Composed by Georgia Turner and Bert Martin. Arranged by Samuel Sequeira. 155, Pop, Rock. 18 pages. Samuel Sequeira #775766. Published by Samuel Sequeira

Composed by Georgia Turner and Bert Martin. Arranged by Samuel Sequeira. 155, Pop, Rock. 18 pages. Samuel Sequeira #775767. Published by Samuel Sequeira

By Bad Bunny/Jhay Cortez. By Benito Antonio Martinez Ocasio, Benito Martinez, Egbert Enrique Rosa Cintron, Egbert Rosa, etc., Gabriel Mora Quintero, Gabriel Mora, Gabriela Quintero, Jesus Nieves Cortes, Jhay Cortez, Marco E Masis, Marco Efrain Masis, and Nydia Laner. Arranged by André Laitano. Contemporary. 4 pages. ANDRÉ DOS SANTOS #6246795. Published by ANDRÉ DOS SANTOS

Instrumental Duet Instrumental Duet,Piano,Violin - Level 5 - Digital Download SKU: A0.1030742 Composed by Jesus J. Martinez. Contemporary. Score and parts. 1 pages. Jesus Martinez Music #2019881. Published by Jesus Martinez Music (A0.1030742). PROGRAM NOTES: The Spear of Destiny is titled and inspired by the supposed spear that was used to kill Jesus Christ. The spear is said to have extraordinary powers. He who possesses it will rule the world and he who loses it thereafter will die an untimely death. The last person recorded to have had it was Adolf Hitler. This musical composition journeys through the time of Hitler and his obsession to obtain the spear, his atrocious acts during his tenure of the spear, and the loss of the spear. The spears main thematic motions are the glissandos in the violin that represent the spears anger and tortuous ways. I. Spear Found takes place during his times as an understudy of Dietrich Eckart, a dedicated satanist and figure in the Occult Thule Society and founding member of the Nazi party. Dietrich said: Follow Hitler! He will dance, but it is I who have called the tune! I have initiated him into the Secret Doctrine' opened his centres in vision and given him the means to communicate with the Powers. Do not morn for me; I shall have influenced history more than any other German. Hitler became enamored with the Spear of Destiny, which claimed it called to him. Spear Found, is Hitler's journey to capturing the spear to rule the world. II. Spear Possessed begins with no time meter or key signature. It is ad liberty of the performers and is a musical representation of the spears possessive powers towards evil. This movement takes place during the time of the Holocaust and the actions committed during Hitler's reign of world domination. The movement infers a jewish folk song titled, Dayeinu, a jewish Passover song meaning it would have been enough. This song is set in context of freedom. The movement goes through variations of Dayeinu and the spears version of a possessed Dayeinu. The violin has fast and rapid rhythms with small thematic material of the folk tune. At the end of the movement, the piano strikes the low end of the piano with a soft yarn mallet to symbolize the bombs dropping and the start of World War II. III. Spear Lost takes place during WWII and the Marines efforts to take down Hitler's reign. During the 3rd movement, the Marine Corps music comes to life as they take control of the spear and ultimately end the war. The Spear however, takes its last stand as the spears motif soars over the possessed marine tune. At the end of the movement, the spear is once again screeching as it survives and goes missing once again.

Piano,Violin - Level 4 - Digital Download SKU: A0.635602 By Al Martino. By Bert Kaempfert. Arranged by Fishel Pustilnik. Contemporary. 6 pages. F & N Enterprise #5372015. Published by F & N Enterprise (A0.635602). An excellent arrangement of the famous Song Spanish Eyes (by Elvis Presley) for Violin and Piano-Jazz/Pop Version.

Piano,Violin - Level 3 - Digital Download SKU: A0.1488843 Composed by Joseph Martin Kraus. Arranged by Bertil van Boer. Classical. 12 pages. Artaria Editions #1065697. Published by Artaria Editions (A0.1488843). Artaria Editions AE437Joseph Martin Kraus was one of the most gifted and unusual composers of the 18th century, whose talent for thematic development, colourful orchestration and theatrical flair caused Haydn to proclaim him one of only two 'geniuses' he knew (Mozart being the other one). Although Kraus's focus as a composer was mainly upon works written for the stage, he had occasion and opportunity to write a variety of works for chamber setting, as well as for pedagogical use at the Royal Swedish Academy of Music, for which he was educational director from 1788 until his death. This brief Allegro for violin and fortepiano was probably written around this time as a work intended for students at the aforementioned institution. This is evident in the use of deliberate devices, such as unison scalar passages and sustained notes in the violin part. Foreshadowing Hindemith's notion of Bildungsmusik from a century and a half later, it is clear that the intent is to create a substantive piece of music for future instrumentalists that not only allows for good compositional style, but both pedagogical function and a relatively easy degree of difficulty for the performers, as well. Allan Badley.

