{"title":"Sheet music composed by John McDonald (1959-)","description":"John McDonald (1959-) is a composer.","products":[{"product_id":"mcdonald-reverie-in-the-plaid-chair-op-687-no-27-aca","title":"McDonald: Reverie in The Plaid Chair, Op. 687, No. 27","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/john-mcdonald\"\u003eJohn McDonald (1959-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Reverie in The Plaid Chair, Op. 687, No. 27\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eQ: \"Hi Mom! What are you doing?\"\u003c\/p\u003e\n\u003cp\u003eA: \"Sitting in the plaid chair.\"\u003c\/p\u003e\n\u003cp\u003eWhen I call my elderly mother Margi each evening, the plaid chair is generally her center of operations. From this vantage-point, she spends much of her time taking in the world and gazing out at it—or conversing, daydreaming, listening to music, readying for sleep. What does she think about?\u003c\/p\u003e\n\u003cp\u003eThis piece's tender, enchanted, delicately playful phrases attempt possible musical answers to this question. I ‘premiered' it for her over the phone one evening. At that time, it was simply called \u003cem\u003eIn The Plaid Chair\u003c\/em\u003e ; she added \u003cem\u003eReverie\u003c\/em\u003e. That performance initiated a new habit of finding short pieces to play for her most nights. On a recent visit to her in Ohio I was able to play the \u003cem\u003eReverie\u003c\/em\u003e for her face to face at the piano in the common room where she lives, and informed her of pianist Thomas Stumpf's intention to perform it, fitting it in with a Brahms waltz. Even though the short near-Brahms quotation toward the end (marked \"cradle song memory\" in the score) was lifted from \u003cem\u003eWiegenlied\u003c\/em\u003e (the ubiquitous \"Brahms Lullaby,\", Op. 49, No. 4), it so happens that the melodic and rhythmic shape also closely resembles the motive of the Waltz, Op. 39, No. 15.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":40907177623631,"sku":"ACA-MCDJ-025","price":11.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/21e575e4b0e8ec3f28002709fcd1688d.webp?v=1780097161"},{"product_id":"mcdonald-barely-wholly-aca","title":"McDonald: Barely; Wholly","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/john-mcdonald\"\u003eJohn McDonald (1959-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Set of Performance Scores\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano I, Piano II\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Barely; Wholly (2021)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTo Edith Auner and Thomas Stumpf.\u003c\/p\u003e\n\u003cp\u003eFor me, writing for two pianos presents the challenge of ‘justifying' the need for two keyboards, and considering the marked distinction between this medium and piano duet (one piano, four hands [two players]). Two-piano writing feels like its own beast!\u003c\/p\u003e\n\u003cp\u003eHow fortunate I have been to work with Edie and Thomas on previous projects (both four-hand piano and two pianos). with these two marvelous pianists and friends in mind, I've tried to contribute different things with each piece—things that somehow cast an unusual light on both genres.\u003c\/p\u003e\n\u003cp\u003eWith \u003cem\u003eBarely; Wholly\u003c\/em\u003e , I set out to explore the smallest, most microscopic vulnerabilities possible contrasted with what I hope will sound like large, maximally capacious moves for the two-piano medium. The piece starts with piano 1 right hand alone (ppp; \"with right-hand finger-weight only\"; this section is published singly as a solo, and functions as an etude in delicate, sotto voce playing), opens up to use \"all\" resources (twenty fingers, I guess you could say—a grand, big-space \"chorale\"), moves back to piano 2 left hand only (gnarlier; a gritty polarity to the right-hand opening), and ends delicately (I think) with both pianos participating. The ending passage points out the range of simultaneous articulations (pedaled or non-pedaled sounds) possible in the same registral place when two independent pianos operate separately in pursuit of the same goal.\u003c\/p\u003e\n\u003cp\u003eFinally, I aspire to creating a kind of \"at risk\" quality through this music, entering a provisional pianistic sound-space that posits but doesn't conclude, guesses but doesn't know, encounters and perhaps vanquishes trouble yet remains tender, fragile.\u003c\/p\u003e\n\u003cp\u003eMy heartfelt thanks to Edith Auner and Thomas Stumpf for their devoted care in premiering this work.