{"title":"Orchestra","description":null,"products":[{"product_id":"unhinged-carnival-fanfare-machine-orchestra","title":"UNHINGED CARNIVAL FANFARE MACHINE (orchestra)","description":"\u003cp\u003eINSTRUMENTATION: \u003cspan\u003eOrchestra -- 2 fl (picc), 2 ob (EH), 2 Bb cl (Eb cl), 2 bsn, 3 tpt, 4 hn, 3 tbn, tba, hp, 2 perc, timp, strings\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDURATION: c. 6:30\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eYEAR COMPOSED: 2012\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTHIS IS A DIGITAL PRODUCT: Purchase includes digital download of score and a complete set of parts in PDF format.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"300\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/soundcloud%253Atracks%253A155228703\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=true\u0026amp;show_comments=false\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=false\u0026amp;visual=true\"\u003e\u003c\/iframe\u003e\u003ca href=\"https:\/\/soundcloud.com\/jonathan-russell-22\" title=\"Jonathan Russell\" style=\"color: #cccccc; text-decoration: none;\" target=\"_blank\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePROGRAM NOTE:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cem\u003eUnhinged Carnival Fanfare Machine\u003c\/em\u003e\u003cspan\u003e is a boisterous, brash, concert-opener sort of a piece. It is built out of repeating bits of twisted fanfares, odd arpeggios, and off-kilter grooves that are layered, juxtaposed, and re-arranged in different ways, forming an ever-shifting kaleidoscope of riffs and colors. After a climactic build-up, the clarinets introduce a more lyrical, contemplative mood, with soaring violin melodies and steady percussion grooves — but also sinister trombone glissandi lurking in the background. Bassoons in low thirds interrupt and the music is swept back into the mad carnival of the opening.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":49643574886638,"sku":null,"price":175.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0828\/6738\/8654\/files\/UnhingedCarnivalFanfareMachine-FINAL.jpg?v=1790900154"},{"product_id":"bass-clarinet-double-concerto-orchestra-version","title":"BASS CLARINET DOUBLE CONCERTO (2 solo bass clarinets and orchestra)","description":"\u003cp\u003eINSTRUMENTATION: 2 Solo Bass Clarinets and Orchestra (\u003cspan\u003eflute, oboe, bassoon, horn, piano, percussion, strings)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eDURATION: c. 15:00\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eYEAR COMPOSED: 2007\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTHIS IS A DIGITAL PRODUCT: Purchase includes digital download of score and a complete set of parts in PDF format.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/FwwMLUULl5s?si=fTWfON0RpXJrDLee\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePROGRAM NOTE:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eMy basic idea for the Bass Clarinet Double Concerto was of Weber’s clarinet concertos meeting heavy metal. I am intimately familiar with both genres, through extensively practicing the Weber concertos in high school, and performing heavy metal bass clarinet tunes as a member of the Edmund Welles bass clarinet quartet. When it came to writing a bass clarinet double concerto, then, it seemed logical (to me) to try to combine the heaviness and raw power of heavy metal with the dancing virtuosity and lyricism of Weber’s concertos. While the resulting piece doesn’t necessarily borrow explicitly from either, the underlying spirit of the work – a mixture of heavy, driving grooves, virtuosically dancing lines, and tender lyricism – comes from the combination of these two sources. The piece was composed for my bass clarinet duo Sqwonk, and the original chamber orchestra version was premiered in December 2007 by Sqwonk and the San Francisco Composers’ Chamber Orchestra. The Bass Clarinet Double Concerto now exists in five versions: chamber orchestra, symphonic band, clarinet choir, mixed chamber ensemble, and piano. It has also been adapted into a double concerto for tenor and baritone saxophones.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":49643575541998,"sku":null,"price":195.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0828\/6738\/8654\/files\/BassClarinetDoubleConcerto-chamberorchestraversion-SCOREp3.jpg?v=1790782274"},{"product_id":"bass-clarinet-concerto-orchestra-version","title":"BASS CLARINET CONCERTO (solo bass clarinet and orchestra)","description":"\u003cp\u003eINSTRUMENTATION: Solo Bass Clarinet and Orchestra (\u003cspan\u003e3 fl (pic), 3 ob (EH), 3 cl (B Cl), 3 bsn (C Bn), 4 hn, 3 tpt, 3 tbn, 1 tba, timp + 3 perc, strings)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDURATION: c. 22:00\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eYEAR COMPOSED: 2014\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTHIS IS A DIGITAL PRODUCT: Purchase includes digital download of score and a complete set of parts in PDF format.