Piano,Violin - Level 3 - Digital Download SKU: A0.1488838 Composed by Joseph Martin Kraus. Arranged by Bertil van Boer. Classical. 46 pages. Artaria Editions #1065692. Published by Artaria Editions (A0.1488838). Artaria Editions AE433Joseph Martin Kraus was one of the most gifted and unusual composers of the 18th century, whose talent for thematic development, colourful orchestration and theatrical flair caused Haydn to proclaim him one of only two 'geniuses' he knew (Mozart being the other one). Although Kraus's focus as a composer was mainly upon works written for the stage, he had occasion and opportunity to write a variety of works for chamber setting, including four sonatas for violin and fortepiano; a fifth sonata, in D minor, was written in 1777 expressly for violin and clavicembalo, representing a different sort of piece than the more common duo sonata. The date of the D major sonata is not known, although it was probably written during Kraus's first years in Stockholm; stylistic evidence strongly suggests that it, and its companion piece, the Sonata in C major (VB 160), date from the later part of that period 1780-1782. Kraus was a proficient performer on both instruments and his sonatas, which display all his usual musical ingenuity and technical finish, are highly attractive works.Allan Badley.

Piano,Violin - Level 3 - Digital Download SKU: A0.1488842 Composed by Joseph Martin Kraus. Arranged by Bertil van Boer. Classical. 42 pages. Artaria Editions #1065696. Published by Artaria Editions (A0.1488842). Artaria Editions AE436Joseph Martin Kraus was one of the most gifted and unusual composers of the 18th century, whose talent for thematic development, colourful orchestration and theatrical flair caused Haydn to proclaim him one of only two 'geniuses' he knew (Mozart being the other one). Although Kraus's focus as a composer was mainly upon works written for the stage, he had occasion and opportunity to write a variety of works for chamber setting, including this sonata for violin and fortepiano. It is not known for whom this work was written, but the sole surviving source, a set of parts in Uppsala University Library in the hand of Fredrik Silverstolpe, Kraus's first biographer and assiduous collector of his music, dates it to Kraus's grand tour; he notes that it was written in Paris in 1785. This sonata is the most virtuosic and imposing work in this genre that the composer wrote. Of particular interest is the use of a slow introduction with lyrical violin solo, the long Adagio with its alternating solo passages, and the playful final Scherzo which bears a thematic similarity to the now-lost original third movement of Kraus's Violin Concerto (VB 151). Indeed, this complex work merits the rubric Great C major.Allan Badley.

Piano,Violin - Level 3 - Digital Download SKU: A0.1488840 Composed by Joseph Martin Kraus. Arranged by Bertil van Boer. Classical. 36 pages. Artaria Editions #1065694. Published by Artaria Editions (A0.1488840). Artaria Editions AE435Joseph Martin Kraus was one of the most gifted and unusual composers of the 18th century, whose talent for thematic development, colourful orchestration and theatrical flair caused Haydn to proclaim him one of only two 'geniuses' he knew (Mozart being the other one). Although Kraus's focus as a composer was mainly upon works written for the stage, he had occasion and opportunity to write a variety of works for chamber setting, including this sonata for violin and fortepiano. It is not known for whom this work was written, but the sole surviving source, a set of parts in Uppsala University Library in the hand of Fredrik Silverstolpe, Kraus's first biographer and assiduous collector of his music, dates it to Kraus's grand tour; he notes that it was written in Paris in 1785. The sonata received its final form for keyboard alone as part of the Due Sonata per il Forte Piano published by Olof Åhlstrm some three years later in 1788. This sonata differs from the solo pianoforte version (also published by Artaria Editions as AE398) in that it is shorter (particularly in the slow movement) and less elaborate for both instruments. Nonetheless, it is an impressive sonata and among the most interesting works of its kind composed in the 1780s.Allan Badley.

Piano,Violin - Level 3 - Digital Download SKU: A0.1488839 Composed by Joseph Martin Kraus. Arranged by Bertil van Boer. Classical. 31 pages. Artaria Editions #1065693. Published by Artaria Editions (A0.1488839). Artaria Editions AE434Joseph Martin Kraus was one of the most gifted and unusual composers of the 18th century, whose talent for thematic development, colourful orchestration and theatrical flair caused Haydn to proclaim him one of only two 'geniuses' he knew (Mozart being the other one). Although Kraus's focus as a composer was mainly upon works written for the stage, he had occasion and opportunity to write a variety of works for chamber setting, including four sonatas for violin and fortepiano; a fifth sonata, in D minor, was written in 1777 expressly for violin and clavicembalo, representing a different sort of piece than the more common duo sonata. The date of the C major sonata, the earlier of two works in this key, is not known, although it was probably written during Kraus's first years in Stockholm; stylistic evidence strongly suggests that it, and its companion piece, the Sonata in D major (VB 159), date from the later part of that period 1780-1782. Kraus was a proficient performer on both instruments and his sonatas, which display all his usual musical ingenuity and technical finish, are highly attractive works.Allan Badley.

