SKU: A0.760808

Paul Rougnon was born in Poitiers the son of Louis Rougnon and Claire Clotilde Robin. In 1873, at age 27, Rougnon became a professor at the Conservatoire, then under the directorship of Ambroise Thomas.

The Level is Intermediate/Advanced Intermediate and the duration is approximately 5 minutes. It could be played in any type of recital/concert.

SKU: A0.880999

Dream was performed by Paul Kim for the Korean TV Series The King: Eternal Monarch. It was released in the part 8 of the series, dated May 10, 2020. .

SKU: LV.23977

Paul Revere (Won't You Ride For Us Again?). Words by Joe Goodwin. Music by Halsey K. Mohr. Published 1918 by Shapiro, Bernstein & Co., 224 West 47th Street in New York. Composition of strophic with chorus with piano and voice instrumentation. Subject headings for this piece include Horseback riding, Moonlight, Spires, Lanterns, Patriotism, World War I. First line reads With your lantern, Paul Revere, you rode miles around..

About The Lester S. Levy Collection

The 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WARNING: These titles are provided as historical documents.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.

SKU: A0.534375

To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.

Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.

As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..

To You

Whoever you are, I fear you are walking the walks of dreams,
I fear these supposed realities are to melt from under your feet and hands,
Even now your features, joys, speech, house, trade, manners,
troubles, follies, costume, crimes, dissipate away from you,
Your true soul and body appear before me.
They stand forth out of affairs, out of commerce, shops, work,
farms, clothes, the house, buying, selling, eating, drinking,
suffering, dying.
Whoever you are, now I place my hand upon you, that you be my poem,
I whisper with my lips close to your ear.
I have loved many women and men, but I love none better than you.
O I have been dilatory and dumb,
I should have made my way straight to you long ago,
I should have blabb'd nothing but you, I should have chanted nothing
but you.
I will leave all and come and make the hymns of you,
None has understood you, but I understand you,
None has done justice to you, you have not done justice to yourself,
None but has found you imperfect, I only find no imperfection in you,
None but would subordinate you, I only am he who will never consent
to subordinate you,
I only am he who places over you no master, owner, better, God,
beyond what waits intrinsically in yourself.
Painters have painted their swarming groups and the centre-figure of all,
From the head of the centre-figure spreading a nimbus of gold-color'd light,
But I paint myriads of heads, but paint no head without its nimbus
of gold-color'd light,
From my hand from the brain of every man and woman it streams,
effulgently flowing forever.
O I could sing such grandeurs and glories about you!
You have not known what you are, you have slumber'd upon yourself
all your life,
Your eyelids have been the same as closed most of the time,
What you have done returns already in mockeries,
(Your thrift, knowledge, prayers, if they do not return in
mockeries, what is their return?)
The mockeries are not you,
Underneath them and within them I see you lurk,
I pursue you where none else has pursued you,
Silence, the desk, the flippant expression, the night, the
accustom'd routine, if these conceal you from others or from
yourself, they do not conceal you from me,
The shaved face, the unsteady eye, the impure complexion, if these
balk others they do not balk me,
The pert apparel, the deform'd attitude, drunkenness, greed,
premature death, all these I part aside.
There is no endowment in man or woman that is not tallied in you,
There is no virtue,.

SKU: A0.532808

Jules Demersseman was born on January 9, 1833 in Hondschoote, a small town in the north of France now near the border of Belgium. He entered the Paris Conservatory in 1844 in the class of Jean-Louis Tulou and won a first prize in flute in 1845. Demersseman had a career as a pedogogue and soloist, often performing his own compositions. A close friend of Adolphe Sax, he wrote some of the first works ever written for the saxophone, as well as for the saxhorn and for Sax‘s valved trombone, most of which were published by Sax himself.. Demersseman died in Paris on December 1, 1866 at the age of 33. The work is in the form of a Cavatina and Cabaletta, a vocal aria form used in Bel Canto operas during the life of Demersseman. In this form, a slow, expressive and ornamented melody (the cavatina), usually with solo cadenzas is followed by a faster, usually more dramatic but equally florid section (the cabaletta). Famous examples of this form include the aria Una voce poco fa in Rossini’s Il barbiere di Siviglia and Casta diva ... Ah! bello a me ritorno in Bellini‘s, Norma. It is important to listen to vocal performances in this style, especially in performing the solo cadenzas, which (in spite of the notation) are not necessarily meant to be performed as virtuoso effects., but rather as a means of displaying expression and beautiful tone. The piano part, obviously written to be quickly readable for a conservatory accompanist, has been modified to provide a fuller sound for the concert hall. If the work is used for examinations, these doublings may be changed back to single notes, if desired. Other dynamics, articulations, and expressive marks, absent in the first edition, have been added.