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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download

SKU: A0.802574

Composed by Antonio Carlos Jobim. Arranged by Peet du Toit. Contemporary. Score and parts. 11 pages. Peet du Toit #5801391. Published by Peet du Toit (A0.802574).

Samba do Avião (a.k.a. Song of the Jet, translated literally as Airplane Samba) is a Brazilian song composed in 1962 by Antônio Carlos Jobim, who also wrote the original Portuguese lyrics. The English-language lyrics are by Gene Lees.

In the biography Antonio Carlos Jobim: An Illuminated Man, Helena Jobim describes how her brother came up with the idea for the song: Tom's many walks from Ipanema to Santos Dumont Airport yielded that ode of beauty... He would head towards the airport, following the water's edge around Guanabara's Bay. The pretext to go there was to buy foreign magazines and newspapers. From Santos Dumont Airport he could observe his passion, the airplane. Yet he still kept some distance from those machines. He was afraid of flying, but he loved their power, splendor, and aerodynamics-man's conquest over machine.

In the song, Jobim writes about landing at Galeão in Rio de Janeiro. The airport was renamed in his honor in 1999 and is now called Rio de Janeiro–Antonio Carlos Jobim International Airport.

Jobim wrote Samba do Avião for an Italian film, Copacabana Palace (1962), where it was performed by Jula De Palma and I 4 + 4 di Nora Orlandi. The movie was filmed in Rio and features cameo appearances by Jobim, João Gilberto and Os Cariocas.

The first performance of the song was by Jobim and Os Cariocas in August 1962 at the Au Bon Gourmet restaurant in Copacabana, Rio, at what music historian Ruy Castro calls the bossa nova show to end all bossa nova shows, as it featured Jobim, João Gilberto, Vinícius de Moraes and Os Cariocas on stage together for the only time.

The first recording of the song was released in October 1962 by Elza Laranjeira. Os Cariocas had a hit with their rendition in 1963.

The first English-language version was by Tony Bennett for his 1965 album If I Ruled the World: Songs for the Jet Set.

Here is my brass quintet version of the song for your enjoyment.

Song Of The Jet (samba Do Avião)
Quatuor de Cuivres : 2 trompettes, trombone, tuba

$13.00 12.35 € Quatuor de Cuivres : 2 trompettes, trombone, tuba PDF SheetMusicPlus

Guitar,Piano,Vocal,Voice - Level 3 - Digital Download

SKU: A0.1491321

By Gilbert O'Sullivan. By Gilbert O'Sullivan. Arranged by Sybout Porte. Pop,Rock,Singer/Songwriter. Score. 6 pages. Sybout Porte #1068060. Published by Sybout Porte (A0.1491321).

Nothing Rhymed is a soft rock ballad written and performed by the Irish singer-songwriter Gilbert O'Sullivan. The song has interesting lyrics and a nice melody. It was released as single in 1970 and appeared in 1971 on the album Himself. The song became a hit in several countries in Europe. You will still find it on today's setlist of Gilbert O'Sullivan's concerts.
Nothing Rhymed has been covered by various artists, among them Tom Jones, Burton Cummings and Yvonne Elliman. The Italian group I Profeti covered the song with Italian lyrics.

Nothing Rhymed
Piano, Voix et Guitare
Gilbert O'Sullivan
$6.95 6.6 € Piano, Voix et Guitare PDF SheetMusicPlus

String Quartet Cello,Double Bass,String Quartet,Viola,Violin - Level 4 - Digital Download

SKU: A0.747013

By The Andrews Sisters. By Aloysio Oliveira, Ervin Drake, and Zequinha Abreu. Arranged by Keith Terrett. Classical,Latin,Multicultural,World. 14 pages. Keith Terrett #5869549. Published by Keith Terrett (A0.747013).

Arranged for String Orchestra Tico-Tico no fubá (sparrow in the cornmeal, or, literally, rufous-collared sparrow in the cornmeal) is a Brazilian choro song written by Zequinha de Abreu in 1917. A great arrangement for your next performance, sure to be a big hit with your audience!

