Format : Singles
SKU: WD.080689693236
UPC: 080689693236.
This Sunday, get your choir on their feet with this upbeat anthem, Unstoppable God. Arranged by Luke Gambill and orchestrated by Jared Haschek, this song from Sanctus Real reminds us that it’s okay when doubt creeps in or when we feel weak and defeated. Why? Because our God is unstoppable, and while we are struggling with defeat, He has already won our war.
SKU: HL.1333887
ISBN 9798350113631. UPC: 196288186540. 9.0x12.0 inches.
15 of The Piano Guys' best-loved songs arranged so YOU can play them! Phillip Keveren has done a superb job of adapting these arrangements for easy piano. Titles: Beethoven's 5 Secrets ? Bless the Broken Road ? Bring Him Home ? Can't Help Falling in Love ? Fight Song/Amazing Grace ? Fur Elise Jam ? Just the Way You Are ? A Million Dreams ? O Come O Come Emmanuel ? Perfect ? A Sky Full of Stars ? Someone You Loved ? Sweet Child o' Mine ? A Thousand Years ? Unstoppable.
SKU: HL.44012760
The Unknown Journey was commissioned by Kwansei Gakuin University Symphony Band which was established in 1954 and has grown to become one of the top college bands in Japan. The composer chose the title as the piece seemed to create its own momentum as it developed, starting slowly and continuously increasing the tempo. Towards the end it gradually transmogrifies into the closing bars of Ravel's La Valse, a piece which perfectly characterizes the idea of unstoppable momentum. The Unknown Journey was commissioned by Kwansei Gakuin University Symphony Band which was established in 1954 and has grown to become one of the top college bands in Japan. The composer chose the title as the piece seemed to create its own momentum as it developed, starting slowly and continuously increasing the tempo. Towards the end it gradually transmogrifies into the closing bars of Ravel's La Valse, a piece which perfectly characterizes the idea of unstoppable momentum.
SKU: CF.FPS146
ISBN 9781491147306. UPC: 680160904808. 9 x 12 inches.
Of Spanish origin, the word temblor means tremor or earthquake. This composition for the developing concert band is as unstoppable as the natural disaster it embodies. Aggressive in nature, but with some well placed repose and a stunning maestoso climax, Temblor is bound to excite students and audiences alike.
SKU: HL.158230
ISBN 9781495061059. UPC: 888680612122. 6.0x9.0x0.788 inches. Al Schmitt with Maureen Droney Foreword by Paul McCartney.
Did you ever wonder what goes into the creation of some of the best music ever recorded? And how someone becomes an iconic music professional who is universally admired? Al Schmitt on the Record: The Magic Behind the Music reveals answers to these questions and more. In this memoir of one of the most respected engineers of all time, you'll discover how a very young boy – mentored by his uncle Harry – progressed through the recording world in its infancy and, under the tutelage of legendary engineer and producer Tom Dowd in his heyday, became one of the all-time great recording engineers. Today, Schmitt continues as an unstoppable force at the top of the recording world, with his name on megahits from the likes of Paul McCartney to Diana Krall to Bob Dylan. His credits include a veritable who's who of the music world. Reading the compelling accounts of Schmitt's life in the studio, you'll see how he has been able to stay at the top of his game since the 1950s, and you'll experience what it was like behind the scenes and in the studio during many of his historic, impactful recordings. Schmitt also shares many of the recording techniques and creative approaches that have set him apart, including his use of microphones, effects, and processors, and the setup diagrams from many of his highly lauded recording sessions.
SKU: ST.Y290
ISBN 9790220223228.
Winner of the 2011 Stainer & Bell Award for Brass Composition held at the Royal Welsh College of Music and Drama, Timothy Wilson's Avidity is a dynamic endorsement of the competition's aim to provide exciting new brass music for schools, conservatoires and professional ensembles. Generated by the composer's skilful invention and purposeful structure, its fast-moving six-minute sonata form for brass quintet delivers the musical counterpart of the eagerness and expectancy implied by its title. In the outer sections of Avidity strongly accented rhythms command the attention, with arresting unisono phrases balanced by effervescent staccato passages. The level of energy is sustained through unexpected rhythmic twists and turns distorting the pulse of the music, with striking crescendi and strong dynamic contrasts that are a particular strength of the brass idiom. There is respite however, with two episodes of solemn, chorale-like material whose arched lines sound no less well on the five instruments. But the last word is with the opening theme, returning with unstoppable momentum and concluding Avidity with a decisive cadence of abrupt repeated chords.
SKU: WD.080689513084
UPC: 080689513084.
SKU: HL.123203
UPC: 884088955786. 5.0x5.0x0.165 inches.
