Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.828758 Composed by Antonio Maria Abbatini. Arranged by Guido Menestrina. Baroque,Sacred. Octavo. 5 pages. Guido Menestrina #3075310. Published by Guido Menestrina (A0.828758). Brano dalla Missa Sexdecim Vocibus Concinenda di Antonio Maria Abbatini (1595-1679), allievo dei fratelli Nanino a Roma e per qualche tempo maestro di cappella in Santa Maria Maggiore a Roma.

Alto Voice,Cello,Double Bass,Viola,Violin - Digital Download SKU: A0.1059518 Composed by Traditional. Arranged by Lorin Nelson, David Warin Solomons. 20th Century,Children,Contemporary. Full Performance. Duration 178. David Warin Solomons #3397199. Published by David Warin Solomons (A0.1059518). Jolly version of this famous nursery song by Lorin Nelson and David Warin SolomonsA frog he would a-wooing go, mm mm, mm mm, A frog he would a-wooing go, Whether his mother would let him or no, mm mm, mm mm. He rode right to Miss Mousie's den, mm mm, mm mm, He rode right to Miss Mousie's den, Said he, Miss Mousie are you within? mm mm, mm mm. Oh yes, Sir Frog, I sit and spin, mm mm, mm mm, Oh yes, Sir Frog, I sit and spin, So open the door and walk right in, mm mm, mm mm. He said, Miss Mousie I?ve come to see, mm mm, mm mm, He said, Miss Mousie I?ve come to see, If you, Miss Mousie, will marry me? mm mm, mm mm. I don't know what to say to that, mm mm, mm mm, I don't know what to say to that, 'Til I can see my Uncle Rat, mm mm, mm mm. When Uncle Rat came riding home, mm mm, mm mm, When Uncle Rat came riding home, Said he, Whose been here since I've been gone? mm mm, mm mm. A fine young gentleman has been here, mm mm, mm mm, A fine young gentleman has been here, Who wants to marry me, that is clear, mm mm, mm mm. So Uncle Rat, he rode to town, mm mm, mm mm, So Uncle Rat, he rode to town, And bought his niece a wedding gown, mm mm, mm mm. Where shall our wedding supper be, mm mm, mm mm, Where shall our wedding supper be? Down in the trunk of the hollow tree, mm mm, mm mm. The first to come was the Bumble Bee, mm mm, mm mm, The first to come was the Bumble Bee, He strung his fiddle over his knee, mm mm, mm mm. The next to come was a Crawley Bug, mm mm, mm mm, The next to come was a Crawley bug, He broke the bottle and smashed the jug, mm mm, mm mm. The next to come was the Captain Flea, mm mm, mm mm, The next to come was the Captain Flea, He danced a jig with the Bumble Bee, mm mm, mm mm. The Frog and Mouse, they went to France, mm mm, mm mm, The Frog and Mouse, they went to France, And this is the end of my romance, mm mm, mm mm

Choral Choir (SAB) - Level 1 - Digital Download SKU: A0.832054 Composed by Teresa Cobarrubia Yoder. A Cappella,Contemporary,Praise & Worship,Sacred,Standards. Octavo. 2 pages. Teresa Cobarrubia Yoder #3008969. Published by Teresa Cobarrubia Yoder (A0.832054). An excellent piece for fostering the art of a cappella in three parts, Be Praised My Lord is written for the developing school/church choir.  Be Praised My Lord by Teresa Cobarrubia Yoder is a prayerful and musical expression to Pope Francis’ encyclical on ecology, Laudato Si:  On Care for our Common Home (June 18, 2015).  The lyrics, derived from the encyclical’s title, are from St. Francis of Assisi’s 13 c. poem and prayer, Canticle of the Creatures/Sun - God is praised for all creation. Performance Notes:  In addition, you may add an optional accompaniment with Orff instruments playing the tonic and fifth.***NOTE:  The $19.99 list price reflects institutional pricing for your school or church with unlimited copies for your choir.To contact the composer:  teresa.cobarrubia.yoder.music@gmail.com 

Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.1161800 By Bachelor Girl. By Bridget Louise Benenate. Arranged by Glenda Lloyd. 20th Century,A Cappella,Barbershop,Pop. Octavo. 6 pages. Glenda Lloyd #762175. Published by Glenda Lloyd (A0.1161800). Four part a cappella harmony in the barbershop style.A bright peppy pop anthem released in 1999 by Australian pop duo Bachelor Girl. A great message of self discovery and allowing yourself to 'shine'.Visit www.lloydsong.com to see more of my work or see me on Facebook at www.facebook.com/Glenda.Lloydsong/.

