SKU: HL.299584

ISBN 9781540060754. UPC: 888680957421. 6.75x10.5x0.332 inches.

We are pleased to present another volume in this popular series! Volume 5 provides more great anthems with that one-rehearsal, quick-learning recipe! Rich with stylistic diversity and subject variety, these super songs are perfect for slim Sundays. This current collection offers jubilant songs of worship and inspiring anthems of devotion, all highly accessible to choirs of all sizes. In two-part, SAB, and easy SATB voicings, these pieces can be sung at any time with a minimum of preparation. Guaranteed winners! Songs include: This Is the Day!; God Is!; All Good Gifts; Sing Out, Children of God; At the Table of the Lord; Wonderful Light!; O For a Heart; Come to Me, You Weary; Let Us Give Thanks to the Lord; Grace and Peace to You.

SKU: BT.9780713678444

ISBN 9780713678444. English.

Wonderful Waterworks is one of four new geography songs in the A&C Black cross-curricular Songsheets series. Aimed at KS2 and linked to the curriculum, these individual songs are perfect for the classroom or forassemblies and end of term concerts. They are catchy, easy to learn and cover topic facts – in a fun way!

Features:

• Key facts reinforced through song
• Full piano/vocal score and photocopiablelyrics
• CD of backing/teaching/performance tracks
• Perfect for assemblies and school concerts
• They fulfil QCA Music Scheme unit 20 ‘Performing Together’.
  
  Also includes access toadedicated website containing additional resources: tuned and untuned percussion parts, teaching/performance notes and a performance schedule.

SKU: PR.16400261S

UPC: 680160038411.

Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is.   As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words.   The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings.   The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended.   The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher.