Piano,Viola - Level 1 - Digital Download

SKU: A0.1494283

Composed by Thomas Moore. Arranged by Alex Nunes Rodrigues. Folk. Score and part. 3 pages. Alex Rodrigues #1070887. Published by Alex Rodrigues (A0.1494283).

The Last Rose of Summer is a work deeply rooted in Irish culture, originally penned as a poem by the renowned poet and composer Thomas Moore in 1805. Moore, regarded as Ireland’s national poet, was inspired by an 'Old Blush' rose while staying at Jenkinstown Castle in County Kilkenny, Ireland. The poem was published as part of his Irish Melodies collection between 1807 and 1834 and later set to music by fellow Irishman John Stevenson. The song gained widespread popularity and was incorporated into the opera Martha by the German composer Friedrich von Flotow, which premiered in 1847 in Vienna.

This sheet music has been adapted for solo instrument, preserving the original melody by Moore and Stevenson in its essence. The simplicity of the arrangement allows the musician to highlight the purity of the melody, making it easier to perform while maintaining the piece's emotional character. This version is designed to be accessible for beginner to intermediate musicians, enabling an authentic interpretation that respects the traditional nuances of the work.

The Last Rose of Summer captures the essence of melancholy and the passage of time—universal themes reflected in the farewell to the last vestige of a vibrant summer. The melody, paired with Moore’s poetry, evokes a profound sense of loss and longing, with the solitary rose serving as a metaphor for the fleeting nature of life and the seasons. The simplicity and beauty of this piece have made it a classic, perpetuating Irish tradition and touching the hearts of listeners worldwide.

Piano,Viola - Level 1 - Digital Download

SKU: A0.1494281

Composed by Thomas Moore. Arranged by Alex Nunes Rodrigues. Folk. Score and part. 3 pages. Alex Rodrigues #1070885. Published by Alex Rodrigues (A0.1494281).

The Last Rose of Summer is a work deeply rooted in Irish culture, originally penned as a poem by the renowned poet and composer Thomas Moore in 1805. Moore, regarded as Ireland’s national poet, was inspired by an 'Old Blush' rose while staying at Jenkinstown Castle in County Kilkenny, Ireland. The poem was published as part of his Irish Melodies collection between 1807 and 1834 and later set to music by fellow Irishman John Stevenson. The song gained widespread popularity and was incorporated into the opera Martha by the German composer Friedrich von Flotow, which premiered in 1847 in Vienna.

This sheet music has been adapted for solo instrument, preserving the original melody by Moore and Stevenson in its essence. The simplicity of the arrangement allows the musician to highlight the purity of the melody, making it easier to perform while maintaining the piece's emotional character. This version is designed to be accessible for beginner to intermediate musicians, enabling an authentic interpretation that respects the traditional nuances of the work.

The Last Rose of Summer captures the essence of melancholy and the passage of time—universal themes reflected in the farewell to the last vestige of a vibrant summer. The melody, paired with Moore’s poetry, evokes a profound sense of loss and longing, with the solitary rose serving as a metaphor for the fleeting nature of life and the seasons. The simplicity and beauty of this piece have made it a classic, perpetuating Irish tradition and touching the hearts of listeners worldwide.

Piano,Viola - Level 4 - Digital Download

SKU: A0.1493034

Composed by Clémence de Grandval. Arranged by Paul Wehage. 19th Century,Chamber,Classical,Romantic Period. Score and part. 33 pages. Musik Fabrik Music Publishing #1069724. Published by Musik Fabrik Music Publishing (A0.1493034).

Maria-Félicie-Clémence de Grandval (1828–1907) was born on January 28, 1828 at Saint-Rémy-des-Monts, France and died on January 15, 1907 in Paris.After the death of her mother, Louise Adèle du Temple de Mésières, her father the Baron de Reiset, a military officer remarried with an Englishwoman and moved his family to London. After beginning her musical studies privately, she studied the piano with the German composer Friedrich von Flotow, who was a family friend. Returning to France, she studied the piano briefly with Chopin and composition with Camille Saint-Saëns, who remember their first meeting: “I was 12 when I heard the vicomtesse de Grandval for the first time, who was 18. It was at a musical morning concert at the home of the violinist de Cuvillon. She sang a song of her own composition ‚La Source, in which she accompanied herself. I was struck by the fluidity of her playing, which purely and without useless inflections, was quite close to my way of viewing music. This unified and tranquil style came out of her studies with Chopin.” Camille Saint-Saëns: Quelques mots sur l’exécution des œuvres de Chopin, in: “Le courrier musical de Paris” 13 [1910], S. 386).  At first writing mostly sacred music, most of her public success was due to her comic operas: la Comtesse Eva, la Pénitente, Piccolino and Mazeppa. She also wrote orchestral music, chamber music, and over 60 songs (to poets such as Sully Prudhomme, Michel Carré, Henri Meilhac, Georges Hartmann, Charles Grandmougin and Louis Gallet.) She is chiefly known today for her music for wind instruments, especially for the oboe.