SKU: AP.29508S

UPC: 038081315539. English.

We are proud to present a three-piece halftime show based on the timeless music of movie westerns. The opener is the ever-popular Magnificent Seven! (1:40).

SKU: HL.422594

UPC: 196288061496. 6.75x10.5x0.029 inches. Ephesians 4:31-32, Matthew 18:21-22.

Raise the roof with this jazzy number! Pure joy carries the message of forgiveness and grace. The piano dances with the choir, and the results are an anthem that will be a the feel-good moment in any service.

SKU: HL.49046935

ISBN 9781705169353. UPC: 842819116837. 9.25x12.0x0.5 inches.

SEVEN DAYS is a cycle for solo piano in 21 movements, most lasting between three and seven minutes, distributed in the form of a custom app produced by the 92Y and released during their Fall 2021 season. Using the app on their phones, listeners are asked to listen to three movements a day according to an approximate schedule - one movement in the morning, one in the afternoon, and another sometime in the evening - for seven days. The music is performed by Pedja Muzijevic and presented alongside paintings by Gloria Maximo. (Please visit 92Y.org for information on how to download the Seven Days app.) The work is designed as a listening experience that tunes us into the passing of time, connecting us both to the present moment as well as the cycle of the week. The experience invites music to inhabit and structure our everyday - to find us where we are in the world. The morning-afternoonevening schedule is meant to focus participants on the dawn-to-dusk cycle as well as to create a communal listening ritual. It is also an experiment in large-scale form, designed to draw attention to musical material developing across a week-long expanse, interspersed with vast silences. SEVEN DAYS was shaped by a year spent in relative isolation due to the pandemic. While it is a work composed during a time of quarantine, it will be experienced first by an audience in the process of returning to a more normal world. In that sense, it is an artwork born out of a year of relatively cloistered existence that seeks to preserve aspects of that experience as we move forward. The piece was also inspired by the work of Morton Feldman and Chantal Akerman, whose large-scale works consider time, process, and stillness. Their art struck me with a fresh relevance during the silent stretches of the pandemic year 2020. It was also a year in which writings about time, penned by contemplatives like Henry David Thoreau and Thomas Merton, held new weight. All of this in turnresonated with Gloria Maximo's profound paintings, which I've long admired. SEVEN DAYS is an artwork we are invited to do - using music to point our attention to the present moment, the everyday, and the seemingly mundane. It is a piece listeners are also asked to live within as it unfolds over a week rather than to witness it live. The key players here are time and the listener's own surroundings, starring together alongside music and art in a wordless drama. -Gregory Spears.

SKU: HL.49018055

ISBN 9790001149044. UPC: 884088556327. 9.0x12.0x0.313 inches.

Eotvos wrote this piece in memory of the seven astronauts who lost their lives in the Space Shuttle Columbia tragedy in 2003. The number 7 determines the musical, rhythmic and formal structure of the work: 49 musicians are divided into seven groups, and as well as the solo violin there are six further violins arranged correspondingly around the hall; and the solo violin itself portrays each of the astronauts and their different origin, from America via Israel to India, in folkloristically tinged cadenzas.'The violin concerto Seven is a very personal monologue and the musical expression of my sympathy towards the seven astronauts who lost their lives while exploring space in fulfilment of a fundamental dream of mankind.' (Peter Eotvos)