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":41029911740495,"sku":"ACA-MCDJ-028","price":27.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/a10d921c56ddeb8494dc4a602ededd4d.webp?v=1780097398"},{"product_id":"mcdonald-tuppenny-pieces-op-650-aca","title":"McDonald: Tuppenny Pieces, Op. 650","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/john-mcdonald\"\u003eJohn McDonald (1959-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Set of Performance Scores\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eViola I, Viola II\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Tuppenny Pieces, Op. 650\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eComposed for Shizuka (Sam Kelder and Hanna Nicholas, violists) as a companion pairing to my much earlier \u003cem\u003eMusic for Two Violas\u003c\/em\u003e (1993), \u003cem\u003eTuppenny Pieces\u003c\/em\u003e re-explores the genre with two trifles (or \"pennies\")—a brief Ache and the contrasting Sensing Lightness. These bagatelles aspire to move around some small but hopefully striking motives and materials—first in an expressive adagio, and second in a light andantino alluding to standing meditation (Qi Gong style; noticing how breath might \"float\" the body).\u003c\/p\u003e\n\u003cp\u003eIn 2019, composer Andrew List initiated a larger repertory project by inviting Shizuka to premiere an array of new viola duets by Boston-area composers. Tuppenny Pieces was premiered at that time, and Sam and Anna Griffis offered a new rendition of the piece on the occasion of Ludovico Ensemble's 20th Anniversary in May 2023.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":41029914656847,"sku":"ACA-MCDJ-030","price":17.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/17199e67791e87ca663d88e1184540be.webp?v=1780098041"},{"product_id":"mcdonald-music-for-2-violas-op-189-aca","title":"McDonald: Music for 2 Violas, Op. 189","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/john-mcdonald\"\u003eJohn McDonald (1959-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Set of Performance Scores\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eViola I, Viola II\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Music for 2 Violas, Op. 189\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eComposed for two violists who were teacher and student, this brief, 'abstract' duet was premiered in a small chamber music room at Tufts University in March of 1993.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":41029924192335,"sku":"ACA-MCDJ-031","price":11.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/ef8e3c958ace0943e8051492db707399.webp?v=1780097642"},{"product_id":"american-miniatures-for-cello-aca","title":"American Miniatures for Cello","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposers\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/tj-anderson\"\u003eT.J. Anderson (1928-)\u003c\/a\u003e, Elizabeth Bell, \u003ca href=\"\/zh\/collections\/lee-gannon\"\u003eLee Gannon (1960-1996)\u003c\/a\u003e, Haim Shtrum, \u003ca href=\"\/zh\/collections\/robert-gibson\"\u003eRobert Gibson\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/john-mcdonald\"\u003eJohn McDonald (1959-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/richard-brooks\"\u003eRichard Brooks (1942-)\u003c\/a\u003e, Robert Ceely, \u003ca href=\"\/zh\/collections\/raymond-luedeke\"\u003eRaymond Luedeke (1944-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/philip-carlsen\"\u003ePhilip Carlsen (1951-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/thomas-l-read\"\u003eThomas L. Read (1938-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/robert-scott-thompson\"\u003eRobert Scott Thompson (1959-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/mark-zuckerman\"\u003eMark Zuckerman (1948-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/glenn-stallcop\"\u003eGlenn Stallcop (1950-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/otto-luening\"\u003eOtto Luening (1900-1996)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eCello\u003c\/span\u003e \u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790800148750\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eThe 15 works in this book span a half-century of compositional activity and several styles. Some of them, like Elizabeth Bell's Soliloquy or John McDonald's Four Pioneer Shorts, are made up of several smaller pieces that can be performed individually or together. Others, like Lee Gannon's Aurora, or Otto Luening‘s Lament for George (intriguingly, for solo cello or unison cello section), are standalone works that provide a small glimpse into the composers' musical language. The Majority of the works range in technical level from late intermediate to advanced.