Voice and piano - Medium - Digital Download SKU: MQ.8492-35E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 4 pages. E. C. Schirmer Music Company - Digital #8492-35E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-35E). 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).

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.736656 Composed by Traditional English Carol. Arranged by Dennis Ruello. Christmas,Holiday,Renaissance,Standards,World. 8 pages. Chicory Music #5327015. Published by Chicory Music (A0.736656). The Boar's Head CarolThis Christmas carol talks about a feast during midwinter in which a wild boar was served as the main dish and its head placed in a situated position to symbolize bravery and abundance. Closely related to the Norse tradition of boar sacrifice to their goddess Freyja during the feast of Winter Solstice, this song originated from an urban legend in Queen's College, Oxford back in the 15th century which tells of how a scholar from Queen’s College managed to kill an attacking boar and offered it at dinner.The song was first published in English during the 1520’s in a book entitled Christmase Carolles Newly Emprynted at London in the flete street, which was written by Jan van Wynken de Worde. It is also said to be the very 1st Christmas carol to ever be publish in English because it dates back that early.Although the modern versions of the song makes no mention of Christmas, the original verses does so in The boar's head we bring with song, in worship of Him that thus sprung, of a Virgin to redress all wrong; NoelThis Intermediate Level arrangement starts out in Ab Major and modulates to  Bb Major for the final chorus. Performance time approx. 1 minute 45 seconds.  .

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1442859 By George Frideric Handel. By George Frideric Handel. Arranged by Mario Stallbaumer. Baroque,Classical,Opera. Score. 3 pages. Mario Stallbaumer #1022798. Published by Mario Stallbaumer (A0.1442859). With this sheet music, you can play Lascia ch'io pianga by George Frideric Handel on the piano!It's an accurate, carefully created piano arrangement of the famous aria from Handel's opera Rinaldo. Georg Friedrich Händel first used the melody in his 1705 opera Almira, as well as in his 1707 oratorio The Triumph of Time and Truth.In 1711, he used it as a soprano aria in his opera Rinaldo ­? his first opera written for the London stage!The aria became one of his most famous compositions.Needless to say, it makes for a beautiful piano version!If you want to see more of my work, you can visit my YouTube channel!

Voice and piano - Medium - Digital Download SKU: MQ.8492-22E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-22E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-22E). 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).

Woodwind Ensemble Alto Recorder,Bass Recorder,Soprano Recorder,Tenor Recorder - Level 3 - Digital Download SKU: A0.734420 Composed by Traditional English Carol. Arranged by Dennis Ruello. Christmas,Folk,Holiday,Renaissance,Standards. 7 pages. Chicory Music #5327029. Published by Chicory Music (A0.734420).  The Boar's Head CarolThis Christmas carol talks about a feast during midwinter in which a wild boar was served as the main dish and its head placed in a situated position to symbolize bravery and abundance. Closely related to the Norse tradition of boar sacrifice to their goddess Freyja during the feast of Winter Solstice, this song originated from an urban legend in Queen's College, Oxford back in the 15th century which tells of how a scholar from Queen’s College managed to kill an attacking boar and offered it at dinner.The song was first published in English during the 1520’s in a book entitled Christmase Carolles Newly Emprynted at London in the flete street, which was written by Jan van Wynken de Worde. It is also said to be the very 1st Christmas carol to ever be publish in English because it dates back that early.Although the modern versions of the song makes no mention of Christmas, the original verses does so in The boar's head we bring with song, in worship of Him that thus sprung, of a Virgin to redress all wrong; NoelThis Intermediate Level arrangement starts out in C Major and modulates to D Major for the final chorus .Performance time is approx. 1 minute 45 seconds.

