Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 5 - Digital Download SKU: A0.533546 Composed by Andersen Viana. 20th Century,Concert,Contemporary,Standards. 42 pages. Musik Fabrik Music Publishing #3017639. Published by Musik Fabrik Music Publishing (A0.533546). This seven minute modernist work uses both structured and aleatoric elements. Born in Belo Horizonte, Minas Gerais, he has a Ph.D. in Music Composition from the Federal University of Bahia. He began composing at the age of thirteen and became a professor at the age of nineteen. He has studied in courses and seminars about music and film in several official institutions with Ennio Morricone, Ettore Scolla, Giussepe Tornatore, E. Polizzi, Radamés Gnatalli, Max Rostal, Oilliam Lanna, S. Vianna (Accademia Chigiana di Siena, Reale Accademia Filarmonica di Bologna, Arts Academy of Rome, Royal University College of Music Stockholm, UFMG, UFBA), among others. He currently works as a composer-conductor and cultural producer, as well as a professor at the Clóvis Salgado Foundation, Palácio das Artes, in Belo Horizonte, Brazil, in addition to offering lectures and workshops in various institutions both in Brazil and abroad. His first teacher wa his father, Sebastião Vianna (assistant and reviser for the Brazilian composer, Heitor Villa-Lobos), and most recently furthered his studies in other institutions in Brazil, Italy, and Sweden. He has also published over forty articles both in Brazil and Europe. Viana has received 25 awards in Argentina, Brazil, Europe and the USA, including the Prix de Composition at the First Composition Competition Festin Choral 2013 in the city of Billère (France), first prize at the Susanville Symphony Composition Competition 2012 (USA), first prize in the international composition contest of Lys Music Orchestra 2001 in Belgium, first prize and the audience prize in the Lambersart 2006 International Contest of Composition in France. To date, he has composed 315 musical pieces for voices, chamber, symphonic as well as electronic instruments. Viana has also composed film scores for the following films: A Cartomante, Retalhos do Taquaril, Bem Próximo do Mal (Next Evil), Jogando para o Amanhã, O Próximo Passo, Gun’s Speech, Trem Fantasma, 3:00:AM, Corações Ardentes, Filhos de Adão, Perdidos em Abbey Road, Vivalma, Manuelzão e Bananeira, Ofélia, Opostos, Minas Portuguesa, O Homem da Cabeça de Papelão, Convict, Ser Humano (Human Being), Um Dia Qualquer, Nego, Reenactment, Desafios and Oswaldo França Júnior.

Concert Band - Digital Download SKU: A0.733220 Composed by Samuel Coleridge-Taylor. Arranged by Michael Shaw. Romantic Period. Score and parts. 161 pages. Ayotte Custom Musical Engravings #6341569. Published by Ayotte Custom Musical Engravings (A0.733220). Samuel Coleridge-Taylor was born in Holborn, London on August 15, 1875 and died from pneumonia at the age of 37 in Croy- don, England on September 1, 1912.  At an early age his grandfather began teaching him how to play the violin. His musical ability was obvious and at the age of 15, his extended family arranged for Taylor to study at the Royal College of Music. While at RCM he changed from violin to composition, working under professor Charles Villiers Stanford. His classmates included Ralph Vaughan Williams and Gustav Holst. He was later helped by Edward Elgar in 1898, who described Coleridge-Taylor as far and away the cleverest fellow going amongst the young men.  By 1896, Coleridge-Taylor was earning a reputation as a composer and was also accepted as an excellent conductor. In 1898 at the age of 23 he composed the African Suite. Danse Nègre is the last of the four movements that make up the African Suite, Op. 35 (proceeded by Introduction, A Negro Love Song, and Valse). Coleridge-Taylor saw it as his mission in life to help establish the dignity of the black man. He was greatly influenced by black American poet P. L. Dunbar. He made three successful visits to the United States to great acclaim. In 1904, on his first USA tour he was received by President Theodore Roosevelt at the White House. Above all, though, Samuel Coleridge-Taylor was known as a man of great dignity and patience.