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"300\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/soundcloud%253Atracks%253A174588670\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=true\u0026amp;show_comments=false\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=false\u0026amp;visual=true\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePROGRAM NOTE:\u003c\/p\u003e\n\u003cp\u003eThis Bass Clarinet Concerto is virtuosic, but not necessarily in a typical concerto sort of a way. Rather than lots of flashy runs and fast passagework, it features a virtuosically wide range of colors and approaches to the instrument, from aggressive grooving to lyrical soaring to altissimo wailing. Like many performer-composers before me, I sought to draw on my own strengths and idiosyncracies as a player to create music that, while technically impressive, was also quite comfortable and enjoyable to play. Especially notable are the extreme altissimo passages, with the instrument regularly playing in a range that would be considered high even on a “regular” Bb clarinet; and the use of “throat harmonics,” a technique that uses changes in throat position to create buzzy overtones of the fundamental pitch in the manner of a throat singer or didgeridoo player. The work is classically concerto-like in its conception, with a sense of dialog and interplay between soloist and ensemble. It is structured similarly to Aaron Copland’s 1948 Clarinet Concerto, with a slow, lyrical first movement leading directly into a solo cadenza, which culminates in a fast and energetic second movement.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":49643575738606,"sku":null,"price":245.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0828\/6738\/8654\/files\/bassclarinetconcertoscoreFINALp3.jpg?v=1790780328"},{"product_id":"symphony-for-piano-and-orchestra","title":"SYMPHONY FOR PIANO AND ORCHESTRA","description":"\u003cp\u003eINSTRUMENTATION: \u003cspan\u003e Solo Piano and Orchestra (2 sop recorders, 3 fl (picc), 2 ob, 3 cl (Eb cl), 3 bsn (c-bsn), 3 tpt, 4 hn, 3 tbn, tba, hp, cel, 3 perc, strings)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDURATION: c. 47:00\u003c\/p\u003e\n\u003cp\u003eYEAR COMPOSED: 2019\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCommissioned by the University of the Pacific Symphony Orchestra\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTHIS IS A DIGITAL PRODUCT: Purchase includes digital download of score and a complete set of parts in PDF format.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/vIRFrjFVtK8?si=xp5TUb8dFl771PPo\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePROGRAM NOTE:\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 3\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003eSuffering and loss are a central part of life. Yes, there are joys and triumphs as well. But, due to our mortality, the simple fact remains that the longer we are here, the more loss and sorrow we experience.\u003c\/p\u003e\n\u003cp\u003eWhat is the proper response to this loss and suffering? Do we confront it, fight it, shake our fist at it, try to defeat it? Or do we step away and seek to transcend it?\u003c\/p\u003e\n\u003cp\u003eFor most of us, some of both. We do what we can to try to make the world better in the time we have, to struggle against adversity, to fight for justice; and we also seek solace and transcendence through art or religion or nature or loving relationships.\u003c\/p\u003e\n\u003cp\u003eMusic can embody both responses. During the summer of 2018, as I was contemplating the shape of this work, I had two musical obsessions: Lin-Manuel Miranda’s musical Hamilton, and the third movement of Philip Glass’s third piano concerto. These works are highly contrasting not only in their obvious stylistic differences, but in the deeper ways they respond to the world. Hamilton is all about the struggles, triumphs, and tragedies of engaging head-on with the messy reality of living in society. It is full of energy and vitality, music that grabs hold of life and won’t let go. The Glass concerto, on the other hand, is music that is deeply serene and peaceful. Rather than grappling with the struggles of this world, it detaches from and transcends them. It is a testament to music’s power and versatility that it can embody both approaches so thoroughly and deeply. I came to realize that in the new piece I was going to write, I wanted to engage with both of these approaches, to see how they could interact with one another over the course of a large-scale symphonic work.\u003c\/p\u003e\n\u003cp\u003eAs I began sketching what would become the opening music of the piece, the phrase “unbearable tenderness” came into my mind. It made me think of the feeling of almost painful love and tenderness I felt a few years earlier when my newborn son would sleep on my chest, and other moments in life when the beauty and sweetness of the moment seem almost too much to bear. Those moments of transcendence crop up ever so often as we go about our lives — and, perhaps, give us a glimpse of something more universal or divine, the wide universe beyond our own ego and worldly concerns. At other times, we are pre-occupied with the day-in-day-out struggles of this world — the “Hamilton” approach to life — as we do our best to navigate and make the most of this deeply imperfect world we inhabit so briefly.