Bassoon,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.1363829 By Frank Leblois (bassoon) and Pavel Eret (violin). By David Warin Solomons. Contemporary,Medieval. 4 pages. David Warin Solomons #948227. Published by David Warin Solomons (A0.1363829). Instrumental duo inspired by the poem Rosa Divina by Sor Juana Inez de la Cruz (a Mexican nun and poet from the 17th century). performed by Pavel Eret and Franck LeBloisThe poem explores the mystery of the rose, which deceives us in its life and teaches us in its death. The music is written with a mediaeval feel. The mode is Dorian.Rosa divina que en gentil cultura eres, con tu fragrante sutileza.Magisterio purpureo en la belleza, enseñanza nevada a la hermosura.Amago de la humana arquitectura, ejemplo de la vana gentileza.En cuyo ser unio naturaleza la cuna alegre y triste sepultura,cuan altiva en tu pompa premusida soberbia.El riesgo de morir desdeñas.Y luego desmayada y encogida.De tu caduco ser das mustias señas.Con que con docta muerte y necia vida,viviendo engañas, muriendo enseñas.Divine rose, you who are so finely cultivated with yourfragrant sweetness and magisterial purple, teaching snowy white beauty.You are the image of human architecture,in whose being nature is united.You have a happy grave and you scorn death in your pride.Then struck down, you teach us in your frailty.Your life is vain, you deceive us in your life.Your death is learnèd, you teach us in your death.

Concert Band - Level 5 - Digital Download SKU: A0.1022829 Composed by Devon Williams. Contemporary,Instructional,Standards. Score and Parts. 89 pages. Devon Williams #6560657. Published by Devon Williams (A0.1022829). To the director and band, please play this with passion and feeling. This piece was written as a way to express my feelings towards the death of George Floyd. His death was unnecessary and it sparked a movement for African-Americans. As a fellow African-American, my feelings ranged from fear, pain, and even anger. After his death, I had the inspiration to write something that will get the audience's attention. It is repetitive because the treatment and even death of my fellow African-Americans continue to happen. I ask that when you play this, try to put yourself in the shoes of African-Americans and play your part with the feeling that goes with each movement. Thank you so much for making this piece come to life! .

Brass Ensemble - Level 3 - Digital Download SKU: A0.1027894 Composed by William Elsom. Contemporary. Score and parts. 46 pages. Will Elsom #3053855. Published by Will Elsom (A0.1027894). Programme Notes Boudicca became the Queen of the Iceni upon the death of her husband, Prasutagus. The Iceni had lived in relative peace with the Romans, with Prasutagus living as a client king, paying tribute to Rome. The Romans refused to accept a woman as the ruler, and sought to assume total control. To demonstrate its superiority, a Roman Legion attacked the Iceni, captured Boudicca and made her watch as her daughters were raped. She sought revenge, allying the Iceni with the Trinovantes under her command, and wreaked havoc, destroying many Roman settlements. Boudicca was only stopped when Rome sent one of the best generals of the time, Seutonius Paulinus. Seutonius has been depicted offering Boudicca surrender with honour and her life, but when she rejected this, his tactical acumen proved superior, and all the Iceni and Trinovantes were wiped out. 1 – Boudicca Unites the Tribes The piece opens with the initial statement of Boudicca’s theme. Figure 3 depicts Boudicca’s reign as the leader of the Iceni, interspersed with a sadder theme depicting her lonely widowhood. Figure 4 sees the tribes called together with a drinking song and Figure 5 is the war cry, as Boudicca gives a rousing speech, first to her own warriors then to the Trinovantes. The second time bar before Figure 7 sees the tribes fall into a restless sleep. Amid early morning mists, Figure 7 sees restless horses, with distant fanfares heard, signalling the coming of the Romans. The Romans main theme is at Figure 8, with a constant fanfare over the top, signalling the confidence of the leaders. Figure 10 sees the Iceni and Trinovantes coming slowly out of hiding, and Boudicca’s theme growing in volume until the death chords signify the tribes have prevailed. 2. The Bards Sing The tribes sing a hymn to an unnamed Pagan God. At Figure 13, the Euphonium develops Boudicca’s theme depicting Taranis, the Bard of the Iceni, singing wistfully of happier times. He then makes an impassioned speech for peace, before cutting off in mid sentence. He then sits quietly (Figure 16) fearing the future. Figure 17 gives a euphoric and hopeful rendition of the hymn, as if Taranis has not been heard. 3 – Epping NB: It is my piece, and I say Epping is as credible as anywhere as the site of the final battle, and will not enter into any correspondence on the matter! A fanfare awakens the two tribes. Figure 18 sees the tribes prepare for a final battle, and the repeated section depicts two victories at Verulanium (St Albans) and Londinium (London – then a small barracks). At Figure 20 Taranis has a vision, and tries to change Boudicca’s mind about another attack. Boudicca listens to him, but tells him the die is cast, and there is no going back. Death or Glory… The war cry ensues at Figure 21, but at Figure 22 it is the Romans’ theme heard, and the death chords (Figure 24) signify that it is the two tribes that are being slaughtered this time. Brave souls (Repiano and Flugel at 24) fight on in vain to allow Boudicca to escape. At Figure 25 Boudicca prays, but realising all is lost, at Figure 26 drinks poison. As she dies, the last thing this brave British heroine hears is the sound of the Roman’s theme, signifying Seutonius’ total victory.   William Elsom, December 2004

