when confronted by police, the federal government would be forced to step in and defend the students' constitutional rights. On many occasions, these demonstrations were met with violent behavior from locals, including beatings and a firebombing. Ultimately, these Freedom Riders helped lead to the abolishment of segregation by bringing national attention to the injustices of segregation. While touring, the Freedom Riders would collectively perform songs with messages about freedom and justice. One participant, African -American preacher Rev. Robert Wesby, reimagined the lyrics of the hymn Woke Up this Mornin' by replacing the name Jesus with freedom in each refrain. This version of the hymn went on to become a powerful symbol of the American civil rights movement.
In 1961, a diverse group of student activists organized a movement called “Freedom Riders” to challenge racial segregation in Southern states. Their strategy was to ride busses into cities with segregation laws and deliberately break them. For instance, white students would use “colored only” restrooms, while black students would sit at “white only” food counters. The hope was that, when confronted by police, the federal government would be forced to step in and defend the students' constitutional rights. On many occasions, these demonstrations were met with violent behavior from locals, including beatings and a firebombing. Ultimately, these “Freedom Riders” helped lead to the abolishment of segregation by bringing national attention to the injustices of segregation.While touring, the Freedom Riders would collectively perform songs with messages about freedom and justice. One participant, African -American preacher Rev. Robert Wesby, reimagined the lyrics of the hymn “Woke Up this Mornin’” by replacing the name “Jesus” with “freedom” in each refrain. This version of the hymn went on to become a powerful symbol of the American civil rights movement.

SKU: GI.G-CD-605

Prayer and praise hymns have become an integral part of the sacred hymnody of the African American religious experience. Twenty years after the Emancipation, the children of the slaves found themselves living in the reality of separateness, and their religious practice turned increasingly inward. A unique body of hymnody grew out of that period, approximately 1885–1925. These are songs of Southern origin, of a rural people working the land. These songs are different from spirituals and Black meter music, yet show their influences. These songs are Bible-based, highly repetitive in accord with the nature of oral tradition, and of anonymous authorship. Wyatt Tee Walker has researched this segment of the history of African American church music more than any other known scholar. His original three paperback volumes have been edited and combined by James Abbington into this clothbound edition worthy of its historical and musical significance. The book now includes a recording of the twenty-four selected “prayer and praise” hymns researched by Rev. Dr. Walker. This exciting CD highlights not only the hymns, but the singing style of the period as well, being faithful to the impromptu harmonies and dissonance brought about by inspired song. A separate songbook for choirs and congregations is also available, making this valuable repertoire accessible for use in Sunday worship.

SKU: HL.44010956

UPC: 884088613129. 9x12 inches. English-German-French-Dutch.

Philip Sparke selected two well-known marches from the region around Southern Belgium and Luxembourg as the basis for his March Celebration: after we hear an original march theme and second theme in the bass, extracts from the Hammelsmarsh (Hammelmarsch) and the spirited Marsch der Ardennen-Jager, which has become a kind of unofficial national anthem in these parts. This festive march is rounded off with another appearance of Philip Sparke's original theme.

In March Celebration verwerkte de componist twee marsen uit het Zuiden van Belgie en Luxemburg. Na het eerste, originele marsthema en een tweede ‚bas'-thema, volgen fragmenten uit de Hammerlsmarsch en de meeslepende Mars van de Ardense Jagers, een mars die bijna kan beschouwd worden als een soort nationaal volkslied. Deze feestelijke mars van Philip Sparke eindigt met het beginthema.

Zwei berühmte Marsche aus dem südbelgischen und luxemburgischen Raum wurden in March Celebration verarbeitet: Nach dem ersten, originalen Marschthema und einem zweiten Bass-Thema folgen nacheinander Auszüge aus dem Hammelsmarsch (Hammelmarsch) und dem mitreissenden Marsch der Ardennen-Jager, der dort schon fast eine Art zweite Nationalhymne ist. Mit der Wiederaufnahme seines originalen Themas rundet Philip Sparke diesen festlichen Marsch ab.