Full Orchestra - Level 4 - Digital Download SKU: A0.1488381 Composed by J P Sousa. Arranged by Kevin Riley. March. 90 pages. Kevin Riley #1065270. Published by Kevin Riley (A0.1488381). Other than the fact that Sousa’s “thunderer” was undoubtedly a Mason, his identity may never be revealed. “The Thunderer” march was dedicated to Columbia Commandery No. 2, Knights Templar, of Washington, D.C., and it was composed on the occasion of the Twenty-fourth Triennial Conclave of the Grand Encampment. The conclave was held in October 1889 and was sponsored by Columbia Commandery No. 2. Sousa had been “knighted” in that organization three years earlier.“The Thunderer” was Mrs. John Philip Sousa’s favorite march. This was revealed by their daughter Helen, who also surmised that the “thunderer” might have been her father’s salute to the London Times, which was known as “the thunderer.” It has since been determined that Sousa probably had no association with the newspaper at that time, however. The “thunderer” might have been one of the men in charge of making arrangements for the 1889 conclave–in particular, Myron M. Parker, who worked tirelessly to make the event the spectacular success that it was.This version has been arranged for orchestra with a little something in the trio!If you would like other arrangements  of Sousa marches please get in touch at klscj(at)me(dot)com.

Concert Band - Level 3 - Digital Download SKU: A0.750841 Composed by Arthur J. Mills, Fred Godfrey and Bennett Scott in 1916. Arranged by Brenndan Elliget MAGA 537. Patriotic. Score and parts. 49 pages. BJE Music #3872321. Published by BJE Music (A0.750841). Take Me Back to Dear Old Blighty is a music hall song written by Arthur J. Mills, Fred Godfrey and Bennett Scott in 1916. It was popular during the First World War and tells a story of three fictional soldiers on the Western Front suffering from homesickness and their longing to return to Blighty - a slang term for Britain.Fred Godfrey wrote the song with Bennett Scott and A.J. Mills after passing a music hall in Oxford where a show called Blighty was showing. He recounts: One of us suddenly said What an idea for a song! Four hours later it was all finished, and the whole country was singing it soon afterwards. I got - not very much.The chorus lyric Take me back to dear old Blighty/Put me on a train to London town was included in The Oxford Dictionary of Quotations. [Wikipedia}This arrangement is for Concert Band with optional Piano part (not on the score) and Vocal Lead Sheet.There are parts for Eb and F Horns, and parts for Trombones 1 and 2 in BC and TC.The MP3 was recorded with NotePerformer 3.Grade = 3 Duration = 2:30 mins

Cello Solo - Level 2 - Digital Download SKU: A0.1293659 By Thomas Rhett. By Joe London, Joseph Michael Spargur, Sean Douglas, and Thomas Rhett Jr Akins. Arranged by Greg Birdwell. Country,Pop,Wedding. Individual part. 2 pages. Greg Birdwell #884130. Published by Greg Birdwell (A0.1293659). Blessed is a country song by American singer-songwriter Thomas Rhett. It was released in 2020 as part of his album Center Point Road. The song celebrates life's blessings and expresses gratitude for the simple moments and joys. Blessed is known for its catchy melody and heartfelt lyrics, making it a popular choice among country music fans. Thomas Rhett's smooth and soulful vocals contribute to the song's charm, and it has received positive reviews for its uplifting and optimistic message.

Voice and piano - Medium - Digital Download SKU: MQ.8492-14E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-14E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-14E). 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).

Instrumental Duet Clarinet,Flute,Instrumental Duet - Level 3 - Digital Download SKU: A0.956620 Composed by Traditional Irish. Arranged by Catriona Melville-Mason. Celtic,Concert,Contemporary,Standards. Score and parts. 5 pages. C Melville-Mason #6481193. Published by C Melville-Mason (A0.956620). This melody is described as traditional, as it is essentially an old Irish air.  The lyrics of The Minstrel Boy were set to the tune by Thomas Moore (1779 – 1852), apparently in memory of friends who lost their lives in the Irish Rebellion of 1798. The tune is frequently performed in remembrance contexts, particularly those involving persons of Irish ancestry.  In the UK, it is played annually at the National Service of Remembrance at the Cenotaph in London.  The Minstrel Boy also featured during the procession to Westminster Abbey at the funeral of Her Majesty Queen Elizabeth the Queen Mother in April 2002, reflecting her long association with the men of the Irish Regiment.  In the USA, police and fire departments historically included a high proportion of Irish-Americans, so it became traditional for The Minstrel Boy to be performed at the funerals of service members killed in the line of duty.