Clarinet,Instrumental Duet,Violin - Level 3 - Digital Download SKU: A0.1363832 Composed by David Warin Solomons. Contemporary,Medieval. 4 pages. David Warin Solomons #948230. Published by David Warin Solomons (A0.1363832). Instrumental duo inspired by the poem Rosa Divina by Sor Juana Inez de la Cruz (a Mexican nun and poet from the 17th century). The poem explores the mystery of the rose, which deceives us in its life and teaches us in its death. The music is written with a mediaeval feel and at one point, for special effect, provides a startling three note phrase of parallel fifths. The mode is Dorian.Rosa divina que en gentil cultura eres, con tu fragrante sutileza.Magisterio purpureo en la belleza, enseñanza nevada a la hermosura.Amago de la humana arquitectura, ejemplo de la vana gentileza.En cuyo ser unio naturaleza la cuna alegre y triste sepultura,cuan altiva en tu pompa premusida soberbia.El riesgo de morir desdeñas.Y luego desmayada y encogida.De tu caduco ser das mustias señas.Con que con docta muerte y necia vida,viviendo engañas, muriendo enseñas.Divine rose, you who are so finely cultivated with yourfragrant sweetness and magisterial purple, teaching snowy white beauty.You are the image of human architecture,in whose being nature is united.You have a happy grave and you scorn death in your pride.Then struck down, you teach us in your frailty.Your life is vain, you deceive us in your life.Your death is learnèd, you teach us in your death.

Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1501013 By Richard St. Clair. By Richard St. Clair. Arranged by Richard St. Clair. A Cappella,Christian,Classical,Praise & Worship,Religious. 14 pages. Richard St. Clair #1076970. Published by Richard St. Clair (A0.1501013). This is a Latin motet, duration about 7 minutes, on poetry by the 4th-5th century Christian poet Prudentius. The music for this motet is highly animated. The full text follows, with an English translation.Latin Text:1. Christus nostra caro est, mihi solvitur et mihi surgit.Solvor morte mea, Christi virtute resurgo;cum moritur Christus, cum flebiliter tumulatur,me video: e tumulo cum jam remeabilis adstat,cerno Deum.2. Nosco meum in Christo corpus resurgere; quid medesperare jubes? veniam, quibus ille revenitcalcata de morte viis; quod credimus hoc est.3. Pellite corde metum, mea membra, et credite vosmetcum Christo reditura Deo; nam vos gerit ille,et secum revocat; morbos ridete minaces;inflictos casus contemnite; tetra sepulcradespicite; exsurgens quo Christus provocat, ite.English Translation:1. Christ is of our flesh; for me His death, for me His Resurrection. If in death I am dissolved, through the power of Christ I shall rise again. When Christ suffers death, when amid tears He is laid in the tomb, I behold myself; and, when restored from the tomb He again stands before me, I gaze upon God. 2. I know that in Christ my body shall arise; why bid me, then, despair? For I shall go by that same path whereby my Lord returned, death trodden neath His feet; this is my creed. 3. Then banish, my limbs, all terror; and believe that with Christ our God you shall again return; for it is He that sustains you; He will call you to join Him. Laugh at the threats of sickness, scorn the blows of fate; despise the horrors of the tomb, and follow where the risen Christ summons. -- Prudentius (348 - after 405 AD), selections from his APOTHEOSIS.

