Double Bass,String Bass Solo - Level 3 - Digital Download SKU: A0.780036 Composed by Sir Arthur Seymour Sullivan. Arranged by Graham Boag. Concert,Standards. Individual part. 15 pages. Graham Boag #5023179. Published by Graham Boag (A0.780036). The Lost Chord is a song composed by Arthur Sullivan in 1877  at the bedside of his brother Fred during Fred's last illness.  The manuscript is dated 13 January 1877; Fred Sullivan died five days later.  The lyric was written as a poem by Adelaide Anne Procter called A Lost Chord,  published in 1858 in The English Woman's Journal.   The song was immediately successful and became particularly associated with  American contralto Antoinette Sterling, with Sullivan's close friend and mistress, Fanny Ronalds,  and with British contralto Clara Butt.   Sullivan was proud of the song and later noted:  I have composed much music since then,  but have never written a second Lost Chord.  Many singers have recorded the song, including Enrico Caruso, who sang it at the  Metropolitan Opera House on 29 April 1912 at a benefit concert for families of victims  of the Titanic disaster.   The piece has endured as one of Sullivan's best-known songs,  and the setting is still performed today.  .

Piano,Vocal,Voice - Digital Download SKU: A0.1022881 Composed by Andy Fitzpatrick, Will Merriman. Arranged by Andy Fitzpatrick. Country,Jazz,Pop,Rock. Score. 5 pages. Aindriu Mac Giolla Padraig #3508705. Published by Aindriu Mac Giolla Padraig (A0.1022881). From the album Antoinette Plaza by Andy Fitzpatrick arranged for piano/vocal/guitar. With vocal melody, lyrics, piano accompaniment, chord names.

Piano,Vocal,Voice - Digital Download SKU: A0.1022876 Composed by Andy Fitzpatrick, Seán A. McDermott. Arranged by Andy Fitzpatrick. Country,Pop,Rock. Score. 5 pages. Aindriu Mac Giolla Padraig #3504447. Published by Aindriu Mac Giolla Padraig (A0.1022876). From the album Antoinette Plaza by Andy Fitzpatrick arranged for piano/vocal/guitar. With vocal melody, lyrics, piano accompaniment, chord names and guitar chord diagrams.

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1022878 Composed by Andy Fitzpatrick. Country,Jazz,Pop,Rock. Score. 5 pages. Aindriu Mac Giolla Padraig #3508699. Published by Aindriu Mac Giolla Padraig (A0.1022878). From the album Antoinette Plaza by Andy Fitzpatrick arranged for piano/vocal/guitar. With vocal melody, lyrics, piano accompaniment, chord names. .

Flute Duet Flute - Level 2 - Digital Download SKU: A0.1430646 Composed by Marie Antoinette of France. Arranged by Martín Figueroa Poblete. Baroque,Classical,Romantic Period. Score. 6 pages. Martín Figueroa Poblete #1011156. Published by Martín Figueroa Poblete (A0.1430646). Romance (18th century song) C'est mon ami! for Flute and Harp, originally for Soprano (or Mezzo) and Piano.

Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.768508 Composed by MarcAntoine Charpentier. Arranged by Roar Kvam. Baroque,Christian,Christmas,Sacred. Octavo. 38 pages. KVAMusic Edition #4717677. Published by KVAMusic Edition (A0.768508). The Messe de Minuit was written around 1694 for the Jesuit church of Saint-Louis in Paris.What is remarkable about this mass is the use of ten French noëls (Christmas carols) in the composition. In the liturgy the birth of Christ is celebrated with three masses: the first during the night of December 24th, the second in the early morning of December 25th, and the third on the day itself. A special atmosphere surrounds the first of these masses on account of the midnight hour, and so Charpen­tier gave special expression to the long observed practice in France of including popular Christmas carols in the Christmas liturgy by including them in the composition of his midnight mass. Although the Council of Trent had forbidden this kind of borrowing of secular melodies in masses in principle, long established customs were tolerated. Charpentier’s justly famous Messe de Minuit represents a perfect synthesis between the secular and liturgical, and between the popular and learned. Adapting the vast majority of the Latin mass to French noëls, the Messe de Minuit’s fresnhess and joyful spirit perfectly represent Advent.  While Charpentier used ten different noël’s through the course of the work, the most serious moment of the mass, the statements of Christ’s incarnation, his mortal existence, and his death under Pontius Pilate, is given wholly original, appropriately sober music.

