12 Favorite Hymns. By Charles C. Converse; Conrad Kocher; Franklin Sheppard; Geo...(+)
12 Favorite Hymns. By
Charles C. Converse;
Conrad Kocher; Franklin
Sheppard; George J.
Elvey; John B. Dykes;
John Wyeth. Arranged by
Albin C Whitworth. Solo
piano. For Piano.
Classical. Soft Cover. 32
pages. Published by Carl
Fischer.
Organ SKU: SU.80101120 For Organ. Composed by Various. Keyboard, O...(+)
Organ
SKU:
SU.80101120
For
Organ. Composed by
Various. Keyboard, Organ.
Score. Zimbel Press
#80101120. Published by
Zimbel Press
(SU.80101120).
Six
contemporary composers
were invited to write new
hymn preludes for this
collection. The result is
a set of fresh,
accessible compositions,
highly suitable for
worship or recital use.
The six compositions are:
Prelude on Wachet
auf (Frederick
Frahm), Prelude on
Melita (John S.
Dixon), Prelude on
Kingsfold (Bruce
Polay), Trio on
Wareham (Sandra Gay),
Prelude on Gelobt sei
Gott (David W.
Solomons), and
Jubilee-Postlude on
Converse (Carson
Cooman). Published
by: Zimbel Press.
Transcriptions from Buckley's Banjo Guide of 1868. Composed by Tim Twis...(+)
Transcriptions from
Buckley's
Banjo Guide of 1868.
Composed
by Tim Twiss. Squareback
saddle stitch, Solos and
Duets, Banjo: 5-String.
Book
and online audio. 120
pages.
Mel Bay Publications, Inc
#30718M. Published by Mel
Bay
Publications, Inc
The Quintessential Guide to Creating Quality Musical Theatre Programs. Chora...(+)
The Quintessential Guide
to
Creating Quality Musical
Theatre Programs. Choral.
Hardcover. 368 pages. GIA
Publications #G9403.
Published by GIA
Publications
WGRG
Liturgy Booklet - Number
12. Composed by
Graham Maule and John L.
Bell. Iona Community.
Sacred. 48 pages. GIA
Publications #8451.
Published by GIA
Publications (GI.G-8451).
ISBN 9781909469112.
English. Text Source:
Wild Goose Resource
Group, Iona Community,
Scotland. Text by John L.
Bell.
This new
liturgy from the Wild
Goose Resource Group
seeks to engage people
with the biblical and
contemporary issues of
wealth and material
possessions in an
accessible way. Spare
Change & Gilt-Edged Grace
is the twelfth in the
series of WGRG Liturgy
Booklets. It contains a
full liturgy formatted in
both leader’s and
congregational versions.
With hope, Liturgies such
as this may evoke the
beginning of an honest
conversation on a subject
that is given scant
attention in our worship
today.
For
Soprano, Mezzo Soprano,
Tenor, Baritone, Chorus
and Orchestra.
Composed by Steven
Stucky. This edition:
Vocal score. Libretto by
Gene Scheer. Laquita
Mitchell/Soprano, Kelley
O?Connor/Mezzo-soprano,
Vale Rideout/Tenor,
Robert Orth/Baritone,
Dallas Symphony Chorus
(David Davidson,
Director); Dallas
Symphony Orchestra,
conducted by Jap van
Zweden. Contemporary.
Vocal Score. With
Standard notation.
Composed 2008. 132 pages.
Duration 1 hour, 10
minutes. Theodore Presser
Company #441-41024.
Published by Theodore
Presser Company
(PR.441410240).
UPC:
680160589128. Libretto by
Gene Scheer.
August
4, 1964 was commissioned
by the Dallas Symphony
for the 2008 celebration
of President Lyndon B.
Johnson’s
centennial year. The
75-minute oratorio
focuses on two events
that came to a head on
August 4, 1964, events
that defined LBJ’s
presidency: the discovery
of the bodies of three
slain civil rights
workers in Mississippi,
and the bombing of North
Vietnam, which
accelerated U.S.
involvement in the
Vietnam war. Gene
Scheer’s
thoroughly-researched
libretto includes actual
transcripts of White
House phone conversations
and government documents,
as well as letters from
the mothers of the slain
civil rights workers.
Chamber Music String Quartet SKU: PR.114405050 Composed by John Downey. S...(+)
Chamber Music String
Quartet
SKU:
PR.114405050
Composed
by John Downey. Set of
Score and Parts. With
Standard notation. 53
pages. Duration 25
minutes. Theodore Presser
Company #114-40505.
Published by Theodore
Presser Company
(PR.114405050).
UPC:
680160008377. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique efffect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water ,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorlines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluch
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against the
sheets of sound conjured
up by the two violins
playing a flood of
swirling figures, evokes
a kind of static motion
in spae. Here, the
virtually imperceptible
manner in which this
hushed whisper continues
incessantly, can suggest
the potential fluidity
with which movement may
inch forward... Later
into the fourth movement
, two fairly extended
solos by the second and
then the first violins,
lead to a kind of
spontaneous dialogue
among the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of 'psycho-rhythmics
contributes to an on-rush
of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
Chamber Music String Quartet SKU: PR.11440505S Composed by John Downey. F...(+)
Chamber Music String
Quartet
SKU:
PR.11440505S
Composed
by John Downey. Full
score. With Standard
notation. 53 pages.
Duration 25 minutes.
Theodore Presser Company
#114-40505S. Published by
Theodore Presser Company
(PR.11440505S).
UPC:
680160008391. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique effect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorelines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluck
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against sheets
of sound conjured up by
the two violins playing a
flood of swirling
figures, evokes a kind of
static motion in space.
Here , the virtually
imperceptible manner in
which this hushed whisper
continues incessantly,
can suggest the potential
fluidity with which
movement may inch
forward... Later into the
fourth movement, two
fairly extended solos by
the second and then the
first violins, lead to a
kind of spontaneous
dialogue amont the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of psycho-rhythmics
contributes to an on-rush
seem of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.