SKU: CF.CPS257F

ISBN 9781491161678. UPC: 680160920358.

The original intent for this piece was to evoke a fantasy atmosphere of huge mythical constructs, such as stone edifices, rising from a lunar surface softly illuminated by reflected light from another galactic source. It is meant to give an impression of a single vision, allowing the listener or player to imagine a personal interpretation of their own. The story behind this particular title comes from the late 19th century. Before the widespread use of electric streetlights, many large American and European cities erected large structures - some as tall as 165 feet - intended to brighten the cities at night at times when there was insufficient natural moonlight. Referred to at that time as Moonlight Towers, the only ones still in existence and in use today are found in Austin, Texas. These man-made wonders may not be as stunning as naturally-formed stone edifices, but they are nevertheless eye-catching. One of these structures in a large park is adorned with strands of lights every December to resemble a gigantic Christmas tree which can be seen for miles. In this composition, measure 81 through measure 97 depicts four of the remaining thirteen towers in four different settings in Austin. This piece is also intended to capture the wonder of these singular relics of history, with a fantasy atmosphere of their own.
The original intent for this piece was to evoke a fantasy atmosphere of huge mythical constructs, such as stone edifices, rising from a lunar surface softly illuminated by reflected light from another galactic source. It is meant to give an impression of a single vision, allowing the listener or player to imagine a personal interpretation of their own.  The story behind this particular title comes from the late 19th century. Before the widespread use of electric streetlights, many large American and European cities erected large structures - some as tall as 165 feet - intended to brighten the cities at night at times when there was insufficient natural moonlight. Referred to at that time as Moonlight Towers, the only ones still in existence and in use today are found in Austin, Texas. These man-made wonders may not be as stunning as naturally-formed stone edifices, but they are nevertheless eye-catching. One of these structures in a large park is adorned with strands of lights every December to resemble a gigantic Christmas tree which can be seen for miles. In this composition, measure 81 through measure 97 depicts four of the remaining thirteen towers in four different settings in Austin. This piece is also intended to capture the wonder of these singular relics of history, with a fantasy atmosphere of their own.

SKU: SU.80101113

This work is an extensive fantasy on Abide With Me, in the style of 19th century composers. It is dramatic, highly expressive, and very powerful. Suitable for festival service or recital. The American Organist (Nov 2001) provides the following review of the work: ...a rather robust chorale prelude on Abide With Me that eschews sentimentality and casts this old warhorse of a hymn in a more positive light. It's a piece many organists might like to look into.
20 pages
Published by: Zimbel Press.

SKU: FG.55011-676-4

Juhani Nuorvala (b. 1961) wrote The Five Chords That Shook My World (2020) for pianist Nicolas Horvath's Hommage a Glass project and it is dedicated to him. It's a fantasy meditation on the Train/Spaceship chords in Einstein, that repeating five-chord progression (Fm - Db - A - B7 - E) about which the composer has said that there's something strange, because it never fails to lift the audience to its feet. The duration of the piece is c. 6'30'', and it was premiered by Emil Holmstrom at RUSK festival (Pietarsaari, Finland) 20th November 2020. A notable variety of influences - microtonality, American minimalism, New Romanticism, popular music, techno - has been regarded as a special feature of Nuorvala's idiom. Despite this he is not a collage artist; instead he has blended various ingredients to create a mode of expression entirely his own. Nuorvala's works are often marked with frenzied rhythmic drive. He makes music using elements and materials that both the mind and the body respond to. He finds these elements not only in old or new classical music but in various forms of urban popular music, such as the electronic music of modern dance clubs.

SKU: SU.80101473

This anthology contains 12 varied works for organ useful for service or concert. Includes: Spirituals Variations I (on three early American hymns), Spiritual Variations II (Where I May Wander), Spiritual Variations III (I'm Gonna Live So God Can Use Me), Chanson Variations, Prelude on Add One More Seat to the Table, Chorale Prelude and Fugue on a Lullaby, Offertorium, Postludium, Golgotha, Fantasy on Rondeau Carol, and Three and a Half Little Carol Settings. Two of the works are based on original hymn tunes by the composer, and the hymns are included for congregational use. Instrumentation: Organ Composed: 2008-2020 Published by: Zimbel Press.

SKU: PR.11441123S

UPC: 680160016303. 8.5 x 11 inches.

The Quintet for Piano and String Quartet was written for the American String Quartet in the summer of 2000. It is in one movement but has two distinct parts. The first is a slow movement characterized by dotted rhythms. It is a fantasy with some long flowing lines interrupted by short fragments usually in the piano. After a rather agitated section in 6/8 time, this section comes to a quiet close on a G-sharp major chord. The second section of this thirteen-minute work is marked Fast and Energetic. It begins with chords that recur throughout the movement and after two measures a long main theme is introduced which is developed and altered during the rest of the fast portion of the work. One could call this second part a sort of rondo form since this long lyrical theme returns always after contrasts. When it does return, it is treated often by means of imitation, but at the climax returns played in unison by the strings while the piano renders an energetic sixteenth note background. The work ends on an E-flat major chord though the piece is certainly not in any one key, but rather features quick modulations. One might call this non-tonal music which nevertheless always feels like it has a tonal center. --Samuel Adler.