Chamber Orchestra - Level 5 - Digital Download SKU: A0.742472 Composed by Jean Phillipe Rameau. Arranged by Arte Nova Music Lab. Baroque,Concert,Standards,World. Score and parts. 15 pages. Arte Nova Music Lab #4600759. Published by Arte Nova Music Lab (A0.742472). Les Indes galantes (French: The Amorous Indies) Opéra-ballet with a prologue and two entrées. Choreography: Louis Dupré. Music: Jean-Philippe Rameau. Libretto: Louis Fuzelier. Sets: Giovanni-Niccolò Servandoni. First performance: 23 August 1735, Théâtre de l'Académie de Musique, Paris. Principals: David Dumoulin, Louis Dupré, M. le Breton, M. Javellier, Marie Sallé. The premiere, including only the prologue and the first two of its four entrées (acts), was staged by the Académie Royale de Musique at itstheatre in the Palais-Royal in Paris on 23 August 1735, starring the leading singers of the Opéra, Marie Antier, Marie Pélissier, Mlle Errémans, Mlle Petitpas, Denis-François Tribou, Pierre Jélyotte, and Claude-Louis-Dominique Chassé de Chinais, and the dancers Marie Sallé and Louis Dupré. Michel Blondy provided the choreography. The ballet's Premier Menuet was used in the soundtrack of the 2006 film Marie Antoinette. Prologue: The palace of Hebe in the background and her gardens in the wings Hebe, goddess of youth, summons her followers to take part in a festival (Air: Vous, qui d'Hébé suivez les lois). Young French, Spanish, Italians and Poles rush to celebrate with a series of dances, including a musette. The ballet is interrupted by the noise of drums and trumpets. It is Bellona, goddess of war, who arrives on the stage accompanied by warriors bearing flags. Bellona calls on the youths to seek out military glory (Air and chorus: La Gloire vous appelle). Hebe prays to Cupid (L'Amour) to use his power to hold them back. Cupid descends on a cloud with his followers. He decides to abandon Europe in favour of the Indies, where love is more welcome. Taken from https://en.wikipedia.org/wiki/Les_Indes_galantes

Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.768507 Composed by MarcAntoine Charpentier. Arranged by Roar Kvam. Baroque,Christian,Christmas. Octavo. 112 pages. KVAMusic Edition #4717675. Published by KVAMusic Edition (A0.768507). The Messe de Minuit was written around 1694 for the Jesuit church of Saint-Louis in Paris.What is remarkable about this mass is the use of ten French noëls (Christmas carols) in the composition. In the liturgy the birth of Christ is celebrated with three masses: the first during the night of December 24th, the second in the early morning of December 25th, and the third on the day itself. A special atmosphere surrounds the first of these masses on account of the midnight hour, and so Charpen­tier gave special expression to the long observed practice in France of including popular Christmas carols in the Christmas liturgy by including them in the composition of his midnight mass. Although the Council of Trent had forbidden this kind of borrowing of secular melodies in masses in principle, long established customs were tolerated. Charpentier’s justly famous Messe de Minuit represents a perfect synthesis between the secular and liturgical, and between the popular and learned. Adapting the vast majority of the Latin mass to French noëls, the Messe de Minuit’s fresnhess and joyful spirit perfectly represent Advent.  While Charpentier used ten different noël’s through the course of the work, the most serious moment of the mass, the statements of Christ’s incarnation, his mortal existence, and his death under Pontius Pilate, is given wholly original, appropriately sober music.