\u003c\/p\u003e \u003c\/div\u003e \u003cp\u003eWorks:\u003c\/p\u003e \u003cul\u003e\n\u003cli\u003eBell: Soliloquy\u003c\/li\u003e\n\u003cli\u003eLuening: Lament for George\u003c\/li\u003e\n\u003cli\u003eRead: Vela y Danza\u003c\/li\u003e\n\u003cli\u003eGannon: Aurora\u003c\/li\u003e\n\u003cli\u003eShtrum: Improvisations\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/gibson-night-music-2002\"\u003eGibson: Night Music (2002)\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eBrooks: Lyric Piece for Cello\u003c\/li\u003e\n\u003cli\u003eCeely: Complaint\u003c\/li\u003e\n\u003cli\u003eLuedeke: Grief\u003c\/li\u003e\n\u003cli\u003eMcDonald: Four Pioneer Shorts\u003c\/li\u003e\n\u003cli\u003eCarlsen: Elegy for Al\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/stallcop-restless-in-place\"\u003eStallcop: Restless in Place\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eR.S. Thompson: Elegy of the Eremocene\u003c\/li\u003e\n\u003cli\u003eT.J. Anderson: Serenade for Solo Cello\u003c\/li\u003e\n\u003cli\u003eZuckerman: Soliloquy\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":41282593816655,"sku":"ACA-ANTH-019","price":35.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/d88fe2321ef25f4b9b5efcf01044a530.webp?v=1780074445"},{"product_id":"nights-transfigured-aca","title":"Nights Transfigured","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposers\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/john-mcdonald\"\u003eJohn McDonald (1959-)\u003c\/a\u003e, Francine Trester, Agustín Castilla-Ávila (1974-), \u003ca href=\"\/zh\/collections\/thomas-l-read\"\u003eThomas L. Read (1938-)\u003c\/a\u003e, Stephanie Ann Boyd (1990-), \u003ca href=\"\/zh\/collections\/scott-wheeler\"\u003eScott Wheeler (1952-)\u003c\/a\u003e, Alan Fletcher (1956-), Patricia Julien, Barnaby Oliver, \u003ca href=\"\/zh\/collections\/david-leisner\"\u003eDavid Leisner (1953-)\u003c\/a\u003e, David McMullin, Vineet Shende, Eric Schwartz (1976-), Demetrius Spaneas\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eEditor\u003c\/strong\u003e: Aaron Larget-Caplan\u003c\/li\u003e \u003cli\u003e \u003cstrong\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"edition-instrumentation\"\u003eGuitar\u003c\/span\u003e \u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790800148262\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eMusic of the New Lullaby Project - Volume One\nFifteen 21st-century works for solo guitar.\nCommissioned, curated, and edited by Aaron Larget-Caplan\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eFrancine Trester, \u003cem\u003emy darling's slumber\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eAgustín Castilla-Ávila, \u003cem\u003ePerseiden\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eStephanie Ann Boyd, \u003cem\u003eEsperanza\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eCarson Cooman, \u003cem\u003eUnfolding the Gates of Dawn\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eScott Wheeler, \u003cem\u003eNachtlied\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eAlan Fletcher, \u003cem\u003eLullaby in Three Voices\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eThomas L. Read, \u003cem\u003eThe Moon Through The Window Shines Down\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003ePatricia Julien, \u003cem\u003eAfter Many Days Without Rain\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eBarnaby Oliver, \u003cem\u003eThe Pillow That You Dream On\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eDavid Leisner, \u003cem\u003eDisturbed, A Lullaby\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eJohn McDonald, \u003cem\u003eYou Are Alone To Sleep\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eDavid McMullin, \u003cem\u003eSleeping Light, Spinning World\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eVineet Shende, \u003cem\u003eReva's Lullaby\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eEric Schwartz, \u003cem\u003eSong Softly Sung, in Trying Times\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eDemetrius Spaneas, \u003cem\u003eA Child Sings at Thanksgiving\u003c\/em\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":42060602703951,"sku":"ACA-ANTH-006","price":34.