Accordion - Level 1 - Digital Download SKU: A0.904271 Composed by Lars Ek. Folk,World. Score. 2 pages. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1910883. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.904271). Lars Ek is one of Sweden's best accordionists, and include known for its fine interpretation of Pietro Frosini, Nisse Lind and even his own more than 100 compositions! Lars Ek is from Stockholm and started playing the accordion as a 5 year old and a year later - in 1953 he made radio debut! TV debut in 1958! Lars is working as an accordionist in different contexts, including has he worked as a teacher, accompanist for numerous artists and toured a lot in Sweden and abroad. He has also toured with his popular Hot-trio and as a solo accordionist in Europe, Asia and North America! Lars has over the years recorded several records, which he actually managed to reflect the old accordion masters' compositions! Lars Ek is the initiator of Frosinisociety founded in 1985, which is to preserve the old accordion music. Lars is now as chairman of the International Frosinisociety and is one of the founders of The World Accordion Music Expo in Ransäter Sweden! The International Frosinisociety he makes through the site www.frosinisociety.org a huge fine job of promote the accordions development and popularity both in Sweden and abroad. Lars works alongside music by an artist agency Music & Underhållningsskrädderiet AB, which he runs together with the family since inception in 1980.

High Voice,Vocal Solo - Level 2 - Digital Download SKU: A0.1141419 Composed by Todd Marchand. Christian,Christmas,Religious,Sacred. 5 pages. Con Spirito Music #741745. Published by Con Spirito Music (A0.1141419). William Blake (1757-1827), a seminal figure in the history of the poetry and visual art of the Romantic Age, published the lyric poem The Lamb in his collection, Songs of Innocence, in 1789.The Lamb is presented as from the viewpoint of, and in the voice of, a child. In the first stanza, the child asks the lamb if it knows its Creator; in the second, it tells the creature, by means of metaphor, that its Creator is the Lord Jesus Christ, who like the lamb took on the flesh of a created being, “little,� “meek,� and “mild.� The child declares that he/she shares with the creature the name of the One who is, in Christian belief, both the sacrificial Lamb and the Shepherd of his flock. Finally, the child pronounces a benediction: “Little lamb, God bless thee!�This new setting of The Lamb for voice and keyboard accompaniment is intended to evoke the simplicity of the text, and therefore should be performed simply yet expressively, with subtle rubato (flexibility in tempo) to give emphasis to the text.Little lamb, who made thee? / Dost thou know who made thee,Gave thee life, and bid thee feed / By the stream and o'er the mead;Gave thee clothing of delight, / Softest clothing, woolly, bright;Gave thee such a tender voice, / Making all the vales rejoice?Little lamb, who made thee? / Dost thou know who made thee?Little lamb, I'll tell thee; / Little lamb, I'll tell thee:He is called by thy name, / For He calls Himself a Lamb.He is meek, and He is mild, / He became a little child.I a child, and thou a lamb, / We are called by His name.Little lamb, God bless thee! / Little lamb, God bless thee!Soprano range C4-G5; Tenor range C3-G4©Copyright 2022 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com

Instrumental Duet,Piano Guitar,Instrumental Duet,Piano,Violin - Level 2 - Digital Download SKU: A0.801587 Composed by Connie Boss. Celtic,Christian,Easter,Sacred. Score and parts. 3 pages. Connie Boss #6246917. Published by Connie Boss (A0.801587). This moving song is based on The Passion of the Lord. It is for violin and piano. The pain and suffering He endured to save us all from sin. Crucified though innocent. cdboss@cvalley.net  lyrics below:Crucified(song for Good Friday)Composed by Connie Boss Refrain:Crucified, Lord they crucified you.Crucified, Lord they crucified you. V1The people shout.     Let’s crucify!He’s not our King.     So, He must dieBut Pilate said.           Is He the one?I see no crime.           That He has done. Refrain:Crucified, Lord they crucified you.Crucified, Lord they crucified you. V2With piercing thorns.   A crown of grief!Carried a cross.             To CalvaryThey nail your hands.  And then your feetUpon the cross.         For all to see Refrain:Crucified, Lord they crucified you.Crucified, Lord they crucified you. V3Then you cried out.         With your last breathForgive them God.           Then came your deathThe sky grows dark.           The earth shakesThough terrified.               They all exclaim! He truly is.                         The son of God! Crucified, Lord they crucified you.