\u003c\/p\u003e\n\u003cp\u003eThe piece begins and ends with this “unbearable tenderness” music and in between, it takes us on a journey between both extremes. The third movement, the emotional core of the work, is a sort of unification of both; it’s endlessly undulating, rising and falling string lines are peaceful and eternal, yet also passionate and engaged. The beginning and ending “unbearable tenderness” music, to me, takes on a quality of transcending living itself, giving a glimpse, perhaps, of the place we are before we are born and after we die. In between, then, is Life.\u003c\/p\u003e\n\u003cp\u003eThe piece is called a piano “symphony” rather than “concerto” because the piano’s role is to provide the meat of the musical content and structure, rather than to function as a virtuosic soloist. The piano introduces themes, provides the harmonic underpinning, and lays down grooves, but isn’t always necessarily meant to be the center of attention.\u003c\/p\u003e\n\u003cp\u003eThe overall form of the work is roughly an arch form. The third movement forms the emotional core of the piece, as a meditative, repeating piano figure provides the backdrop for string lines that slowly and inexorably rise and fall. Movements 2 and 4 are fast, colorful, scherzo-like movements, but with very different characters; while movement 2 is wispy and mysterious, movement 4 is aggressive and driving. Movements 1 and 5 are the most complex, with a range of characters and emotions. The gentle prelude to movement 1 recurs at the very end of movement 5, rounding out the form as the music gently fades into the same eternal silence from which it emerged.\u003c\/p\u003e\n\u003cp\u003eThe piece was commissioned and premiered by the University of the Pacific Orchestra, with Nicolas Waldvogel conducting and Dashiel Reed as the piano soloist. I am deeply grateful to them for the opportunity to write a piece on this scale, and for their dedication and enthusiasm in bringing it to life.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":49643576492270,"sku":null,"price":295.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0828\/6738\/8654\/files\/SymphonyforPianoandOrchestraFINALp3.jpg?v=1790729311"},{"product_id":"double-concerto-for-clarinet-cello-and-orchestra","title":"DOUBLE CONCERTO FOR CLARINET, CELLO, AND ORCHESTRA","description":"\u003cp\u003eINSTRUMENTATION: \u003cspan\u003eSolo Clarinet, Solo Cello, and Orchestra (2 fl, 2 ob, 2 cl, 2 bsn, 3 hn, 2 tpt, perc, strings)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDURATION: c. 19:30\u003c\/p\u003e\n\u003cp\u003eYEAR COMPOSED: 2021\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCommissioned by the Peninsula Symphony and San Francisco Chamber Orchestra\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTHIS IS A DIGITAL PRODUCT: Purchase includes digital download of score and a complete set of parts in PDF format.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/SwdV6-W5LWY?si=rYesF3mC3KLO7y5q\u0026amp;start=288\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003ePROGRAM NOTE:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eThe combination of clarinet and cello has special significance for me; my wife plays the cello, and we fell in love in college playing the Brahms Clarinet Quintet together. It should perhaps come as no surprise, then, that my \u003c\/span\u003e\u003cem\u003eDouble Concerto for Clarinet, Cello, and Orchestra\u003c\/em\u003e\u003cspan\u003e turned out to be especially lyrical and romantic. The work is in two movements, with a slowly unfolding, lyrical first movement giving way to a fast and driving second movement. It was commissioned and premiered by the Peninsula Symphony with myself and cellist Nathan Chan as soloists. This version for a smaller orchestra was commissioned and premiered by the San Francisco Chamber Orchestra with Jeff Anderle and Hannah Addario-Berry as soloists.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":49643577245934,"sku":null,"price":245.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0828\/6738\/8654\/files\/clarinetcelloconcertoorchestratedFINAL-chamberorchestraversionp3.jpg?v=1790715198"},{"product_id":"still-here-clarinet-and-orchestra-version","title":"STILL HERE (solo clarinet and orchestra)","description":"\u003cp\u003eINSTRUMENTATION: S\u003cspan\u003eolo Clarinet and Orchestra: 2 fl, 2 ob, 2 cl, 2 bsn, 2 hn, 2 tpt, timp, perc, harp, strings\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDURATION: c. 22:00\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eYEAR COMPOSED: 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTHIS IS A DIGITAL PRODUCT: Purchase includes digital download of score and a complete set of parts in PDF format.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/wIH_Z_oLJa8?si=F95ZxhqF3wlRwUXW\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePROGRAM NOTE:\u003c\/p\u003e\n\u003cp\u003eIt’s the evening of February 25th, 2022. In the darkness, a grainy 30-second selfie video of five men on the streets of Kiev: “Good evening to all” says the gravelly voice of the man in front, holding the phone. “The leader of the bloc is here. The head of the President’s office is here. Prime Minister Schmyhal is here. Podoliak is here. The President is here. We are all here. The soldiers are here, the citizens are here, and we are here….We defend our independence. Glory to our defenders, glory to Ukraine.” No press conference. No soaring rhetoric. No lectern or flag or presidential seal. Just a 30-second video calmly stating the only fact that mattered in that moment: We Are Here. Still Here.