This 1957 hit by Fats Domino sizzles along in an unstoppable rendition with an uptempo rockabilly groove, hot vocal hits and energetic solos. Great showcase for pop and jazz choirs!
SKU: FJ.ST6302S
English.
An uncanny combination of rock and classical styles, this piece has an unstoppable energy running through it - pure electricity! Driving eighth notes are slowly layered before an infectious groove in the lower strings takes over with attitude. Engaging for every player in the orchestra, this piece is a guaranteed way to win over your students, audience, and just about anyone within earshot!
About FJH String Orchestra
More emphasis on bow technique and independence of lines. For the accomplished middle, high school, college, or professional group. Grade 3 and up
SKU: ST.Y224
ISBN 9790220221552.
Scenes from Welsh life and landscape are a frequent source of inspiration for the music of Rhian Samuel, and, in Dovey Junction, the joyful atmosphere of families en route to the Welsh seaside via the little west-coast railway line is the cue for a crackling scherzo for brass quintet. A snappy rondo theme insists on dressing up in a different texture each time it returns. In between, pithy staccato phrases for trumpets are the setting for more cantabile figures from horn and trombone, and a brief and bluesy episode for muted solo trumpet suggests lazy days on the beach, or grown-up nostalgia for holidays long past. But the energy and sense of expectation remain unstoppable from the first bar to the last, and all five instruments sweep the music into a furious coda that ends the work in riotous high spirits. Dovey Junction was written for performance by Borealis Brass (Alaska) at the UNESCO World Forum on Music, Los Angeles, USA in October 20005, at the invitation of the Fondazione Adkins Chiti: Donne in Musica, (Rome).
SKU: AP.12-0571572006
ISBN 9780571572007. English.
Thomas Adès's Piano Quintet (2000) is a vivid reimagining of sonata form (complete with exposition repeat). Whilst its themes are recognizably tonal, these simple building blocks are the starting points for rich and intricate processes of transformation. The long exposition is full of subtle metrical juxtapositions, with the piano and string quartet often playing in different time signatures simultaneously, creating a disorienting sense that the music is continually shifting in and out of temporal focus. After the extremes of the central development section, the recapitulation is a gigantic accelerando which speeds up to four times the original speed, and generates enormous, seemingly unstoppable momentum. The effect is of a dramatic and temporal compression: it is as if the whole work were squeezed into this musical black hole. This product is the set of instrumental parts.
SKU: BR.EB-9253
World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017
Have a look into EB 9283.
ISBN 9790004185537. 9 x 12 inches.
Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.
SKU: BR.PB-5432
ISBN 9790004212790. 10 x 12.5 inches.
SKU: HL.8711586
UPC: 884088648862. 4.75x5 inches.
The unstoppable optimism of choral singing takes center stage with this work that is intended for use with multi-generational ensembles and other festival groups. Boundless energy, a positive and uplifting message and fun to sing, this accessible work will be a concert highlight! Available separately: SATB, SAB, SSA, ShowTrax CD. Combo parts available as a digital download (tpt 1-2, tsx, tbn, gtr, b, dm). Duration: ca. 3:00.
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?” THE CREATION already contains a prologue; it’s called “Representation of Chaos”, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos” was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overture”, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres” universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent” until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!”, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.” I love that phrase, and it’s in that spirit that I offer my humble “opener” to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
SKU: PR.11441690S
UPC: 680160626021. 9 x 12 inches.