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/6945b7c90e923989cb873b1ec8e4bf5c.webp?v=1780074399"},{"product_id":"mcdonald-frail-faint-nerves-bad-aca","title":"McDonald: Frail, Faint; Nerves Bad","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/john-mcdonald\"\u003eJohn McDonald (1959-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Set of Parts\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano Trio (Piano, Violin, Cello)\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Frail, Faint; Nerves Bad\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhen we feel frail or nervous, can we still do things with a certain conviction?\u003c\/p\u003e\n\u003cp\u003eCobbled together over a period of many years during which the nature of the project for which this music was intended kept changing (and a pandemic intervened), F \u003cem\u003erail, Faint; Nerves Bad\u003c\/em\u003e was begun in 2015 as a trio meant to accompany Gunther Schuller's \u003cem\u003ePiano Trio No. 3\u003c\/em\u003e (2013) on a proposed concert program by the formidable Gramercy Trio that would have included painted and\/or sculpted responses to the music in an interactive, inter-arts presentation. This collaborative project unfortunately has not come to pass, but the first movement (completed for Gramercy in August 2017) sat restlessly in an envelope for some time. in 2023, with the knowledge that the Fidelio Trio—great and steadfastly virtuosic musical friends—wished to return to Tufts and the New England area as part of a US tour, I returned to this music and added a second movement (derived from a saxophone solo Simple Gunther Elegy that I wrote for Ken Radnofsky in 2015).\u003c\/p\u003e\n\u003cp\u003eIn its slightness, this trio seeks a certain profundity, pulling together memories of having studied valuably with Gunther at Tanglewood during a formative time for me, and having performed a good number of his pieces in subsequent years. As a small memento of Gunther and his myriad contributions to the field of music (far too many to detail here), the piece alludes to my encounters with him during his late eighties, when the vulnerabilities of age showed their signs but didn't slow his creativity even a little. I'm also thinking here of the human frailty we all share, especially now—brought to light particularly in the last five years and perhaps reducible to our collective inability to sit, becalmed.\u003c\/p\u003e\n\u003cp\u003eTo the Gramercy and Fidelio Trios, in Memory of Gunther Schuller (1925-2015).\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":42209621475407,"sku":"ACA-MCDJ-039","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/37c7d88e21a7a35cb3b5f8c8992e667c.webp?v=1780098451"},{"product_id":"mcdonald-beginninglessness-aca","title":"McDonald: Beginninglessness","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/john-mcdonald\"\u003eJohn McDonald (1959-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eDouble Bass\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Beginninglessness (2023)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eComposer's Note: Sotto voce, this double bass solo appears as if already in quiet progress and disappears similarly, just as the human phenomenon Robert Black (1956-2023) touchingly flowed in and (sadly) out of our lives with his bass as traveling companion (Robert named her Simone). The Beginninglessness score dedication, initially intended for Robert to play and partially completed in 2019, now reads: \"Remembering Robert Black, peerless musician, friend, continuing presence.\"\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":42379564449871,"sku":"ACA-MCDJ-033","price":11.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/97c0e99e1411ee191141af4ff5d41629.webp?v=1780099282"},{"product_id":"oboe-works-by-american-composers-aca","title":"Oboe Works by American Composers","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposers\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/barney-childs\"\u003eBarney Childs (1926-2000)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/john-mcdonald\"\u003eJohn McDonald (1959-)\u003c\/a\u003e, Ronald Roseman, \u003ca href=\"\/zh\/collections\/harvey-sollberger\"\u003eHarvey Sollberger (1938-)\u003c\/a\u003e, Christopher Auerbach-Brown, \u003ca href=\"\/zh\/collections\/joan-tower\"\u003eJoan Tower (1938-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/steven-christopher-sacco\"\u003eSteven Christopher Sacco (1965-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/nancy-van-de-vate\"\u003eNancy Van de Vate (1930-2023)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/leon-stein\"\u003eLeon Stein (1910-2002)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eOboe\u003c\/span\u003e \u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790800148385\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eUpdate: Collection winner, 1st prize in unaccompanied instrumental category, Music Publisher's Association Revere Awards, 2022.