Its original title was Tico-Tico no farelo (sparrow in the bran), but since Brazilian guitarist Américo Jacomino Canhoto (1889–1928) had a work with the same title, Abreu's work was given its present name in 1931, and sometime afterward Aloysio de Oliveira wrote the original Portuguese lyrics.

Eros Volusia and her dancers dance to Tico-Tico in 1942 Rio Rita. Ethel Smith performed Tico-Tico onscreen in Bathing Beauty (1944). Carmen Miranda performed Tico-Tico onscreen in Copacabana (1947); It was also featured in the Aquarela do Brasil segment of the Walt Disney film Saludos Amigos (1942) and in Woody Allen's Radio Days (1987).

In Quebec the song has been used for several decades in commercials for Sico paint.

In season three of Mama's Family episode An Ill Wind, an intoxicated Iola briefly sings the song's chorus before passing out onto a bed.

This song can be heard on various episodes of the Belgian Kabouter Wesley cartoon.

In season one of Narcos: Mexico, episode 3 (El Padrino), the orchestral version of the song is played by a band during a reception. A biographical movie about Zequinha de Abreu with the same title, Tico-Tico no Fubá was produced in 1952 by the Brazilian film studio Companhia Cinematográfica Vera Cruz, starring Anselmo Duarte as Abreu.

The title phrase also features in the lyrics to the song O Pato made famous by João Gilberto.

Choro (Portuguese pronunciation: [ˈʃoɾu], cry or lament), also popularly called chorinho (little cry or little lament), is an instrumental Brazilian popular music genre which originated in 19th century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro is considered the first characteristically Brazilian genre of urban popular music. The serenaders who play choros are known as chorões.

Tico Tico (tico Tico No Fuba)
Quatuor à cordes: 2 violons, alto, violoncelle
The Andrews Sisters
$12.99 12.34 € Quatuor à cordes: 2 violons, alto, violoncelle PDF SheetMusicPlus

Instrumental Duet,Piano B-Flat Trumpet,Instrumental Duet,Piano,Tenor Trombone - Level 4 - Digital Download

SKU: A0.747015

By The Andrews Sisters. By Aloysio Oliveira, Ervin Drake, and Zequinha Abreu. Arranged by Keith Terrett. Classical,Latin,Multicultural,World. 10 pages. Keith Terrett #5870055. Published by Keith Terrett (A0.747015).

Arranged for for Bb Trumpet, C Trombone & Piano Tico-Tico no fubá (sparrow in the cornmeal, or, literally, rufous-collared sparrow in the cornmeal) is a Brazilian choro song written by Zequinha de Abreu in 1917. A great arrangement for your next performance, sure to be a big hit with your audience!

Its original title was Tico-Tico no farelo (sparrow in the bran), but since Brazilian guitarist Américo Jacomino Canhoto (1889–1928) had a work with the same title, Abreu's work was given its present name in 1931, and sometime afterward Aloysio de Oliveira wrote the original Portuguese lyrics.

Eros Volusia and her dancers dance to Tico-Tico in 1942 Rio Rita. Ethel Smith performed Tico-Tico onscreen in Bathing Beauty (1944). Carmen Miranda performed Tico-Tico onscreen in Copacabana (1947); It was also featured in the Aquarela do Brasil segment of the Walt Disney film Saludos Amigos (1942) and in Woody Allen's Radio Days (1987).

In Quebec the song has been used for several decades in commercials for Sico paint.

In season three of Mama's Family episode An Ill Wind, an intoxicated Iola briefly sings the song's chorus before passing out onto a bed.

This song can be heard on various episodes of the Belgian Kabouter Wesley cartoon.

In season one of Narcos: Mexico, episode 3 (El Padrino), the orchestral version of the song is played by a band during a reception. A biographical movie about Zequinha de Abreu with the same title, Tico-Tico no Fubá was produced in 1952 by the Brazilian film studio Companhia Cinematográfica Vera Cruz, starring Anselmo Duarte as Abreu.

The title phrase also features in the lyrics to the song O Pato made famous by João Gilberto.