6 soloists, SATB choir, chamber orchestra (1[afl/pic] 1 2[1.bcl] 1 — 2 1 1 0 — 1 perc — hp, pf — str —Solo Voices — SATB Chorus) - Digital Download SKU: MQ.5969-E Composed by David Conte. Instrument part. 47 pages. E. C. Schirmer Music Company - Digital #5969-E. Published by E. C. Schirmer Music Company - Digital (MQ.5969-E). The Journey is a twenty-minute cantata extracted from the opera The Dreamers. The opera was commissioned and produced by the Sonoma City Opera in 1996; Antoinette Kuhry, producer; musical direction by John Miner; stage direction by Sanrda Bernhard. The Dreamers captures a formative moment in American history where characters are separated by their cultural and racial differences, and brought together by their dreams and their longing for a new home. The Journey was commissioned by the Oakland East Bay Symphony, Michael Morgan, conductor, and was premiered at the Paramount Theater in Oakland, CA on May 18th, 2001. To set the scene for the excerpt here entitled The Journey: The entire town of Sonoma is gathered at The Collonade Theater to watch an amateur production of Shakespeare's Othello. An unpleasant racial incident occurs which brings the performance to a halt. To smooth thingsover, a sing-a-long is proposed. The song chosen is My Old Kentucky Home by Stephen Foster. After a brief statement of that tune in the orchestra, the entire company enters a dream-state, as six characters from the opera, with commentary by the chorus, sing arias about home. Johnny Rowe, an American soldier stationed in Sonoma, serves as a kind of master-of-ceremonies. Black Sam is a freed slave working as a gambler in Sonoma to earn money to buy his wife out of slavery. Indian Princess Isadora is the last of her tribe. Jim and Mary Eastin have migrated to California from Kentucky. Lizzy Fine is a widow who sings a farewell to her departed husband. The finale of this sequence is an Octet, where all six characters and the men and women of the chorus sing their various texts together, ending with the words from Stephen Foster: Weep no more.

Composed by Antoinette Choate. Symbols, Tobacco, Vice, Temperance. Lester S. Levy Collection. 3 pages. Published by Johns Hopkins University Sheridan Libraries (LV.23661). - - - Johns Hopkins University Sheridan Libraries

Chamber Music, Quartet Oboe Quartet: 4 Oboes - Grade 1 - Digital Download SKU: FX.FX073206 Composed by Antoine Renard. Arranged by Michel Hanon. Arrangement. Classical. Score and Set of Parts. FLEX Editions - Digital Sheet Music #FX073206. Published by FLEX Editions - Digital Sheet Music (FX.FX073206). Instruments:Oboe Quartet: 4 Oboes; Difficuly Level: Grade 1; Duration: 1 mn 05 s; Musical Style: Classical; Category: Arrangement; Composer: Antoine RENARD; Arranger: Michel HANON.

Piano Trio,String Ensemble - Level 3 - Digital Download SKU: A0.843186 By Dj Antoine. By Antoine Konrad, Craig Scott Smart, Craig Smart, Fabio Antonali, Fabio Antoniali, Jenson David Aubrey Vaughan, Matt James, Matthew James Humphrey, and Mohombi Moupondo. Arranged by Dico. Pop,Standards,Wedding. Score and parts. 8 pages. Dico #6871241. Published by Dico (A0.843186). WEDDING SERIES - a set of popular songs and wedding standards that I have arranged for years. The formations are varied, from duos to orchestras with choir. The majority are mixed/flexible sextets in which some instruments can be replaced and the ensembles can be totally changed. Some arrangements have shortened versions. These options are provided in my catalogue.