Bassoon,Cello,Clarinet,Double Bass,Drums,Flute,Hand Percussion,Horn,Oboe,Piano,Timpani,Trombone,Trumpet,Viola,Violin - Digital Download SKU: A0.1070268 Composed by Tito Abeleda. 20th Century,Concert,Contemporary. Full Performance. Duration 630. Visionary Quest Records #5712567. Published by Visionary Quest Records (A0.1070268). L' heure de la Mort means the hour of death. L’ heure de la Mort allows one to to reflect, to contemplate, to grieve, and to ponder one's existence. Musicians, young and seasoned, will find this piece easily accessible and enjoyable for learning and performing. Audiences will identify with the musical emotionality conveyed in this piece as it takes its listeners on a vivid passionate journey filled with much pathos. L’ heure de la Mort not only embraces death but also takes listeners on an epic journey infused with courage, nobility, respect, and courage to overcome our greatest challenges. The piece begins with a dark, foreboding, expressive cello solo motif symbolizing death’s existence. Then it takes an epic climactic build to convey life’s journey with a sense of overcoming adversity as one does throughout life. The strings and woodwinds herald a sweeping triumphant melody while the brass rise gloriously heralding the joys of life. However, the return to the opening theme in the closing represents death’s natural, respectful inevitability, concluding this life as a step to moving onward to the hereafter.L' heure de la Mort (for Orchestra with Cello Solo) was composed by Tito Abeleda (1964 - ). Digital Download = 73 pages Level = Advanced IntermediateInstruments: Flute 1-2, Oboe, Clarinet 1-2, Bassoon1-2, Horn 1-4, Trumpet1-4, Trombone1-2, Timpani, Snare Drum, Bass Drum, Tubular Bells, Orchestral Bells, Cymbals, Piano, Violin 1-2, Viola 1-2, Violoncello Solo, Violoncello 1-2, ContrabassContact Tito for original compositions: http://bit.ly/TitoAbeleda_SoundBetterEmail: tito@visionaryquestrecords.comPRO: BMI.comFollow Tito on Social Media:Facebook: https://www.facebook.com/titoabeledaTwitter: https://twitter.com/titoabeledaInstagram: https://www.instagram.com/tabeledaYouTube: https://www.youtube.com/c/titoabeledaSpotify: http://bit.ly/TitoAbeleda-on-SpotifyiTunes/Apple Music: http://bit.ly/TitoAbeleda_iTunesSpecial Thanks to Ivan Siarbolin - photographer for sheet music cover.

Small Ensemble B-Flat Clarinet,Horn,Viola,Xylophone - Level 5 - Digital Download SKU: A0.1080531 Composed by William Brenner. Classical,Contemporary. Score and parts. 31 pages. William Brenner #684755. Published by William Brenner (A0.1080531). Nature Morte | by William Brenner (Still life) For quartet: Clarinet in Bb, Horn in F, Viola and Xylophone This is my final project for my 2nd semester in college. I hope you enjoy it! The piece explores complex musical writing and technical elements. My goal was to explore this kind of composition while following my typical way of writing music: expressing a story or an image through music. -------------------------------------------------------------------------------------------------------------------- Program note: Many times throughout history, cycles and elements of nature like birth, death and, of course, love have been extremely rich sources of inspiration for composers. However, even though it has been the main subject of many musical works in the past, it is still pretty rare for nature to be represented as a cycle used when describing humankind. Therefore, the goal of the piece Nature Morte is to not only show the cycle of life present in nature, but also address the cohabitation of death and life within this same cycle. Paintings by Jan Wijnants like Le repos des chasseurs aux faucons et Paysage avec bovins sur une route de campagne wonderfully illustrates this phenomena. This dutch painter often uses dead trees and big tree stumps in his work, which symbolizes typical fields and landscapes from the 17th century. This demonstration of coexistence between life and death, as well as this idea of cycles within life in nature, are the main sources of inspiration for this piece. Given that the idea of life and death within nature is inspired by motionless elements in visual art, it explains the chosen title: Nature morte (which could translate as “Still life�).