Choro (Portuguese pronunciation: [ˈʃoɾu], cry or lament), also popularly called chorinho (little cry or little lament), is an instrumental Brazilian popular music genre which originated in 19th century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro is considered the first characteristically Brazilian genre of urban popular music. The serenaders who play choros are known as chorõe

Tico Tico (tico Tico No Fuba)
The Andrews Sisters
$12.99 12.34 € PDF SheetMusicPlus

Woodwind Ensemble,Woodwind Quartet - Level 4 - Digital Download

SKU: A0.747011

By The Andrews Sisters. By Aloysio Oliveira, Ervin Drake, and Zequinha Abreu. Arranged by Keith Terrett. Classical,Latin,Multicultural,World. 14 pages. Keith Terrett #5869499. Published by Keith Terrett (A0.747011).

Arranged for Recorder Quartet  Tico-Tico no fubá (sparrow in the cornmeal, or, literally, rufous-collared sparrow in the cornmeal) is a Brazilian choro song written by Zequinha de Abreu in 1917. A great arrangement for your next performance, sure to be a big hit with your audience!

Its original title was Tico-Tico no farelo (sparrow in the bran), but since Brazilian guitarist Américo Jacomino Canhoto (1889–1928) had a work with the same title, Abreu's work was given its present name in 1931, and sometime afterward Aloysio de Oliveira wrote the original Portuguese lyrics.

Eros Volusia and her dancers dance to Tico-Tico in 1942 Rio Rita. Ethel Smith performed Tico-Tico onscreen in Bathing Beauty (1944). Carmen Miranda performed Tico-Tico onscreen in Copacabana (1947); It was also featured in the Aquarela do Brasil segment of the Walt Disney film Saludos Amigos (1942) and in Woody Allen's Radio Days (1987).

In Quebec the song has been used for several decades in commercials for Sico paint.

In season three of Mama's Family episode An Ill Wind, an intoxicated Iola briefly sings the song's chorus before passing out onto a bed.

This song can be heard on various episodes of the Belgian Kabouter Wesley cartoon.

In season one of Narcos: Mexico, episode 3 (El Padrino), the orchestral version of the song is played by a band during a reception. A biographical movie about Zequinha de Abreu with the same title, Tico-Tico no Fubá was produced in 1952 by the Brazilian film studio Companhia Cinematográfica Vera Cruz, starring Anselmo Duarte as Abreu.

The title phrase also features in the lyrics to the song O Pato made famous by João Gilberto.

Choro (Portuguese pronunciation: [ˈʃoɾu], cry or lament), also popularly called chorinho (little cry or little lament), is an instrumental Brazilian popular music genre which originated in 19th century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro is considered the first characteristically Brazilian genre of urban popular music. The serenaders who play choros are known as chorões.

Tico Tico (tico Tico No Fuba)
Flûte, Hautbois, Clarinette, Basson
The Andrews Sisters
$12.99 12.34 € Flûte, Hautbois, Clarinette, Basson PDF SheetMusicPlus

Solo Guitar - Level 3 - Digital Download

SKU: A0.747009

By The Andrews Sisters. By Aloysio Oliveira, Ervin Drake, and Zequinha Abreu. Arranged by Music for all Occasions. Classical,Latin,Multicultural,World. Individual part. 3 pages. Keith Terrett #5869485. Published by Keith Terrett (A0.747009).

Arranged for solo Guitar, Tico-Tico no fubá (sparrow in the cornmeal, or, literally, rufous-collared sparrow in the cornmeal) is a Brazilian choro song written by Zequinha de Abreu in 1917. A great arrangement for your next performance, sure to be a big hit with your audience!

Its original title was Tico-Tico no farelo (sparrow in the bran), but since Brazilian guitarist Américo Jacomino Canhoto (1889–1928) had a work with the same title, Abreu's work was given its present name in 1931, and sometime afterward Aloysio de Oliveira wrote the original Portuguese lyrics.

