SKU: GI.G-10541
UPC: 785147054115. English. Text Source: William Wallace after Mary Peters, 1813&ndash,1856. Text by William Wallace.
SKU: GI.G-008406
UPC: 641151084060. English.
SKU: GI.G-8727
UPC: 785147872702. English. Text by David Rogner.
For unison voices, organ, and flute, this simple carol for Pentecost urges us to “animate the Gospel†and petitions the Holy Spirit to inspire our souls. The poignant text by David Rogner and the obbligato flute part unite with the Schalk tune to effortlessly create a feeling of supplication. Very prayerful.
SKU: GI.G-009417
UPC: 641151094175.
SKU: GI.G-9183G
UPC: 785147918370. English. Text by Delores Dufner. Scripture: Ecclesiastes 3:1D8, Sirach 2:1D11, John 12:23D28, Romans 8:18D25, 1 Corinthians 15:51D57, 1 Thessalonians 4:13D18.
SKU: MN.60-5021
UPC: 688670650215. English.
A festive concertato for All Saints, Pentecost, and general use, this begins with a lengthy introduction (options for a shorter intro are specified). Using the tune WIE SCHON LEUCHTET, the composer has fashioned an upbeat setting of this hymn for congregation, soprano descant, SATB choir, and organ. The use of brass quartet and timpani is optional. Stanza one is in unison, stanza two is a choral variation for SATB choir, accompanied. There is an interlude which draws from the introduction, and stanza four is unison with descant.
SKU: GI.G-8617
UPC: 785147861706. English. Text by Fred Pratt Green.
Fred Pratt Green’s hymn text paints a portrait of saints that conveys to us how, by following their model of self-giving, we can be led to God. The memorable melody and simple rhythmic flow complement the text, fashioning a worthy hymn of praise that is perfect for memorial services or All Saints Day.
SKU: MN.10-439
UPC: 688670104398.
A second volume of 21 hymn accompaniments with minimal pedal from Lynn Trapp. The widely used tunes are treated with great creativity, while limiting pedal movement and keeping accessible hand positions. Each tune has an Introduction, Setting A, and Setting B, and most have an Interlude--some with a modulation. Several tunes work very well with either the right or left hand soloing out the melody. A great resource for any organist!
SKU: GI.G-10208
UPC: 785147020813. English, Latin. Text Source: Latin: Matthew 11:28, English: Matthew 5:3&ndash,12, alt. Scripture: Matthew 5:3–12, Matthew 11:28.
SKU: PR.11641373S
UPC: 680160680344.
The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.
SKU: AP.47494
UPC: 038081550015. English.
This soulful R&B rocker was one of Aretha Franklin's biggest hits. Arranger Doug Adams has given the tune a contemporary treatment while still maintaining the feel of the original song.
SKU: HL.293971
ISBN 9781540052575. UPC: 888680940638. 5.0x5.0x0.15 inches.
Smokey Robinson and the Miracles first introduced this pop-hit in 1965 and Linda Ronstadt had a huge hit with it in 1975 followed by numerous singers thereafter. It's a soulful, laid-back arrangement that works well for mixed choirs and women's groups, too.
SKU: PR.11641373L
UPC: 680160680337.
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