\u003c\/p\u003e\n\u003cp\u003eThat video and its message became the inspiration for this composition. Like millions around the world, I was deeply moved by Ukrainian president Volodymyr Zelensky’s calm resolve and courage, rallying his people – and the world – in the face of unprovoked Russian aggression. As I worked on the piece, I thought about this idea of “Still Here” and everything it represents. It is the rallying cry of any marginalized group that refuses, against all odds, to be destroyed or forgotten. I thought of my own Jewish ancestry and the generations upon generations who endured discrimination, expulsions, pogroms, and genocide, but who nonetheless continued to assert: We Are Still Here. Our people, our religion, our culture: Still Here. I thought of the dehumanizing institution of slavery in my own country and the extraordinary resilience of African-Americans who, through generations of violence and oppression, continued to assert through culture, religion, music: We Are Here. Still Here. I thought of how, even today in the United States, there is an ongoing attempt to effectively legislate LGBTQ+ people out of existence. It will not and cannot succeed. Because our LGBTQ+ siblings are here. They have always been here. They will always be here. Still Here. And on a more personal note, every act of artistic creation is in some sense a statement of “Still Here.” It asserts for all time that this person, this being, this soul existed. Even long after I am gone, some small shred of my soul will persist in the music I leave behind. Still Here.\u003c\/p\u003e\n\u003cp\u003eStill Here was originally scored for B-flat clarinet and piano, and is in four movements. Movement 1 is inspired most directly by the Zelensky video. It begins with solo clarinet on its lowest note (E) slowly spinning out a mournful, stately, insistent melody. Strings enter, quiet and spare at first, but gradually growing in confidence and intensity. The music builds to a searing high note in the clarinet, before plummeting once more to the low E and ending quietly, questioning. It is sombre, yet also defiant, like Zelensky in the video. Still Here.\u003c\/p\u003e\n\u003cp\u003eMovement 2 interrupts with a racing scherzo. Towards the middle, a klezmer tune nearly breaks out, and then the movement 1 theme returns, but now bopping along over a funky bass line. At first, I struggled to accept the more dance-y, playful, even humorous music that seemed to want to be part of this piece. But then I read an article about the thriving stand-up comedy scene in Ukraine, and thought about the rich comedic tradition in my own Jewish heritage. I realized that part of the idea of “Still Here” is proclaiming that we will not merely survive, but we will live fully. We will experience joy and love and laughter, despite our sorrows and oppression.\u003c\/p\u003e\n\u003cp\u003eMovement 3 is a respite, a simple love song, tinged with nostalgia.\u003c\/p\u003e\n\u003cp\u003eA brief clarinet cadenza then leads directly into movement 4, a rollicking klezmer tune marked “defiantly joyful.” After building to a climax, the movement 2 theme returns, leading into a dramatic return of the movement 1 melody, now played with even greater intensity. The piece ends with the clarinet back on the same low E that began the whole piece, now played five consecutive times at top volume, while the orchestra bangs out the main theme one last time. With that defiantly fortissimo low E, the clarinet proclaims again what it has been proclaiming from the beginning of the piece, what Zelensky proclaimed in that video, and what generations of marginalized and oppressed peoples have proclaimed throughout history: We Are Still Here.\u003c\/p\u003e\n\u003cp\u003eThe original clarinet-and-piano version of this work was generously commissioned by a consortium of 52 clarinetists. I am deeply grateful to every single one of them for believing in the vision of this piece and coming along on the journey. The members of the consortium are:\u003c\/p\u003e\n\u003cp\u003eAlan Kay, Annie Phillips, Benjamin Mitchell, Brittany Barry, Bruce Belton, Christin Hablewitz, Christopher Nichols, Christy Banks, Debbie Rawson, Diane Barger, Dickson Grimes, Digital Clarinet Academy, Eva Tartaglia, Gary Gorczyca, Gracie Barrett, Jack Liang, Jackie Glazier, Jason Marquez, Jeremy Ruth, Jeremy Wohletz, Jo-Ann Sternberg, Joel Russell, Jonathan Aubrey, Josh Woods, Joshua Gardner, Julie Stuckenschneider, Katie Kimmel, Katie Ravenwood, Kim Fullerton, Laura Ramsey Russell, Leslie Moreau, Lynne Snyder, Macey Campobello, Marcy Bacon, Margalit Patry-Martin, Margaret Thornhill, Marguerite Levin, Mariam Adam, Nathan Soric, Peter Hansen, Ralph Skiano, Robert Spring, Shengwen Wu, Stefanie Gardner, Stephanie Grubbs, Stephen White, Tara Glaspey, Tim Sutfin, Timothy Bonenfant, Victor Drescher, Vince Dominguez \/ Claire Annette, and Wolcott Humphrey.\u003c\/p\u003e\n\u003cp\u003eThis orchestral version was created for performance at ClarinetFest 2025.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":49643578851566,"sku":null,"price":245.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0828\/6738\/8654\/files\/StillHere_arrangedfororchestra-FINAL-SCOREp4.jpg?v=1790543959"}],"url":"https:\/\/jonrussellmusic.com\/collections\/orchestra.oembed","provider":"My Store","version":"1.0","type":"link"}