Cello Solo - Level 2 - Digital Download SKU: A0.1117302 By Jorge Anckermann. By Jorge Anckermann. Arranged by Vanessa Baez Menendez. 20th Century,Historic,Latin,Multicultural,Traditional,World. Individual part. 2 pages. Madeleine Duba / Watusi Dance co ltd #718876. Published by Madeleine Duba / Watusi Dance co ltd (A0.1117302). Music notes featuring Cuban 20th century Cello Duets available to print and play instantly. A wide range from 1900's - 1960's of Cuban genres like Bolero's, Cha Cha's, Danzon's and Son's, shop our newest and most popular two cellos sheet music such as Besame Mucho (1941) - Cello Duet, Quiza�s, Quiza�s, Quiza�s (1947) - Cello Duet and Frenesi (1939) - Cello Duet, Con tigo Aprendi (1967) - Cello Duet, Besame Mucho (1941) - Cello Duet, Sabor a Mi (1959) - Cello Duet and others. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Composer and the song: Jorge Anckermann (22 March 1877 – 3 February 1941) was a Cuban pianist, composer and bandleader. Havana-born, he started in music at eight with his father. At age ten he was able to substitute in a trio. In 1892, he went to Mexico as musical director of the bufo company of Nachos Lopez, visiting various Mexican states, and touring California.[1] Anckermann lived in Mexico City for a number of years, teaching music. In Cuba, he was for many years the musical director of leading theatres. He composed and produced pieces for zarzuelas, reviews and comedies. He also composed boleros, and was apparently the originator of the guajira. The grand theatre Alhambra was the scene of his greatest hits, such as La isla de cotorras. Famous pieces include El arroyo que murmura; El quitrín; Flor de Yumurí; Un bolero en la noche.[2] His father, Carlos Anckermann, and his brother, Fernando Anckermann, were also prominent composers and musicians.

Baritone Saxophone,Piano - Level 4 - Digital Download SKU: A0.549729 Composed by Gabriel Faure. Arranged by James M. Guthrie, ASCAP. Contemporary,Multicultural,Romantic Period,Standards,World. Score and part. 22 pages. Jmsgu3 #3531407. Published by jmsgu3 (A0.549729). Duration: ca. 7:00, Score: 12 pages, solo part: 2 pages, piano: 7 pages. An epic choice for a recital or funeral. Fauré Background: In the first place, Gabriel Fauré 1845 –1924) was a famous French composer, musician, and educator. Furthermore, his musical ideas influenced numerous 20th-century composers. Therefore, historians regard him as one of the leading French composers of his time. Famous Works: Among his most famous compositions, by and large, are the Pavane, Elegie (op. 24), Requiem, Sicilienne, Nocturnes for piano and the songs Après un rêve and Clair de lune. Inasmuch as his early works are well-known and relatively easy to perform, Faure’s music seems to have become gradually more difficult during his later life. In other words, his later works are somewhat esoteric and complex. Early Home Life: Fauré was in fact born into a well-cultivated family. His aptitude for music became particularly clear early on - when he was still a boy. Under these circumstances, his parents sent him to a music institution in Paris. Consequently, the training he received there prepared him for a career as a church organist and choirmaster. Middle Life: It is important to realize that Fauré studied music composition with the French musical mastermind Camille Saint-Saëns, who became his lifelong friend. Fauré eventually graduated from college and earned a living as an organist and educator. During this period, he had, on the whole, little time to compose. He consequently became more successful in his middle age, becoming organist of the Église de la Madeleine and director of the Paris Conservatoire. However, he still needed time on balance for composing. Therefore, given these points, he withdrew to the countryside during the summer to focus on composing. Later Life: Fauré was, in the final analysis, recognized in France as the foremost French composer of his time. The French government held a national musical tribute particularly for him in Paris. The French President notably headed the ceremony. Elsewhere, on the contrary, Fauré's music was slow to become accepted, except of course, in England. Legacy: Historians often describe Fauré's music in general as a transition between the end of Romanticism and the beginning of modernism. As an illustration, when Fauré was born, Chopin was still composing. However, by the time of Fauré's death, jazz and atonal music, in particular, had come to fruition. Fauré, by all means, suffered from increasing deafness in his later years. Some musicologists believe this to be indeed the cause of the esoteric nature of Faure’s final works.

Accordion - Digital Download SKU: A0.1068886 Composed by Lars Ek. Folk,World. Full Performance. Duration 209. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1905197. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068886). Lars Ek is one of Sweden's best accordionists, and include known for its fine interpretation of Pietro Frosini, Nisse Lind and even his own more than 100 compositions! Lars Ek is from Stockholm and started playing the accordion as a 5 year old and a year later - in 1953 he made radio debut! TV debut in 1958! Lars is working as an accordionist in different contexts, including has he worked as a teacher, accompanist for numerous artists and toured a lot in Sweden and abroad. He has also toured with his popular Hot-trio and as a solo accordionist in Europe, Asia and North America! Lars has over the years recorded several records, which he actually managed to reflect the old accordion masters' compositions! Lars Ek is the initiator of Frosinisociety founded in 1985, which is to preserve the old accordion music. Lars is now as chairman of the International Frosinisociety and is one of the founders of The World Accordion Music Expo in Ransäter Sweden! The International Frosinisociety he makes through the site www.frosinisociety.org a huge fine job of promote the accordions development and popularity both in Sweden and abroad. Lars works alongside music by an artist agency Music & Underhållningsskrädderiet AB, which he runs together with the family since inception in 1980.