Ran's third string quartet was written for the Pacifica Quartet, who are featuring it in numerous performances from May 2014 through February 2016, across the country and abroad. Their blog page dedicated to the work also features the composer's notes, for more indepth insight. ...impassioned solos emerge from ominous quiet, and high arpeggios in the violins quiver alongside the earthy cello. Ms. Ran skillfully deploys these extremes of color, volume and pitch, yet the overall somewhat chilly impression is one of poise. -- Zachary Woolfe, The New York Times.My third string quartet was composed at the invitation of the Pacifica Quartet, whose music-making I have come to know closely and admire hugely as resident artists at the University of Chicago. Already in our early conversations Pacifica proposed that this quartet might, in some manner, refer to the visual arts as a point of germination. Probing further, I found out that the quartet members had special interest in art created during the earlier part of the 20th century, perhaps between the two world wars. It was my good fortune to have met, a short while later, while in residence at the American Academy in Rome in the fall of 2011, art conservationist Albert Albano who steered me to the work of Felix Nussbaum (1904-1944), a German-Jewish painter who, like so many others, perished in the Holocaust at a young age, and who left some powerful, deeply moving art that spoke to the life that was unraveling around him. The title of my string quartet takes its inspiration from a major exhibit devoted to art by German artists of the period of the Weimar Republic (1919-1933) titled “Glitter and Doom: German Portraits from the 1920s”, first shown at New York’s Metropolitan Museum of Art in 2006-07. Nussbaum would have been a bit too young to be included in this exhibit. His most noteworthy art was created in the last very few years of his short life. The exhibit’s evocative title, however, suggested to me the idea of “Glitter, Doom, Shards, Memory” as a way of framing a possible musical composition that would be an homage to his life and art, and to that of so many others like him during that era. Knowing that their days were numbered, yet intent on leaving a mark, a legacy, a memory, their art is triumph of the human spirit over annihilation. Parallel to my wish to compose a string quartet that, typically for this genre, would exist as “pure music”, independent of a narrative, was my desire to effect an awareness in my listener of matters which are, to me, of great human concern. To my mind there is no contradiction between the two goals. As in several other works composed since 1969, this is my way of saying ‘do not forget’, something that, I believe, can be done through music with special power and poignancy. The individual titles of the quartet’s four movements give an indication of some of the emotional strands this work explores. 1) “That which happened” (das was geschah) – is how the poet Paul Celan referred to the Shoah – the Holocaust. These simple words served for me, in the first movement, as a metaphor for the way in which an “ordinary” life, with its daily flow and its sense of sweet normalcy, was shockingly, inhumanely, inexplicably shattered. 2) “Menace” is a shorter movement, mimicking a Scherzo. It is also machine-like, incessant, with an occasional, recurring, waltz-like little tune – perhaps the chilling grimace we recognize from the executioner’s guillotine mask. Like the death machine it alludes to, it gathers momentum as it goes, and is unstoppable. 3) ”If I must perish - do not let my paintings die”; these words are by Felix Nussbaum who, knowing what was ahead, nonetheless continued painting till his death in Auschwitz in 1944. If the heart of the first movement is the shuddering interruption of life as we know it, the third movement tries to capture something of what I can only imagine to be the conflicting states of mind that would have made it possible, and essential, to continue to live and practice one’s art – bearing witness to the events. Creating must have been, for Nussbaum and for so many others, a way of maintaining sanity, both a struggle and a catharsis – an act of defiance and salvation all at the same time. 4) “Shards, Memory” is a direct reference to my quartet’s title. Only shards are left. And memory. The memory is of things large and small, of unspeakable tragedy, but also of the song and the dance, the smile, the hopes. All things human. As we remember, in the face of death’s silence, we restore dignity to those who are gone.—Shulamit Ran .
SKU: BT.AMP-418-140
9x12 inches. English-German-French-Dutch.
The Unknown Journey was commissioned by Kwansei Gakuin University Symphony Band which was established in 1954 and has grown to become one of the top college bands in Japan. The composer chose the title as the piece seemed to create its ownmomentum as it developed, starting slowly and continuously increasing the tempo. Towards the end it gradually transmogrifies into the closing bars of Ravel’s La Valse, a piece which perfectly characterises the idea of unstoppable momentum.The Unknown Journey is geschreven in opdracht van de Kwansei Gakuin University Symphony Band, die werd opgericht in 1954 en daarna is uitgegroeid tot een van de beste universiteitsorkesten van Japan. De componist heeft de titel gekozen omdathet werk zijn eigen drijfkracht leek te creëren terwijl het zich ontwikkelde vanuit een langzaam begin en steeds in een wat hoger tempo. Tegen het slot wordt de muziek geleidelijk getransformeerd tot de laatste maten van Ravels La Valse, eencompositie die het concept van een onstuitbare drijfkracht perfect karakteriseert.The Unknown Journey wurde von der 1954 gegründeten Kwansei Gakuin University Symphony Band, die zu den besten Universitäts-Blasorchestern Japans zählt, in Auftrag gegeben. Der Komponist wählte diesen Titel, da das Stück seinen eigenen Schwungzu entwickeln scheint, indem es langsam beginnt und das Tempo sich kontinuierlich steigert. Zum Ende hin verwandelt es sich allmählich in die Schlusstakte von Ravels La Valse, ein Stück, das die Idee des unaufhaltsamen Schwungs perfektbeschreibt.The Unknown Journey fut commandé par le Kwansei Gakuin University Symphony Band, un orchestre d’harmonie établi en 1954 qui est désormais l’un des meilleurs orchestres universitaires du Japon. Le compositeur choisit ce titre puisque, pendantle développement du morceau, il semblait créer son propre élan, commençant lentement et accélérant continuellement. Vers la fin il devient progressivement semblable aux dernières mesures de La Valse de Ravel, un morceau qui caractériseparfaitement l’idée d’élan irrépressible.
SKU: WD.080689382338
UPC: 080689382338.