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.

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1390239 Composed by Patrick Rooney. 21st Century,Classical,Romantic Period,Sacred. Score. 8 pages. Patrick Rooney #973734. Published by Patrick Rooney (A0.1390239). A setting of the German biblical text, O tod, wie bitter bist du.  Performed at the University of Northern Colorado in 2012 by Kyle Griffin and Chase Loeb.German:O tod, wie bitter bist du, wenn an dich gendenket ein mensch,Der gute Tage und genug hat und ohne sorge lebet;Und dem es wohl geht in allen dingen ,und noch wohl essen mag!O Tod, wie bitter bist du.O tod, wie wohl tust du dem dürftigen, der da schwach und alt ist,der in allen sorgen steckt, und nichts bessers zu hoffen,noch zu erwarten hat! O tod, O tod, wie wohl tust du!English:O death, how bitter you are to the thoughts of a person at peace with his posses-sions, to a man undistracted and prospering in everything and still having strength to welcome a luxury.O death, how bitter you are!O death, how sweet you are to a person who is needy and lacking strength, who is in extreme old age and is anxious about everything and who is disobedient and has lost hope.O death, how sweet you are!

Instrumental Duet Harp,Instrumental Duet,Viola - Level 5 - Digital Download SKU: A0.1039821 Composed by David M. Sterrett. Classical,Contemporary,Sacred. Score and parts. 49 pages. David Sterrett Music #644665. Published by David Sterrett Music (A0.1039821). 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 Harp 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.

Piano Solo - Level 4 - Digital Download SKU: A0.1261733 Composed by Jonathan Simon. Arranged by John Fries. 20th Century,Broadway,Jazz,Musical/Show,Pop,Standards. Score. 2 pages. John Fries #854814. Published by John Fries (A0.1261733). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns. Thanks, John.  Our Love Is Here to Stay is a popular song and jazz standard composed by George Gershwin with lyrics by Ira Gershwin for the movie The Goldwyn Follies (1938). Love Is Here to Stay was the last musical composition George Gershwin completed before his death on July 11, 1937. Ira Gershwin wrote the lyrics after George's death as a tribute to his brother. Although George had not written a verse for the song, he did have an idea for it that both Ira and pianist Oscar Levant had heard before his death. When a verse was needed, Ira and Levant recalled what George had in mind.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1249433 Composed by Johann Sebastian Bach. Arranged by Regis Bookshar. Baroque,Chamber,Christian,Easter,Historic. 29 pages. Regis Bookshar #840537. Published by Regis Bookshar (A0.1249433). Three selections based on Christ lag in Todesbanden (Christ lay in death's bonds) (from Cantata No.   4, BMV   4) - Johann Sebastian Bach - Brass Quintet (2 Trps, 1 Hrn, 1 Trb, 1 Tuba) - Advanced/Intermediate - Digital Download.Cantata No.   4, BMV   4, Christ lag in Todesbanden (also spelled Todes Banden) (Christ lay in death's bonds) is a cantata for Easter written by Johann Sebastian Bach and is his earliest surviving Church Cantata. It was probably written in 1707 when he was 22 years old. It is a Chorale Cantata, a style in which both the text and music are based on a hymn. In this instance, the source was Martin Luther's hymn of the same name which became a main Easter hymn in German Lutheranism.Regis Bookshar has transcribed and arranged three selections based on this hymn tune, two from Bach's Cantata No.   4, BMV   4, and also his Chorale Prelude, BMV 625. They may be played individually or as a trilogy and each movement is more complex than the previous one. The first selection in this trilogy is the Chorale, Christ lag in Todesbanden, the final chorus from his Cantata No.   4, a straighforward four-part setting of the hymn (Regis has also added a fifth part). This is followed by Bach's Chorale Prelude, BMV 625, a piece from his Orgelbuchlein (Little Organ Book), a collection of 46 Preludes for organ, written almost exclusively during the 1708-1717 period, while Bach was court organist at Weiman. For the final selection, Regis has placed the polyphonic and imitative chorus, Es war ein wunderlicher Krieg, da Tod und Leben rungen (It was a strange battle, that death and life waged), which Bach had placed in the middle of his Cantata No.   4.This arrangement is for a Brass Quintet, consisting of 2 Bb Trumpets, 1 French Horn, 1 Trombone and 1 Tuba. Included are a score and a complete set of parts (29 pages).I hope you will enjoy playing these selections and please search for other arrangements by Regis Bookshar. There are numerous selections in a variety of styles, also available for purchase. I think you will be pleased with what you may find.