Eros Volusia and her dancers dance to Tico-Tico in 1942 Rio Rita. Ethel Smith performed Tico-Tico onscreen in Bathing Beauty (1944). Carmen Miranda performed Tico-Tico onscreen in Copacabana (1947); It was also featured in the Aquarela do Brasil segment of the Walt Disney film Saludos Amigos (1942) and in Woody Allen's Radio Days (1987).

In Quebec the song has been used for several decades in commercials for Sico paint.

In season three of Mama's Family episode An Ill Wind, an intoxicated Iola briefly sings the song's chorus before passing out onto a bed.

This song can be heard on various episodes of the Belgian Kabouter Wesley cartoon.

In season one of Narcos: Mexico, episode 3 (El Padrino), the orchestral version of the song is played by a band during a reception. A biographical movie about Zequinha de Abreu with the same title, Tico-Tico no Fubá was produced in 1952 by the Brazilian film studio Companhia Cinematográfica Vera Cruz, starring Anselmo Duarte as Abreu.

The title phrase also features in the lyrics to the song O Pato made famous by João Gilberto.

Choro (Portuguese pronunciation: [ˈʃoɾu], cry or lament), also popularly called chorinho (little cry or little lament), is an instrumental Brazilian popular music genre which originated in 19th century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro is considered the first characteristically Brazilian genre of urban popular music. The serenaders who play choros are known as chorões.

Tico Tico (tico Tico No Fuba)
Guitare
The Andrews Sisters
$7.99 7.59 € Guitare PDF SheetMusicPlus

Horn,Trombone,Trumpet - Level 4 - Digital Download

SKU: A0.747005

By The Andrews Sisters. By Aloysio Oliveira, Ervin Drake, and Zequinha Abreu. Arranged by Keith Terrett. Classical,Latin,Multicultural,World. 14 pages. Keith Terrett #5869409. Published by Keith Terrett (A0.747005).

Arranged for Brass Quartet, Tico-Tico no fubá (sparrow in the cornmeal, or, literally, rufous-collared sparrow in the cornmeal) is a Brazilian choro song written by Zequinha de Abreu in 1917. A great arrangement for your next performance, sure to be a big hit with your audience!

Its original title was Tico-Tico no farelo (sparrow in the bran), but since Brazilian guitarist Américo Jacomino Canhoto (1889–1928) had a work with the same title, Abreu's work was given its present name in 1931, and sometime afterward Aloysio de Oliveira wrote the original Portuguese lyrics.

Eros Volusia and her dancers dance to Tico-Tico in 1942 Rio Rita. Ethel Smith performed Tico-Tico onscreen in Bathing Beauty (1944). Carmen Miranda performed Tico-Tico onscreen in Copacabana (1947); It was also featured in the Aquarela do Brasil segment of the Walt Disney film Saludos Amigos (1942) and in Woody Allen's Radio Days (1987).

In Quebec the song has been used for several decades in commercials for Sico paint.

In season three of Mama's Family episode An Ill Wind, an intoxicated Iola briefly sings the song's chorus before passing out onto a bed.

This song can be heard on various episodes of the Belgian Kabouter Wesley cartoon.

In season one of Narcos: Mexico, episode 3 (El Padrino), the orchestral version of the song is played by a band during a reception. A biographical movie about Zequinha de Abreu with the same title, Tico-Tico no Fubá was produced in 1952 by the Brazilian film studio Companhia Cinematográfica Vera Cruz, starring Anselmo Duarte as Abreu.

The title phrase also features in the lyrics to the song O Pato made famous by João Gilberto.

Choro (Portuguese pronunciation: [ˈʃoɾu], cry or lament), also popularly called chorinho (little cry or little lament), is an instrumental Brazilian popular music genre which originated in 19th century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro is considered the first characteristically Brazilian genre of urban popular music. The serenaders who play choros are known as chorões.

Tico Tico (tico Tico No Fuba)
The Andrews Sisters
$12.99 12.34 € PDF SheetMusicPlus

Small Ensemble B-Flat Clarinet,Double Bass,Flugelhorn,Flute,Piano Accompaniment,Tenor Trombone - Digital Download

SKU: A0.502935

Composed by Antonio Carlos Jobim and Newton Mendonça. Arranged by Rubinho. Jazz,Standards. Score and parts. 40 pages. Published by Rubinho (A0.502935).