Instrumental Duet Flute,Instrumental Duet,Oboe - Level 4 - Digital Download SKU: A0.592137 Composed by David McKeown. 20th Century,Contemporary,Standards. Score and parts. 4 pages. David McKeown #6354221. Published by David McKeown (A0.592137). Frankie the Frank Frankenstein is a fun and original duet written by David McKeown for one Flute and one Oboe. Frankie the Frank Frankenstein is one in a series of ten Halloween-themed duets each presenting a portrait of a different Halloween character. All ten can be bought together in one collection by searching for 10 Spooky Halloween Duets for Flute and Oboe.Frankie is a straightforward kinda monster. He tells it as he sees it; he likes to speak his mind. Unfortunately, he is constructed from so many and various spare parts that he isn’t always entirely sure which eyes he saw it through, which mind to believe, or indeed from which mouth to say it. Frank the Frankie Frankenstein is suitable for players at an advanced intermediate level and above, with the accessible key and range balanced by the changing styles and tempo and some syncopated rhythms. With a playing-time of around three and a half minutes, Frankie the Frank Frankenstein is a perfect upbeat addition to any performance program, formal or informal. Click the link above to listen to a full performance of the clarinet version of this duet on YouTube.To keep up with new titles, search for Dave McKeown Sheet Music Downloads on Facebook.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

Voice and piano - Medium - Digital Download SKU: MQ.8492-08E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-08E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-08E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Piano,Viola - Level 5 - Digital Download SKU: A0.1039822 Composed by David M. Sterrett. Classical,Contemporary,Sacred. Score and part. 49 pages. David Sterrett Music #644666. Published by David Sterrett Music (A0.1039822). This piece depicts the story of the Penitent Thief, one of the two other men who hung on a cross beside Jesus, as told in the Bible: One of the thieves who were hanged by Jesus was hurling abuse at him, saying, 'Are you not the Christ? Save yourself and us!' But the other answered, and rebuking him, said, 'Do you not even fear God, since you are under the same sentence of condemnation? We indeed are suffering justly, for we are receiving what we deserve for our deeds; but this man has done nothing wrong.' And he was saying, 'Jesus, remember me when you come into your kingdom!' And Jesus said to him, 'Truly I say to you, today you will be with me in Paradise.' (Luke 23:39-43) I initially set out to portray the scene from a narrative perspective. As I began composing and felt the story resonate more and more with my own spiritual experiences, I decided to shift the focus onto what I imagined the emotional and spiritual experiences of the Penitent Thief were during this brief but transformative interaction with Jesus right before death. While the passage does not describe his internal experience, I imagine that Jesus’ extension of kindness and mercy, along with the promise “Today you will be with me in Paradise,� profoundly impacted him. In composing this, I hoped to convey that transformative encounter. Ultimately, The Penitent Thief depicts an experience familiar to many Christians: that of a lost and broken soul discovering Jesus offers the truth and salvation they long for. To capture the element of dialog, I envisioned the Viola as the Penitent Thief and the Piano as Jesus. Each has a distinct theme/motif. On the cross, the Penitent Thief is consumed by shame, sorrow, and fear of death. His demeanor shifts between moments of quiet contemplation and visceral emotional outbursts. Facing imminent death, he yearns for redemption and truth. He looks at Jesus hanging next to him, blameless and holy. He feels admiration and praise and is overcome by penitence and humility. He calls out, half in desperation, half in worship: “Jesus, remember me when you come into your Kingdom…� Jesus, moved by his penitence and belief, responds with kindness and mercy, extending salvation: Today you will be with me in Paradise.� The Penitent Thief imagines Paradise and hopes for this to hold true. His hope becomes briefly overshadowed by lingering doubt and fear. Silence falls. Then, as the hour of death arrives, the man reaches out again and clings to Jesus’ promise, this time with more desperation. His soul suddenly becomes filled with joy, finding the fulfillment of longing, bound with Christ, and knowing that he will soon be at rest in Paradise. At peace, the man gazes upward, gives his final sputtering breath, and his soul departs this world.