Flute,Piano - Level 5 - Digital Download SKU: A0.767321 Composed by Mike Lyons. Concert,Contemporary. Score and part. 23 pages. Lyons Music Services #3473849. Published by Lyons Music Services (A0.767321). A brand new solo for flute and piano. There's a little bit of horseplay between the flute and piano, the flautist needs to be able to double tongue and to use flutter tongue. There's a bit of a simple cadenza to start, followed by some interplay between the flute and piano pretending to tune. Then follows a march-like section with some deliberate discords in the flute. As this section becomes louder and more animated, the players should act cross with each other!Then follows a dreamy little melodic section in waltz time. There's lots of chromatic work in this section. The piano now dominates for a short while with a melodic idea, based on the flute's waltz melody bot with tremolos which gives the music an almost zither-like feel (expect the Third man to walk on stage. After this, the flute returns to dominance but gets interrupted by the piano who is missing being in the limelight!At the change to a quicker tempo and a major key - still with 'out of tune notes' the two 'play nicely together' for a while before it all goes to pot again when the flute develops hiccups! This leads back to an altered version of the original march tune, but faster.This time the two find common ground on the 8ve leaps and the piece finishes with a short codetta. A great show-off piece for the finale of a concert, allowing both the soloist and accompanist to sparkle.

Bass Trombone,Horn,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1116038 By Polished Brass. By anonymous - Gruber. Arranged by Robert Coil. Chamber,Christmas,Holiday,Praise & Worship,Sacred. 12 pages. Polished Brass #717736. Published by Polished Brass (A0.1116038). This arrangement for brass quintet employs contemporary harmonies with the traditional melodies to provide a sound that is pleasing to the ear while making the pieces sound fresh. The top four voices take turns with the melody while the tuba sets a foundation with chromatic passing tones that should be given a little emphasis as they occur. Away in a Manger The first two verses are sometimes attributed to Martin Luther as “Cradle Hymn�, but definitive proof of Luther's authorship is missing. The most common version is based on words found in a Philadelphia Sunday School book by James Murray in 1885 titled “Luther's Cradle Song�. Silent Night Franz Gruber was an Austrian church organist at St Nicholas parish in Obernhof, a small town north of Salzburg. The priest at the church, Joseph Mohr wrote the poem Stille Nacht in 1816 and Gruber composed the music for guitar accompaniment for a Christmas eve service in 1818 because something, possibly a flood, had damaged the organ. So, rather than a keyboard composition, this was originally composed for guitar and voice. The composition was preserved by the man who fixed the organ and shared it with other churches as he traveled. Luckily a copy survived so that Mohr and Gruber could both be acknowledged for their creation.