March Celebration reunit deux celebres marches du Luxembourg et du sud de la Belgique, combinees a un theme original signe Philip Sparke. Apres l'exposition du theme original suivi d'une ligne melodique jouee par les basses, on percoit des fragments de la Hammelsmarsch (Marche des moutons). Cet air populaire fait partie integrante de toutes les fetes de village du sud de la Belgique et du Luxembourg. Puis vient l'exaltante Marche du Regiment des Chasseurs ardennais, devenue une sorte d'hymne pour toute la region. L'oeuvre se conclut sur la reprise brillante du theme original.

Philip Sparke arrangia due celebri marce provenienti rispettivamente della parte meridionale del Belgio e dal Lussemburgo. L'apertura vede l'esposizione di un tema originale che anticipa una linea melodica eseguita dai bassi. Seguono gli estratti della Hammelsmarch e della coinvolgente Marsch der Ardennen-Jaeger, divenuta una sorta di inno per l'intera regione. Philip Sparke conclude il brano con la riesposizione del tema originale.

SKU: KJ.JB118F

UPC: 084027053553.

Written as a companion piece with Border Dance (JB117), Stranger At My Door is written in memory of Peg Bowden, a resident of southern Arizona, who was active in groups assisting migrants by providing food, shelter, clothing and medical assistance. Peg's book Stranger At My Door chronicles her involvements with a migrant who appeared at her doorstep one Christmas Eve in desperate need. Composer Jack Stamp opens this tone poem with a rendition of O Little Town Of Bethlehem accompanied out of time by a haunting melody in the low winds. An original melody, Peg's Theme and the hymn tune Bera (The Hymn of the Good Samaritan from 1849) are first presented plainly, then interwoven in a rhythmic fantasia of fugato fragments. Peg's Theme returns in its fully-harmonized form and the work ends in peaceful introspection. Solos for Flute, Clarinet, Bassoon, and Bass Clarinet, as well as solis for trumpets and trombones are featured. Although Stranger At My Door incorporates a well known Christmas carol, it is appropriate for all seasons due to its timeless message of selflessness in the face of danger.

SKU: KJ.JB118

UPC: 084027053539.

Written as a companion piece with Border Dance (JB117), Stranger At My Door is written in memory of Peg Bowden, a resident of southern Arizona, who was active in groups assisting migrants by providing food, shelter, clothing and medical assistance. Peg's book Stranger At My Door chronicles her involvements with a migrant who appeared at her doorstep one Christmas Eve in desperate need. Composer Jack Stamp opens this tone poem with a rendition of O Little Town Of Bethlehem accompanied out of time by a haunting melody in the low winds. An original melody, Peg's Theme and the hymn tune Bera (The Hymn of the Good Samaritan from 1849) are first presented plainly, then interwoven in a rhythmic fantasia of fugato fragments. Peg's Theme returns in its fully-harmonized form and the work ends in peaceful introspection. Solos for Flute, Clarinet, Bassoon, and Bass Clarinet, as well as solis for trumpets and trombones are featured. Although Stranger At My Door incorporates a well known Christmas carol, it is appropriate for all seasons due to its timeless message of selflessness in the face of danger.

SKU: LP.765762149625

UPC: 765762149625.

A collection of 14 Christmas songs set in southern gospel style. Featuring such favorites as Go Tell It on the Mountain; Come On Ring Those Bells; Amen; What a Savior; and others. Readings are included for two narrators. The 4-part hymnal style and easy voicing make this work enjoyable for all choirs.

SKU: LO.9780787774332

ISBN 9780787774332.

Stan Pethel has a deep-rooted interest in early American hymnody and, in this collection, he explores the music of the famed hymnbook, Southern Harmony. Containing much historical as well as musical interest, these piano solos will find a cherished place in your music library. Introduce yourself, and your congregation, to the sacred music of a by-gone era with this important volume.