Voice and piano - Medium - Digital Download SKU: MQ.8492-19E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-19E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-19E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Brass Ensemble - Digital Download SKU: A0.768517 Composed by Victor Ewald. Arranged by Edited by Roar Kvam. Romantic Period. Score and parts. 166 pages. KVAMusic Edition #5730969. Published by KVAMusic Edition (A0.768517). Victor Ewald 27 November 1860 - 16 April 1935 Ewald was a Russian composer of music, mainly for conical brass instruments. He was born in Saint Petersburg and died in Leningrad. He also collected and published Russian folk songs. Ewald’s professional life, like that of many of his musical contemporaries, was in an entirely different field; that of a civil engineer, in which he excelled, being appointed in 1900 as professor and manager of the Faculty of Construction Materials at the Institute of Civil Engineers. Brass players however are indebted to him for something very different – a series of quintets which have become a staple of the repertoire and which represent almost the only, and certainly the most extended examples of original literature in the Romantic style. Ewald’s formal musical training began in 1872 when he enrolled at the St Petersburg Conservatory at the age of twelve. Founded in 1861 by Anton Rubenstein, this institution was the first of its kind in Russia and it was here that Ewald received lessons in cornet, piano, horn, cello, harmony and composition.As an adult he worked alongside fellow musical nationalists known collectively as the Mighty Handful-Borodin, Mily Balakirev, Ce�sar Cui, Modest Mussorgsky and the most famous of all, Nicolai Rimsky-Korsakov. All of these men had day jobs in non-musical fields. Ewald’s contributions as a composer reflected an abiding love for brass instruments for which he wrote his quintets scored originally for two cornets, alto horn, baritone horn and tuba. I've edited these four quartets using Ewald's original instrumentation, but there are also separate substitute parts for the modern brass quintet (2 trumpets, horn in F, trombone and tuba).

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1267531 Composed by John W. Fisher. 21st Century,A Cappella,Christian,Contemporary,Religious. Octavo. 2 pages. John Fisher #860067. Published by John Fisher (A0.1267531). This is the fourth in my series of Sermon Songs. On June 18, 2023, at First Presbyterian Church, Fort Myers, Florida, Rev. Roger Peterson used the text Acts 12 : 1-19 in an inspiring sermon - BELIEVING PRAYER. James had been killed, and Herod, grandson of Herod the Great, who had spoken to the Wise Men, put Peter in chains and had him heavily guarded so he could be executed after the Feast of the Unleavened Bread.  The early church prayed, and prayed for Peter, and an angel lead Peter out and he at first thought it was a dream. When he finally realized he was free, he knocked and knocked on doors until a faithful girl named Rhoda let him join in what  would be his long journey of spreading the Gospel. Herod, by the way had the guards killed, but when he acted like a god, God got him but good.In these perilous times, I would hope that this hymn arrangement could be sung over and over.  ( Check out my other published Sermon Songs - SING TO THE LORD,  MOSES AND MIRIAM,  and  BARNABAS.

Instrumental Duet Bassoon,Instrumental Duet,Oboe - Level 4 - Digital Download SKU: A0.592142 Composed by David McKeown. 20th Century,Concert,Contemporary,Halloween,Standards. Score and parts. 4 pages. David McKeown #6354231. Published by David McKeown (A0.592142). Frankie the Frank Frankenstein is a fun and original duet written by David McKeown for one Oboe and one Bassoon. Frankie the Frank Frankenstein is one in a series of ten Halloween-themed duets each presenting a portrait of a different Halloween character. All ten can be bought together in one collection by searching for 10 Spooky Halloween Duets for Oboe and Bassoon.Frankie is a straightforward kinda monster. He tells it as he sees it; he likes to speak his mind. Unfortunately, he is constructed from so many and various spare parts that he isn’t always entirely sure which eyes he saw it through, which mind to believe, or indeed from which mouth to say it. Frank the Frankie Frankenstein is suitable for players at an advanced intermediate level and above, with the accessible key and range balanced by the changing styles and tempo and some syncopated rhythms. With a playing-time of around three and a half minutes, Frankie the Frank Frankenstein is a perfect upbeat addition to any performance program, formal or informal. Click the link above to listen to a full performance of the clarinet version of this duet on YouTube.To keep up with new titles, search for Dave McKeown Sheet Music Downloads on Facebook.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203