Piano and voice - Digital Download SKU: LV.837 Composed by Alfred Scott Gatty. Animals in human situations, Clothing & dress, Mothers & children, Obesity, Death, Storytelling, Fables. Lester S. Levy Collection. 6 pages. Published by Johns Hopkins University Sheridan Libraries (LV.837). A Sequence to the Three Little Pigs. Comic Song. Written and Composed by Alfred Scott Gatty. Published [n.d.] by Robert Cocks & Co., New Burlington St. in London. Composition of strophic with piano and voice instrumentation. Subject headings for this piece include Animals in human situations, Clothing & dress, Mothers & children, Obesity, Death, Storytelling, Fables. First line reads On the death of the three little Pigs, who all died of felodese.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1198582 Composed by Jonathan Simon. Arranged by John Fries. 20th Century,Broadway,Jazz,Musical/Show,Standards. Score. 1 pages. John Fries #797689. Published by John Fries (A0.1198582). Please contact me by email at jfries@ptd.net to make a special request or to find out all that I have to offer and to express your comments or concerns.  You can also type John Fries in the searchbar to see all I have to offer.  Love Is Here to Stay is a popular song and jazz standard composed by George Gershwin with lyrics by Ira Gershwin for the movie The Goldwyn Follies (1938). Love Is Here to Stay was the last musical composition George Gershwin completed before his death on July 11, 1937. Ira Gershwin wrote the lyrics after George's death as a tribute to his brother. Although George had not written a verse for the song, he did have an idea for it that both Ira and pianist Oscar Levant had heard before his death. When a verse was needed, Ira and Levant recalled what George had in mind.

Guitar,Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1442833 Composed by Catharina Josepha Sidney Pratten Edited by Keith Terrett. Arranged by Keith Terrett. 19th Century,Classical,Contest,Festival,Instructional,Romantic Period. Score. 7 pages. Keith Terrett #1022769. Published by Keith Terrett (A0.1442833). Catharina Josepha Pratten (15 November 1824 – 10 October 1895) was a German guitar virtuoso, composer, and teacher, also known as Madame Sidney Pratten. A legendary composer, virtuosa, editor and teacher ( among her pupils were the daughters of Queen Victoria!), she was born in Cologne/ Germany as Catharina Josepha Pelzer in 1824, toured as child prodigy with Giulio Regondi, married flutist and composer Robert Pratten and lived then until her death in 1895 in London.She was born Catharina Josepha Pelzer in Mülheim on 15 November 1824,[1] the daughter of the German guitarist and music teacher Ferdinand Pelzer. Her family moved to England in 1829.  On 24 September 1854, she married the English flautist Robert Sidney Pratten.Catharina began touring in Europe from the age of eight, and by 1844 was well known in England as a composer and guitar teacher. She soon established her school - Madame Sidney Pratten's Guitar School - and published tutorials, including Guitar School: a Book of Methods (1859) and Learning the Guitar: Simplified (1874), which advocated the use of alternative tuning in E major. Her pupils included Queen Victoria’s daughters Louise, Princess of Wales and Beatrice, and the actor, singer, guitarist, and composer Ernest Shand.She composed some 250 works, most of them for solo guitar or voice and guitar. Heike Matthiesen has recorded some of the guitar pieces, including the variations on Carnaval de Venise, the two Fairy Sketches, and the Serenade.Her residence in London was 22 Dorset Street, Portman Square, where she lived after the death of her husband in 1868, and where she died on 10 October 1895. Her sister, Giulia Pelzer (also a teacher), continued to run the guitar school after Catharina’s death. Catharina is buried at Brompton Cemetery, London.[She owned many guitars herself and selected others for her pupils, often with her label inside. One - in splendid condition - was advertised for sale in The Times in 1939.