Concert Band - Level 4 - Digital Download SKU: A0.891956 Composed by A.E.Williams. Arranged by Stephen Davies. 20th Century,Standards. Score and Parts. 74 pages. Stephen Davies #6094485. Published by Stephen Davies (A0.891956).    CLARINET CONCERT CONCERTINO FOR WIND BAND I don’t normally enter long descriptions of my arrangements, nothing worse than seeing that little sign on the bottom right saying ‘see more’, however this piece has a rather interesting story that I’d like to share with you! It was maybe 8 or 9 years ago that I helped in the library of the Band Of The Guards Association, a group of musicians who were all members of the Household Division Bandsin London, that is to say the Grenadier, Coldstream, Scots, Irish, Welsh, Life Guards and Blues & Royals bands, chiefly known the world over for Changing The Guard at Buckingham Palace and many other ceremonial occasions. The Band Of The Guards Association were privileged to rehearse at the Royal Hospital Chelsea, home of the famous Chelsea Pensioners, renowned for their Redcoats and medals as veterans of the British Army. Our library of music for the band at the time was held in an air raid shelter deep in the cellars underneath the labyrinthine corridors of the old building built by Sir Christopher Wren back in the 1680’s. When I say ‘air raid shelter’, that is exactly what it was like! Can’t go into too much detail, but suffice it to say that it was like being transported back in time! But this is where the library was kept, complete with dusty shelves, blackout warnings, obsolete bulb replacements and tunnels to the Thames! The man in charge of the library was Mr.Gordon ‘Joe’ Stafford, former Solo Clarinet with HM Band Of The Welsh Guards (ret’d), a fine player of that instrument in his day, and revered as such even now. About 8 years ago, our ‘underground ‘ library was deemed a fire hazard, and we were ‘invited’ to move it elsewhere. As we had our practice room nearby in the Chelsea Hospital, we decided to relocate the whole library there, shelving being built and constructed by enthusiastic band members. Joe Stafford and myself were not particularly enthusiastic about this, but it had to be done. Having looked at the enormous amount of music to be moved, we thought about ditching some of the scores which would never be played again, for instance selections of musicals long forgotten, scores with multiple missing parts etc. Lots of that music went to local music organisations simply for sight reading purposes, and the more complete versions went to bands and orchestras to bolster their stock of scores. After the laborious sorting out in the air raid shelter, Joe and I had the unenviable task of discarding the scores and parts that were incomplete, defaced, or just basically useless. It was an arbitrary case of ‘keep or throw’, and at the time we were doing this, Joe was desperate for a pint in the bar! I agreed, and was anyway on my last batch of throwaways when I found a piece titled ‘Clarinet Concerto’, by A.E.Williams. Written in pencil, with ancient sellotape, and signed by all the people who played it many years ago, including the Soloist and composer, I thought that that should not be binned, so I kept it! Joe Stafford suggested that I should ‘get it out there’ , so I have. Incidentally it has a cracking Cadenza towards the end, it was a bit smudged in the original score, but I’ve filled in the gaps!! This would be an ideal addition to the band repertoire for Clarinet!

String Trio Cello,Viola,Violin - Level 3 - Digital Download SKU: A0.1488228 Composed by William Shield. Arranged by Robert Hoskins. Classical. 27 pages. Artaria Editions #1065115. Published by Artaria Editions (A0.1488228). Shield's Trios, written for a continental audience, are seminal works in the composer's output and mark a new level of compositional attainment in the English chamber music repertory. Technically, they contain a wide variety of ideas which are developed with great ingenuity through a wide range of keys, dynamic contrasts and timbral effects. Aesthetically, they blend 'popular' and 'learned' taste along with 'orchestral' splendour and 18th century notions of beauty. The Trios present a dazzling range of moods and style with each work demonstrating Shield's mastery of the idiom, both in his treatment of individual instruments and in the handling of textures. While there is no shortage of melody and accompaniment, in which the violin takes the lead, there are many memorable solos for the viola and the cello in its high register. The wide range of textures includes melodic decoration, dialogue, contrast of high and low register, legato and staccato, powerful unison and double octaves. Shield's ability to incorporate arioso-like melody, the prevailing 'symphonic' style and folk elements was largely achieved through the cross-generic requirements of English comic opera (a form to which Shield devoted himself during the whole of his creative career). In general, Shield's technique results in a firm control of the way music moves - with sometimes a surprising degree of stylistic restlessness and sometimes of unexpected plainness and simplicity. The trios Shield selected for publication were issued by Longman and Broderip, London, in January 1796 under the inspection of the composer. No autograph of these works survives and Longman and Broderip's printing, a copy of which is preserved in the Bodleian Library, Oxford, under the call number Mus.Instr.I 214(15), is the only source of this edition. The title page, with its dedicatory inscription, reads: Six / TRIOS / FOR / Violin, Tenor and Violoncello, / Composed / And Inscribed to the Memory of / Jacob More Esqr. / By / Wm. SHIELD./ (Musician in Ordinary to His Majesty) / Entd. At Statn. Hall [rule] Price 10/6 / ADVERTISEMENT / These Trios were Composed chiefly for the abovementioned Celebrated Landscape Painter (in Rome) / And are Dedicated to his Memory as a Token of Gratitude for the Services he rendered the Author / during his Residence in that City. The movements which are written in the uncommon Time / of 5/4 have amused some of the most distinguished Professors both in England & Italy which / induces the Author to hope they will not be disagreeable to the Public at Large / Goodge Street, Jany. 1st 1796 / [rule] / London, Printed for the Author by Longman & Broderip, No.26, Cheapside & No.13, Haymarket. Shield's three previously unpublished string trios are preserved in autograph score in the British Library under the call number Ms.Add.51015; they provide the only source for this edition. This present edition presents as faithfully as possible the intentions of these sources. The style and notation of articulation and dynamic markings have been standardised throughout and, where missing, markings have been reconstructed from parallel passages. The notation of appoggiature has also been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Robert Hoskins.