Concert Band - Level 3 - Digital Download SKU: A0.1506847 Composed by George Frideric Handel. Arranged by Brian Strohmetz. 19th Century,Christian,Christmas,Classical,Holiday. 70 pages. Brian Strohmetz #1082223. Published by Brian Strohmetz (A0.1506847). The Hallelujah Chorus from George Frideric Handel's Messiah has been a significant part of my musical journey, starting with my high school choir's annual holiday performances. Now, as an educator, I’m proud to continue this tradition with my own students. This arrangement for Concert Band and Choir allows us to explore the piece in a new way, blending the familiar choral lines with the dynamic power of a full band. Handel composed the Messiah in just 24 days in 1741, and the Hallelujah Chorus quickly became one of its most iconic pieces. Tradition has it that King George II was so moved during the London premiere that he stood up, leading the audience to follow suit—an act that began the custom of standing during the chorus that continues to this day. As we perform this timeless work, we connect with a piece of history that has inspired audiences for nearly three centuries, and I hope it will continue to resonate with you as deeply as it has with me. **The Choral Parts, Piano Accompaniment & Rehearsal Marks are consistent with theG. Schirmer Choral Edition of this piece**

String Orchestra - Level 5 - Digital Download SKU: A0.1310636 Composed by Geraldine Green. 21st Century,Chamber,Classical,Contemporary,Romantic Period. 80 pages. Geraldine (Denny) Green at Oakmountmusic #899627. Published by Geraldine (Denny) Green at Oakmountmusic (A0.1310636). ALL PURCHASES COME WITH SCORE AND PARTSInstrumentation: Treble Recorder Solo, Harp, Violin1, Violin 2, Viola, Cello and Double BassThere is quite a lot of divisi in all of the string parts, so at least 6 players per part is preferable, except double basses where 2 players minimum are needed.Written in 1990, the Concertino For Treble Recorder, Strings And Harp, was requested by recorder player Ruth Whatley. Ruth and I were at the London College of Music together during this time. We worked together to rehearse the piece and eventually it was given a run-through by a group of string players and harpist, Alice Trentham (also at the college with us at the time). It still awaits its premiere! One day I hope I can post up a recording of this beautiful piece.A friend who attended its “play through� described it as being like “the South American Rain Forests�, which I thought was a beautiful, and very fitting description.Duration: Approximately 15 minutesAll of the parts are challenging so this is not a piece for junior players.

Voice and piano - Medium - Digital Download SKU: MQ.8492-01E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-01E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-01E). 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).

C Instrument - Level 4 - Digital Download SKU: A0.500158 Composed by Dale Henry Allison. Arranged by John Fries. 20th Century,Jazz,Standards. Lead Sheet / Fake Book. 1 pages. John Fries #113341. Published by John Fries (A0.500158). 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.   Alfie is a song written by Burt Bacharach and Hal David to promote the 1966 film Alfie. Cilia Black states that, rather than declining outright to record the song, she decided to set conditions: I said I'd only do it if Burt Bacharach himself did the arrangement, never thinking for one moment that he would. When the reply came back from America that he'd be happy to...I said I would only do it if Burt came over to London for the recording session. 'Yes,' came the reply. Next I said that as well as the arrangements and coming over, he had to play piano on the session. To my astonishment it was agreed that Burt would do all three. So by this time, coward that I was, I really couldn't back out. The song was a major hit for Cilla Black (UK) and Dionne Warwick (US).

Voice and piano - Medium - Digital Download SKU: MQ.8492-20E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 4 pages. E. C. Schirmer Music Company - Digital #8492-20E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-20E). 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).