\u003c\/p\u003e\n\u003cp\u003eEditor's Note:\u003c\/p\u003e\n\u003cp\u003eThese nine works for oboe alone touch on many of the unique and deeply American compositional languages that sprung amidst and against the musical developments of the 20th Century. Solo Sonatas from Childs and Stein open the anthology with a direct launch into mid-century explorations of sound and form.\u003c\/p\u003e\n\u003cp\u003eTwo giants of American music, Joan Tower and Harvey Sollberger, anchor the limits of the oboe's experimental sound in the serialism of 1965 and the eclectic richness of 2000, while Sacco, Auerbach-Brown, McDonald, and Van de Vate develop interactions of various Modern and pre-20th Century ideas in the form of miniatures.\u003c\/p\u003e \u003c\/div\u003e \u003cp\u003eWorks:\u003c\/p\u003e \u003cul\u003e\n\u003cli\u003eChilds: Sonata for Solo Oboe (1958)\u003c\/li\u003e\n\u003cli\u003eTower: Composition for Oboe (1965)\u003c\/li\u003e\n\u003cli\u003eStein: Sonata for Solo Oboe (1969)\u003c\/li\u003e\n\u003cli\u003eSacco: Three Character Pieces (1995)\u003c\/li\u003e\n\u003cli\u003eRoseman: Partita (1997)\u003c\/li\u003e\n\u003cli\u003eSollberger: O Mensch! Gib Acht! (2000)\u003c\/li\u003e\n\u003cli\u003eAuerbach-Brown: Rhapsody Drone (2009)\u003c\/li\u003e\n\u003cli\u003eMcDonald: Three Violas (2012)\u003c\/li\u003e\n\u003cli\u003eVan de Vate: Four Inventions (2016)\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":42487010197583,"sku":"ACA-ANTH-007","price":35.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/e29e4e5c2a03e71ec4d1f954330f0483.webp?v=1780074392"},{"product_id":"mcdonald-dependencies-op-442-aca","title":"McDonald: Dependencies, Op. 442","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/john-mcdonald\"\u003eJohn McDonald (1959-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano, Flute\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Dependencies, Op. 442\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eComposer's Note:\u003c\/p\u003e\n\u003cp\u003eDependencies is dedicated to the complete musician, Su Lian Tan; a composer, flutist, and singer in one!\u003c\/p\u003e\n\u003cp\u003eMy first meeting and inspiring conversation with Su in 2007 led to a collaboration that has yielded several works, one of which is this \"brace of song responses\" for flute and piano. As we talked about the lieder Su had sung or appreciated, and that I had accompanied time and again, I started devising a short succession of \"three Schuberts\" and \"three Schumanns\" for the two of us to play. Dependent on both these composers' languages as well as the \"co-dependent\" relationship situations found in the poetry they set, the expressive mini-world of the resulting six continuously linked vignettes comes squarely from the ambience of 19th-century German song.\u003c\/p\u003e\n\u003cp\u003eThe six vignettes are:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAfter Schubert \"Du bist die Ruh': Quasi Adagio\u003c\/li\u003e\n\u003cli\u003eAfter Schubert \"Das Fischermädchen': Molto Animato\u003c\/li\u003e\n\u003cli\u003eAfter Schubert \"Der Doppelgänger': Molto Adagio\u003c\/li\u003e\n\u003cli\u003eAfter Schumann \"Ich grolle nicht': Largamente\u003c\/li\u003e\n\u003cli\u003eAfter Schumann \"Mondnacht': Hovering Hypnotically\u003c\/li\u003e\n\u003cli\u003eAfter Schumann \"Nun hast du mir den ersten Schmerz getan': Quasi Larghetto\u003c\/li\u003e\n\u003c\/ol\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":42659286646863,"sku":"ACA-MCDJ-026","price":19.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/5083db4ff2c73369344c17779be3d20f.webp?v=1780097111"},{"product_id":"mcdonald-dark-wood-bright-metal-aca","title":"McDonald: Dark Wood, Bright Metal","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/john-mcdonald\"\u003eJohn McDonald (1959-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Performance Score\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eFlute I, Flute II\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Dark Wood, Bright Metal (2013) (Baroque Flute and Modern Flute)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eComposer's Note:\u003c\/p\u003e\n\u003cp\u003eComposed for the atypical combination of Baroque and modern flutes, Dark Wood, Bright Metal is a brief triptych made from notebook sketches of short pieces that also exist in other versions.