Guitar Ensemble - Level 5 - Digital Download SKU: A0.1453659 By Joseph Davila. By Joseph Davila. Christmas,Classical,Contemporary,Holiday,Multicultural,World. Score and Parts. 17 pages. JaGlo Music #1032873. Published by JaGlo Music (A0.1453659). This is a guitar quartet Christmas piece that I wrote earlier this year. It is for advanced players and is perfect for Holiday Concerts, Christmas parties or recitals. The theme is based on the legend of the Pukwudgie and is the soundtrack to the story below. © Copyright 2024 JaGlo Music. In the quaint village of Hollybrook, Christmas was a time of joy and togetherness. But this year, a malicious pukwudgie named Bramble planned to spread fear and chaos. On Christmas Eve, as villagers gathered around the grand tree for the annual lighting ceremony, Bramble struck. He made the lights flicker and go out and twisted the ornaments into grotesque shapes. He snuck into homes, swapping sugar for ashes and hiding stockings in unreachable places, casting a dark spell over the village. By morning, Hollybrook was in disarray. Children found their stockings missing, cookies ruined, and the tree ominous in the square. Fear gripped the town. Amidst the chaos, a brave girl named Lucy refused to let fear win. She gathered her friends and ventured into the forest, following eerie footprints. They found Bramble muttering dark incantations under a gnarled tree. Caught in a trap made from holly and mistletoe, Bramble hissed his intentions to spread fear. Lucy, with steely resolve, offered him a chance at redemption. Reluctantly, Bramble agreed. They returned to the village, and with Bramble’s help, dispelled the dark enchantments. The ornaments returned to their beautiful forms, sugar replaced the ashes, and the stockings were found. That night, the tree lit up, and Bramble felt warmth in his heart for the first time. The villagers, initially wary, accepted him as he helped create beautiful ice sculptures, adding magic to the festivities. From that year on, Bramble became part of Hollybrook. His dark nature slowly transformed under the light of friendship and acceptance. Every Christmas, his magic brought extra sparkle to the celebrations, reminding everyone that even the darkest hearts could find redemption through kindness and love.

Choral Choir,Choral,Unison Chorus - Level 2 - Digital Download SKU: A0.1503195 Composed by Ken Litton. Arranged by Ken Litton. Christian,Contemporary,Praise & Worship,Religious. 4 pages. Artist of Note, Inc. #1078723. Published by Artist of Note, Inc. (A0.1503195). A song I wrote at the request of the South Brazil Mission of the International Mission Board SBC, for their Annual South Brazil Mission Meeting in 1997 while we were serving the churches of the Federal District Baptist Convention in the capital city of Brasília (1000 miles into the interior of the country).The key reference here is Matthew 24:4-14...And Jesus answered and said unto them, Take heed that no man deceive you. For many shall come in my name, saying, I am Christ; and shall deceive many. And ye shall hear of wars and rumours of wars: see that ye be not troubled: for all these things must come to pass, but the end is not yet. For nation shall rise against nation, and kingdom against kingdom: and there shall be famines, and pestilences, and earthquakes, in divers places. All these are the beginning of sorrows. Then shall they deliver you up to be afflicted, and shall kill you: and ye shall be hated of all nations for my name's sake. And then shall many be offended, and shall betray one another, and shall hate one another. And many false prophets shall rise, and shall deceive many. And because iniquity shall abound, the love of many shall wax cold. But he that shall endure unto the end, the same shall be saved. And this gospel of the kingdom shall be preached in all the world for a witness unto all nations; and then shall the end come.—KJV#evangelism #outreach #witness #testify.