Piano,Violin - Level 4 - Digital Download SKU: A0.805537 Composed by Herbert Spencer. Arranged by Marcus Martin. 20th Century,Concert,Romantic Period,Standards. 8 pages. Cornelius Edition (uk) #4979375. Published by Cornelius Edition (uk) (A0.805537). A new arrangement for violin and piano of an original 1915 song. This lyrical miniature makes an attractive concert item or useful encore and was frequently performed by Fritz Kreisler and more recently is featured on a new album by British violinist Charlie Siem.

Piano,Violin - Level 4 - Digital Download SKU: A0.1315952 Composed by Pietro Mascagni. Arranged by Rob Bushnell. Classical,Easter,Film/TV,Opera,Romantic Period. 8 pages. RBMusic #904730. Published by RBMusic (A0.1315952). In 1889, a struggling composer called Pietro Mascagni heard about a sponsored competition for one-act operas, specifically for young Italian composers who had not yet had an opera performed, only two months before the deadline. With little time, he selected the subject for his opera and asked his childhood friend, Giovanni Targioni-Tozzetti (who was helped by Guido Menasci), to write a libretto for him. Mascagni selected a story that he had seen as a play in Milan in early 1884 by realist writer Giovanni Verga, “Rustic Chivalry�, or Cavalleria rusticana. A passionate love tragedy featuring seduction, adultery, revenge and murder, it is surprising set on Easter morning.Mascagni received only a few verses at a time from his librettists, but he was not worried because he had the opera clear in his mind: “I identified with the drama to such an extent that I felt it within myself in terms of music.� After two months’ of work, the music for Cavalleria rusticana was finished but he feared the opera would fail and put the music in a draw. Fortunately, his wife sent it off, he unanimously won the competition and was soon the talk of Europe. (At the premiere in May 1890 in Rome, Mascagni received no fewer than 60 curtain calls.) Unfortunately, it was a one-hit wonder with Mascagni unable to repeat its success, saying towards the end of his life that “it is a pity I wrote Cavalleria first for I was crowned before I became king.� He died, penniless, in 1945.Today, few people have heard of Mascagni’s name, and, if they have, it is rarely in relation to anything but one piece from Cavalleria rusticana, the Intermezzo. A short piece of purely orchestral music that is uses to denote the passage of time, the orchestration is very simple but it is such an indulgently beautiful melody (based on a hymn heard earlier in the short opera) that perfectly captures the peace of country living in Sicily against the intense feelings of the main characters and the looming tragedy to come.The piece is so popular that (along with the “Easter Hymn� from the same opera), it is the only reason Mascagni features in the Classic FM’s Hall of Fame.The piece was used in the 1980 film Raging Bull and the 1990 film The Godfather Part III.A recording of the original song can be found on YouTube: https://www.youtube.com/watch?v=Kgr-I1y1_2M.Other searchable terms: Italy, Martin Scorsese, Robert De Niro, Joe Pesci, Cathy Moriarty, Nicholas Colasanto, Theresa Saldana, Frank Vincent, Al Pacino, Diane Keaton, Talia Shire, Andy García, Eli Wallach, Joe Mantegna, Bridget Fonda, George Hamilton, Sofia Coppola.

Piano,Violin - Digital Download SKU: A0.805662 Composed by Max Bruch. Arranged by Marcus Martin. Jewish,Romantic Period,Sacred. 11 pages. Cornelius Edition (uk) #6703693. Published by Cornelius Edition (uk) (A0.805662). German Composer Max Bruch (1838-1920) completed this work in 1880 whilst in Liverpool, England. It is dedicated to - and premiered by - Robert Hausmann, who had requested a cello piece from Bruch. The work is styled as an ‘Adagio on 2 Hebrew Melodies’. The first theme, which gives the work its title, imitates the voice of the cantor who chants the liturgy during the evening service on every Yom Kippur. The second theme is derived from English composer Isaac Nathan’s arrangement of Byron’s O weep for Those that Wept on Babel’s Stream and is given a more Schumannesque treatment in the tonic major key.Although originally scored for full orchestra, the work is frequently and effectively performed with piano accompaniment. The violin is ideally suited to the solo line and this makes an excellent recital piece.