SKU: HL.419541
UPC: 196288060932. 6.75x10.5x0.019 inches. I Peter 1:1-25, Philippians 3:8-9, Psalm 63:3.
This effective pairing of two mid-century classics provides more than just nostalgia: there is a substantive message of a personal relationship with Christ. Truly inspired arranging opens this octavo up to any group. Sure to put a smile in the heart of all who grew up with these standards!
SKU: HL.14042350
ISBN 9788759826164.
Søren Nils Eichberg's Morpheus - Concerto for Orchestra (2013). Commissioned by The Danish National Symphony Orchestra / DR.
Parts are available on hire: hire@ewh.dk
Programme note
Morpheus in the Greek mythology is the most powerful of the Oneroi, the gods of dreams. He is the one who sends us our dreams and he may appear to us within the dreams in disguise.
Analogous to the logic of dreams, in Morpheus everything is interwoven, as chains of associations appear to logically lead us from one line of thought to another. Everything seems strangelyfamiliar. But the logic is treacherous and we already feel, it may only be valid within the dream. Nothing that appears similar is actually ever really the same.
Half awakening, we struggle to hold on to a vanishing world we felt we were on the verge of understanding, but which we already know will eventually escape us when we fully awake.
Everything remains a mystery until the end.
The seven movements/dreamscapes are:
SKU: CF.FPS56F
ISBN 9780825861789. UPC: 798408061784. 9 X 12 inches. Key: Eb major.
Bobber in the old Scots language is the word for a dance. The piece is an original composition for developing bands in a Scottish style. It contains all of the typically Larry Clark compositional techniques that you have come to know and your students have come to love.
SKU: HH.HH094-FSC
ISBN 9790708041252.
Tchal Kouyrouk, the trusty steed of Toshtuk, Giant of the Steppes, is going to recover his master’s soul, which has been stolen, then bring Toshtuk back to his wife Kenjeke, who is pregnant with his child. In those far off days when Toshtuk, Kenjeke and Tchal Kouyrouk were living, the twelve tone row was evidently already a historical necessity. The rules surrounding its worship were to be respected: never interrupt the twelve tone row, never make irreverent remarks about it, never look at another system of pitch organization, apply the model of the twelve tone row to everything in the world to which it might be applicable.