Small Ensemble Cello,High Voice,Low Voice,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.828718 Composed by Leonardo Leo. Arranged by Guido Menestrina. A Cappella. Score and parts. 22 pages. Guido Menestrina #516705. Published by Guido Menestrina (A0.828718). Leonardo Leo - Dixit Dominus a 2 cori, 1741, Quarto movimento Transcribed by Guido Menestrina Celebre compositore e capostipite della bella scuola napoletana del XVIII secolo, nacque a San Vito degli Schiavoni, presso Brindisi, in provincia di Terra d'Otranto. De Leo avrebbe compiuto i suoi studi musicali al conservatorio della Pietà dei Turchini, sotto la direzione di Nicola Fago, soprannominato il tarentino[1]. Girolamo Chigi, maestro di Cappella di San Giovanni in Laterano, allievo e amico di Pitoni, dice che de Leo si recò a Roma e che vi studiò il contrappunto sotto la guida di questo sapiente maestro. Di ritorno a Napoli, de Leo ottenne il posto di secondo maestro al conservatorio della Pietà. Nel 1716 fu nominato organista della cappella reale e l'anno successivo venne designato per occupare il posto di maestro di cappella della chiesa di Santa Maria della Solitaria, per la quale scrisse molta musica. Nel 1719 fece rappresentare la Sofonisba, sua prima opera seria che fu ben accolta e in cui il carattere espressivo del suo talento si faceva già notare. I biografi che sostengono abbia insegnato al conservatorio di Loreto s'ingannano, fu infatti prima al conservatorio della Pietà, poi a quello di Sant'Onofrio, dove ebbe per allievi alcuni dei compositori più illustri del XVIII secolo, come Jommelli e Piccinni. Non morì nel 1743, come dice lo stesso Piccinni, in una breve notizia biografica sul suo maestro, né nel 1742 come afferma Burney, ma nel 1744. Il marchese di Villarosa, riferisce che de Leo sarebbe stato colpito da apoplessia, mentre era intento a scrivere un'aria buffa de La finta frascatana che comincia con queste parole: Voi par che gite/di palo in frasca. Lo si trovò con la testa appoggiata sul suo clavicembalo e si credette, in un primo momento che dormisse, ma in realtà aveva già cessato di vivere. Leo era di taglia media, colorito bruno, occhio vivo e temperamento ardente. Sebbene fosse abitualmente piuttosto serioso, non mancava di urbanità e gentilezza. Infaticabile nella professione, passava spesso la maggior parte delle notti a comporre e si trovava sempre in vena- Amava le sue opere, ma rendeva giustizia al merito dei suoi rivali quando occorreva. Morì rimpianto da tutti, lasciando a lungo il ricordo di sé e delle sue opere, nonché della scuola di cui fu uno dei fondatori. Considerazioni sull'artista Leo condivide col suo predecessore Alessandro Scarlatti e i contemporanei Nicola Porpora, Francesco Durante e Francesco Feo, la gloria di aver fondato la scuola di Napoli, da cui sono usciti, durante tutto un secolo, una moltitudine di compositori drammatici di prim'ordine. Egli stesso fu non soltanto un grande professore, ma un artista dei più dotati. La sua musica da chiesa non ha meno maestà di quella di Durante, tocca il cuore e fa nascere degli slanci di tenera devozione. Il suo Miserere a due cori è una composizione tanto notevole per l'elevatezza dei sentimenti che l'hanno dettata, quanto per la purezza di stile in cui si riconoscono le tracce della scuola cantoria romana in cui studiò. Nella sua musica sacra nello stile accompagnato e concertato, de Leo conserva la semplicità e si fa ammirare per la bellezza dell'espressione, come l'Ave Maris Stella per voce di soprano e orchestra o il Credo a quattro. Egualmente notevole nel genere teatrale, de Leo è sempre nobile, spesso patetico e appassionato ed è con questi mezzi, molto semplici, che perviene a grandi effetti. Piccinni fa i più grandi elogi alle sue opere, e cita in particolare l'aria Misero pargoletto da Demoofonte come modello di espressione drammatica, quest'aria è, in effetti, della più grande bellezza, anche Arteaga è prodigo di elogi verso questo musicista Segui lo spartito qui/Follow the score here: https://youtu.be/qjcFrb638VI or listen to it on soundcloud: https://soundcloud.com/guido-menestrina/leonardo-leo-dixit-dominus-4a-parte-quartetto Score includes: - full score - strings part - oboi par.