Desafinado is a bossa nova song composed by Antônio Carlos Jobim (Tom Jobim) and Newton Mendonça and recorded by João Gilberto on November 10, 1958, at Estúdios Odeon , in Rio de Janeiro . The song would be released in February 1959 as a single by the EMI-Odeon record label and included on their debut album, Chega de Saudade , released in the second week of March of that year. It is considered one of the seminal songs in the musical style and one that best defines the genre. The song is a response to criticism at the time, which considered bossa nova as music for out-of-tune singers. The song was later recorded by several artists, including Antônio Carlos Jobim , Herb Alpert , Nara Leão , Ella Fitzgerald and Stan Getz who, in 1963, won the Grammy for Best Jazz Performance by a Soloist or Small Group for the song. Two English-language adaptations of the song were performed: Slightly Out of Tune by Jon Hendricks and Off Key by Gene Lees. This arrangment is for 01 Flute, 01 Bb Clarinet, 01 Flugelhorn, 01 Trombone, Accompaniment Chords and Acoustic Bass.

Desafinado

$14.00 13.3 € PDF SheetMusicPlus

SATB choir - Intermediate - Digital Download

SKU: LX.65-1887S

An Advent Celebration for Choir,Cong,Narrator,Org. Composed by Gilbert M. Martin. Choral Cantatas. Advent. Cant. 40 pages. Sacred Music Press #e65/1887S. Published by Sacred Music Press (LX.65-1887S).

UPC: 000308044850. Text: K Thomas Greene.

The Sacred Music Press proudly offers this distinguished cantata for the contemplative days before Christmas. Old testament prophecies are found in familiar congregational carols, including Come, Thou Long-Expected Jesus Hark, The Glad Sound; Hail to the Lord's Anointed; and Lift Up Your Heads. Unique and inventive choral anthems include the contemplative Once He Came In Blessing, the majestic There's A Voice In The Wilderness Crying, an engaging setting of O Come O Come Emmanuel, and the uplifting finale, The King Shall Come. The discerning and insightful narration by the Reverend K. Thomas Greene highlights the events leading up to that first Christmas in Bethlehem. The individual anthems may be performed separately on the Sundays in Advent and later combined for a full presentation.

The King Shall Come
Chorale SATB

$8.95 8.5 € Chorale SATB PDF SheetMusicPlus

French Horn,Piano - Level 4 - Digital Download

SKU: A0.549460

Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497289. Published by jmsgu3 (A0.549460).

Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs.


School Years

First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary.

Study Abroad

During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest.

Association with Gilbert

It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers.

Lost Chord

The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently.

The Lost Chord

Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.

 

Sullivan: The Lost Chord for French Horn & Piano
Cor et Piano

$26.95 25.6 € Cor et Piano PDF SheetMusicPlus

Piano,Viola - Level 3 - Digital Download

SKU: A0.549441

Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 14 pages. Jmsgu3 #3494681. Published by jmsgu3 (A0.549441).

Score: 7 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs.


School Years

First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary.

Study Abroad

During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest.

Association with Gilbert

It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic operas such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, and 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers.

Lost Chord

The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently.

The Lost Chord

Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.

 

 

Sullivan: The Lost Chord for Viola & Piano
Alto, Piano

$26.95 25.6 € Alto, Piano PDF SheetMusicPlus

Oboe,Piano - Level 4 - Digital Download

SKU: A0.549448

Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497149. Published by jmsgu3 (A0.549448).

Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Requires sensitivity & dynamic control.
Suitable for recitals, church meditations, or school programs.


School Years

First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary.

Study Abroad

During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest.

Association with Gilbert

It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic opera such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers.

Lost Chord

The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently.

The Lost Chord

Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.

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Sullivan: The Lost Chord for Oboe & Piano
Hautbois, Piano (duo)

$26.95 25.6 € Hautbois, Piano (duo) PDF SheetMusicPlus






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