Flute Duet Flute - Level 1 - Digital Download SKU: A0.1278652 Composed by Marc-Antoine Charpentier. Arranged by Lynette Auberjeunois. Baroque,Chamber,Classical,Contest,Festival,Wedding. Score. 5 pages. Flute Files Publishing #870286. Published by Flute Files Publishing (A0.1278652). Prelude from Te Deum flute duet sheet music.  Composed by Marc-Antoine Charpentier.  Arranged by Lynette Auberjeunois for late beginner level.  Digital download includes a two page flute duet score in the key of F.  Range: Flute 1: C2 - D3, Flute 2: A1 - F2.  Published by Flute Files Publishing (CL62-1026).

Mixed choir (SATB) SKU: M2.MOS-80144 Composed by Antoine de Longueval. Das Chorwerk 144. Möseler Verlag #MOS 80144. Published by Möseler Verlag (M2.MOS-80144). Es ist zweifellos ein paradoxer Umstand, dass ein Komponist, uber dessen Leben so gut wie nichts bekannt ist und von dem allein drei Kompositionen uberliefert sind, mit einem dieser Werke die Entwicklung einer ganzen musikalischen Gattung entscheidend gepragt hat. Hierbei handelt es sich um den franzosischen Hofmusiker Antoine de Longueval, dessen kurz nach 1500 in Italien entstandene Passionsvertonung bis in das fruhe 17. Jahrhundert hinein insbesondere im protestantischen Deutschland sich nicht nur grosser Beliebtheit erfreute und eine weite Verbreitung erfuhr, sondern auch hinsichtlich des neuen musikalischen Stils (motettisch durchkomponiert) wie der textlichen Fassung (Passionsharmonie) fur die gesamte Geschichte der Passionskomposition von grossem Einfluss sein sollte. Doch wahrend in Italien an eine Auffuhrung einer mehrstim- migen Passionsharmonie in liturgischem Rahmen nicht zu denken war, hatte im evangelischen Deutschland die durch die Reformation hervorgerufene neue theologische Orientierung auch Auswirkungen auf die Passionskomposition gehabt. Hier wurde Longuevals Werk - aus bislang unerklarlichen Grunden nun aber uberwiegend ohne Autorenangabe oder Jacob Obrecht zugeschrieben - in der Folge nicht nur in zahlreichen kirchenmusikalischen Handschriften vor allem Mitteldeutschlands uberliefert; sie stieg in der Geschichte der Passionsvertonung sogar zu einer Art Kompositionsmodell auf, das entweder unter leichten Veranderungen weiter tradiert wurde oder als Ausgangspunkt fur zahlreiche Neuschopfungen diente. Von der durchkomponierten Summa passionis Longuevals und der responsorialen Passion Johann Walters her lasst sich jedenfalls die gesamte Gattungsgeschichte der deutschen Passion des 16. und fruhen 17. Jahrhunderts verstehen. Vom geschichtlichen Ruhm dieser kompositorischen Neuerungen profitierte jedoch lange Zeit Jacob Obrecht, dem die Passionsvertonung erstmals in Georg Rhaus Wittenberger Sammeldruck Selectae harmoniae quatuor vocum de passione Domini von 1538 irrtumlich zugeschrieben wurde, und tatsachlich galt seine Ausgabe fortan als die fruheste und damit massgebliche Quelle. Doch sind drei handschriftliche ausserdeutsche Uberlieferungen unter dem Namen Longuevals in die Zeit vor Rhaus Druck zu datieren; ihnen verdanken wir genaue Auskunft uber die Entstehungsgeschichte dieses aussergewohnlichen Werkes. Entstanden ist Longuevals Komposition hochstwahrscheinlich wahrend seines knapp einjahrigen Aufenthaltes am Hof zu Ferrara im Jahre 1504, wo sie ahnlich wie Josquin Desprez' grosse dreiteilige Motette Miserere mei Deus ... den geistlichen Neigungen des Herzogs entsprochen haben durfte. ... Rainer Heyink.