3 (1. auch Altfl., 2./3. auch Picc.) * 3 * 3 * Bassklar. * Altsax. (auch Baritonsax.) * 3 - 2 * 2 * 2 * 1 - S. (I: Crot. * Gongs * Rohren [Amboss] * Rohrengl. * Nietenbeck. * chin. Beck. * Dome-Beck. * Tamt. * Trgl. * Sprungfeder; II: Vibr. * Gongs * Glsp. * Rohrengl. * Beck. * Dome-Beck. * Tamt. * Crot. * Sistrum * Sprungfeder; III: Vibr. * Gongs * Glsp. * Rohrengl. * Beck. * Dome-Beck. * Crot. * Rohren [Amboss] * Glsp. * Sprungfeder; IV: Crot. * Gongs * Rohrengl. * Nietenbeck. * chin. Beck. * Dome-Beck. * Tamt. * Sistrum * Rohren [Amboss] * Trgl. * Sprungfeder) (4 Spieler) - E-Git. * Hfe. * Keyboard-Sampler* - Str. (6 * 0 * 5 * 5 * 4)
* Fur alle technischen Anweisungen wenden Sie sich bitte an www.eotvospeter.com / For technical instructions please contact www.eotvospeter.com.

SKU: CA.5199203

ISBN 9790007186661. German. Text: van Swieten, Gottfried.

Joseph Haydn's oratorio Die sieben letzten Worte unseres Erlosers am Kreuze is probably one of the most frequently performed settings of music for Good Friday. Haydn set these Seven Words in a dramatic, extremely gripping emotional style which is utterly compelling. Originally the work was conceived as a purely instrumental composition - as meditative music in seven slow movements with an introduction and concluding movement (Il Terremoto - the earthquake) for a Passiontide church service. From the outset, Haydn had composed the themes of the movements with a vocal spirit in mind, so when he heard a vocal arrangement of his work in 1794 in Passau with a German singing text - an obvious idea - it inspired him to write his own vocal version. The first performance took place in 1796 in Vienna. With the flourishing of choral societies in the 19th century, this vocal version of the Seven Words became one of the most frequently-performed Passion music settings of all. The critical Urtext edition of the work now published offers a revised musical text reflecting current scholarly standards.

SKU: CA.5199205

ISBN 9790007186654. German. Text: van Swieten, Gottfried.

Joseph Haydn's oratorio Die sieben letzten Worte unseres Erlosers am Kreuze is probably one of the most frequently performed settings of music for Good Friday. Haydn set these Seven Words in a dramatic, extremely gripping emotional style which is utterly compelling. Originally the work was conceived as a purely instrumental composition - as meditative music in seven slow movements with an introduction and concluding movement (Il Terremoto - the earthquake) for a Passiontide church service. From the outset, Haydn had composed the themes of the movements with a vocal spirit in mind, so when he heard a vocal arrangement of his work in 1794 in Passau with a German singing text - an obvious idea - it inspired him to write his own vocal version. The first performance took place in 1796 in Vienna. With the flourishing of choral societies in the 19th century, this vocal version of the Seven Words became one of the most frequently-performed Passion music settings of all. The critical Urtext edition of the work now published offers a revised musical text reflecting current scholarly standards.

SKU: FG.55011-521-7

ISBN 9790550115217.

X'seven (2010/18) is the final piece of a solo cello suite consisting of seven compositions. Each of the seven pieces can be performed individually or detached with another X-composition. Different works are yet to be performed cronologically. The X-works are composed by using the same material viewed at different angles. Their structure can be seen like a film starting several times from the beginning and from the same settings always looked from a new perspective. In the first compositions of X-suite seemingly random fragments join together piece by piece as the work goes on combining one into another organically. The story, tale or plot of the music and the gestures and figures of it transform in a new context but still remain identifiable. Olli Koskelin's (born 16 April 1955) compositional output reflects a wide range of interests. The vast area covered by his style encompasses the neo-impressionism of the piano work Courbures (1989) to the post-expressionist echoes of his Music for String Quartet (1981) as well as the breakneck virtuosity of his clarinet piece Exalte (1985/1991) and the rich romantic textures of his orchestral piece ... like a planet silently breathing... (1993). He often uses the overtone series like the French spectral composers and avoids dramatic culmination. Soft harmonics, tranquil arching melodies, a leisurely rhythmical pulse and a coherence of mood are in evidence in his later works as in Uurre (1997) for chamber ensemble, Miniatures (1997) for string quartet and Circles within for 19 solo strings.