\nAll three short movements create their own little rituals using verse forms (or made-up refrain structures). Mullover is the first in a potential series of musical \"thoughts,\" often bemused and reflective, and caught inside their own heads. This one mulls over phrases in exact rhythmic unison, often in oblique motion. Mostly Pleasant Back-And-Forth is a light, conversational fantasietta inspired by my mother's highest compliment about new music she hears: \"it was pleasant.\" But there's something a little uncomfortable anyway. The final lament, Weeping Motive, is somewhat more urgent than the previous movements, and features descending duple phrases to be played with tearful intensity.\nThis little triptych is dedicated with pleasure to its wonderful dedicatees, Na'ama Lion and Vanessa Mulvey.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":43561616441423,"sku":"ACA-MCDJ-027","price":13.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/84873c062639517a33fd392b5fe78772.webp?v=1780097077"},{"product_id":"mcdonald-april-full-moon-regular-old-life-op-695-aca","title":"McDonald: April Full Moon; Regular Old Life, Op. 695","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/john-mcdonald\"\u003eJohn McDonald (1959-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Score \u0026amp; Set of Parts\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eViola I, Viola II, Cimbalom\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: April Full Moon; Regular Old Life, Op. 695\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eComposer's Note:\u003c\/p\u003e\n\u003cp\u003eCommissioned for Viola\/Cimbalom: Ludovico Ensemble 20th Anniversary Concert\nMay 22, 2023\nTo Nicholas Tolle, Anna Griffis, and Sam Kelder\u003c\/p\u003e\n\u003cp\u003eThe first expressive impetus for the music contained in April Full Moon; Regular Old Life came after I read an article that stemmed from interviews with people in solitary confinement; the writer concluded that what these prisoners craved most were \"the moon' and \"human touch'.\nAs the composing process evolved this spring, the concept of \"the moon' became more specific: we're talking here about the \"April Full Moon' (or \"April Pink Moon;' \"Full Crow Moon', referring to the pink phlox that blooms in spring, or the crow-caw that signals the end of winter). I was thinking particularly of how I would sorely miss these seasonal features within the unending confines of four solid, windowless walls. Similarly, \"Regular Old Life' (a separate section which happens in the piece about two thirds of the way through, with a comparatively vigorous, extended viola duet passage marked \"cranking along; sharp yet gentle; knotted yet pedestrian') is where I took the notion of \"human touch'; what we take for granted as a regular occurrence (shaking hands, bumping into someone walking around a corner; you name it) is no longer regular if it's completely missing.\u003c\/p\u003e\n\u003cp\u003eAs for the unusual ensemble employed here in an effort to project the poignant atmosphere suggested to me by \"the moon' and \"human touch' images, I can say that now that I've heard the cimbalom played under Nick Tolle's masterful, experimental guidance over a period of a decade or so, the instrument's distinctive sonic palette seemed just right to conjure the atmospheres I was \"hearing' while composing. in like fashion, violists Sam Kelder and Anna Griffis contribute a possible composite \"light of the moon' through a tender, largely non-contrapuntal \"lockstep' of rhythmic unison playing. I thought of \"human touch' as hand\/finger on string (pizzicato) for both violas and cimbalom.\u003c\/p\u003e\n\u003cp\u003eBeyond the images described here, this trio is \"about' itself, pursuing its own shapes and moves as it slips away like aspects of \"regular old life'.\u003c\/p\u003e\n\u003cp\u003eI extend my gratitude and admiration to Anna, Sam, and Nick for suggesting and taking on the piece, and I'm pleased to offer it in celebration of Ludovico Ensemble's surprising 20th Anniversary (already?!?).\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"American Composers Alliance (ACA)","offers":[{"title":"Default Title","offer_id":44486300565583,"sku":"ACA-MCDJ-029","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/7a0b98d6a01179b4eac3b8418dd3f8ad.webp?v=1780097103"}],"url":"https:\/\/www.ficksmusic.com\/zh\/collections\/john-mcdonald.oembed","provider":"Ficks Music","version":"1.0","type":"link"}