Choral Choir (SATB) - Digital Download SKU: A0.828714 Composed by Leonardo Leo. Arranged by Guido Menestrina. A Cappella,Baroque,Sacred. Octavo. 23 pages. Guido Menestrina #481065. Published by Guido Menestrina (A0.828714). Leonardo Leo - Dixit Dominus a 2 cori, 1741, Secondo movimento Transcribed by Guido Menestrina Celebre compositore e capostipite della bella scuola napoletana del XVIII secolo, nacque a San Vito degli Schiavoni, presso Brindisi, in provincia di Terra d'Otranto. De Leo avrebbe compiuto i suoi studi musicali al conservatorio della Pietà dei Turchini, sotto la direzione di Nicola Fago, soprannominato il tarentino[1]. Girolamo Chigi, maestro di Cappella di San Giovanni in Laterano, allievo e amico di Pitoni, dice che de Leo si recò a Roma e che vi studiò il contrappunto sotto la guida di questo sapiente maestro. Di ritorno a Napoli, de Leo ottenne il posto di secondo maestro al conservatorio della Pietà. Nel 1716 fu nominato organista della cappella reale e l'anno successivo venne designato per occupare il posto di maestro di cappella della chiesa di Santa Maria della Solitaria, per la quale scrisse molta musica. Nel 1719 fece rappresentare la Sofonisba, sua prima opera seria che fu ben accolta e in cui il carattere espressivo del suo talento si faceva già notare. I biografi che sostengono abbia insegnato al conservatorio di Loreto s'ingannano, fu infatti prima al conservatorio della Pietà, poi a quello di Sant'Onofrio, dove ebbe per allievi alcuni dei compositori più illustri del XVIII secolo, come Jommelli e Piccinni. Non morì nel 1743, come dice lo stesso Piccinni, in una breve notizia biografica sul suo maestro, né nel 1742 come afferma Burney, ma nel 1744. Il marchese di Villarosa, riferisce che de Leo sarebbe stato colpito da apoplessia, mentre era intento a scrivere un'aria buffa de La finta frascatana che comincia con queste parole: Voi par che gite/di palo in frasca. Lo si trovò con la testa appoggiata sul suo clavicembalo e si credette, in un primo momento che dormisse, ma in realtà aveva già cessato di vivere. Leo era di taglia media, colorito bruno, occhio vivo e temperamento ardente. Sebbene fosse abitualmente piuttosto serioso, non mancava di urbanità e gentilezza. Infaticabile nella professione, passava spesso la maggior parte delle notti a comporre e si trovava sempre in vena- Amava le sue opere, ma rendeva giustizia al merito dei suoi rivali quando occorreva. Morì rimpianto da tutti, lasciando a lungo il ricordo di sé e delle sue opere, nonché della scuola di cui fu uno dei fondatori. Considerazioni sull'artista Leo condivide col suo predecessore Alessandro Scarlatti e i contemporanei Nicola Porpora, Francesco Durante e Francesco Feo, la gloria di aver fondato la scuola di Napoli, da cui sono usciti, durante tutto un secolo, una moltitudine di compositori drammatici di prim'ordine. Egli stesso fu non soltanto un grande professore, ma un artista dei più dotati. La sua musica da chiesa non ha meno maestà di quella di Durante, tocca il cuore e fa nascere degli slanci di tenera devozione. Il suo Miserere a due cori è una composizione tanto notevole per l'elevatezza dei sentimenti che l'hanno dettata, quanto per la purezza di stile in cui si riconoscono le tracce della scuola cantoria romana in cui studiò. Nella sua musica sacra nello stile accompagnato e concertato, de Leo conserva la semplicità e si fa ammirare per la bellezza dell'espressione, come l'Ave Maris Stella per voce di soprano e orchestra o il Credo a quattro. Egualmente notevole nel genere teatrale, de Leo è sempre nobile, spesso patetico e appassionato ed è con questi mezzi, molto semplici, che perviene a grandi effetti. Piccinni fa i più grandi elogi alle sue opere, e cita in particolare l'aria Misero pargoletto da Demoofonte come modello di espressione drammatica, quest'aria è, in effetti, della più grande bellezza, anche Arteaga è prodigo di elogi verso questo musicista Segui lo spartito qui/Follow the score here: https://www.youtube.com/watch?v=vqOa9skJg5o.

Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.828703 Composed by Leonardo Leo. Arranged by Guido Menestrina. A Cappella,Baroque,Sacred. Octavo. 15 pages. Guido Menestrina #238145. Published by Guido Menestrina (A0.828703). Leonardo Leo - Dixit Dominus a 2 cori, 1741, Primo movimentoEdit Published by Guido Menestrina Celebre compositore e capostipite della bella scuola napoletana del XVIII secolo, nacque a San Vito degli Schiavoni, presso Brindisi, in provincia di Terra d'Otranto. De Leo avrebbe compiuto i suoi studi musicali al conservatorio della Pietà dei Turchini, sotto la direzione di Nicola Fago, soprannominato il tarentino[1]. Girolamo Chigi, maestro di Cappella di San Giovanni in Laterano, allievo e amico di Pitoni, dice che de Leo si recò a Roma e che vi studiò il contrappunto sotto la guida di questo sapiente maestro. Di ritorno a Napoli, de Leo ottenne il posto di secondo maestro al conservatorio della Pietà. Nel 1716 fu nominato organista della cappella reale e l'anno successivo venne designato per occupare il posto di maestro di cappella della chiesa di Santa Maria della Solitaria, per la quale scrisse molta musica. Nel 1719 fece rappresentare la Sofonisba, sua prima opera seria che fu ben accolta e in cui il carattere espressivo del suo talento si faceva già notare. I biografi che sostengono abbia insegnato al conservatorio di Loreto s'ingannano, fu infatti prima al conservatorio della Pietà, poi a quello di Sant'Onofrio, dove ebbe per allievi alcuni dei compositori più illustri del XVIII secolo, come Jommelli e Piccinni. Non morì nel 1743, come dice lo stesso Piccinni, in una breve notizia biografica sul suo maestro, né nel 1742 come afferma Burney, ma nel 1744. Il marchese di Villarosa, riferisce che de Leo sarebbe stato colpito da apoplessia, mentre era intento a scrivere un'aria buffa de La finta frascatana che comincia con queste parole: Voi par che gite/di palo in frasca. Lo si trovò con la testa appoggiata sul suo clavicembalo e si credette, in un primo momento che dormisse, ma in realtà aveva già cessato di vivere. Leo era di taglia media, colorito bruno, occhio vivo e temperamento ardente. Sebbene fosse abitualmente piuttosto serioso, non mancava di urbanità e gentilezza. Infaticabile nella professione, passava spesso la maggior parte delle notti a comporre e si trovava sempre in vena- Amava le sue opere, ma rendeva giustizia al merito dei suoi rivali quando occorreva. Morì rimpianto da tutti, lasciando a lungo il ricordo di sé e delle sue opere, nonché della scuola di cui fu uno dei fondatori. Considerazioni sull'artista Leo condivide col suo predecessore Alessandro Scarlatti e i contemporanei Nicola Porpora, Francesco Durante e Francesco Feo, la gloria di aver fondato la scuola di Napoli, da cui sono usciti, durante tutto un secolo, una moltitudine di compositori drammatici di prim'ordine. Egli stesso fu non soltanto un grande professore, ma un artista dei più dotati. La sua musica da chiesa non ha meno maestà di quella di Durante, tocca il cuore e fa nascere degli slanci di tenera devozione. Il suo Miserere a due cori è una composizione tanto notevole per l'elevatezza dei sentimenti che l'hanno dettata, quanto per la purezza di stile in cui si riconoscono le tracce della scuola cantoria romana in cui studiò. Nella sua musica sacra nello stile accompagnato e concertato, de Leo conserva la semplicità e si fa ammirare per la bellezza dell'espressione, come l'Ave Maris Stella per voce di soprano e orchestra o il Credo a quattro. Egualmente notevole nel genere teatrale, de Leo è sempre nobile, spesso patetico e appassionato ed è con questi mezzi, molto semplici, che perviene a grandi effetti. Piccinni fa i più grandi elogi alle sue opere, e cita in particolare l'aria Misero pargoletto da Demoofonte come modello di espressione drammatica, quest'aria è, in effetti, della più grande bellezza, anche Arteaga è prodigo di elogi verso questo musicista Segui lo spartito qui/Follow the score here: http://youtu.be/q3iMskZjm1Y.

Piano - Digital Download SKU: A0.1070280 Composed by Katri Rebane. Arranged by Peeter Rebane. Children,Contemporary,Multicultural,Standards,World. Accompaniment. Duration 112. Katri Rebane #4313583. Published by Katri Rebane (A0.1070280). The play-along (piano+ band) version to A piece about the Lemur Girl Katta, missing her home rain forests in the sunburnt desert. Attention - there is a 2-bar introduction by the band! Click here for digital sheet download: S0.509147 9 Have fun! These light pieces for the piano, composed by Katri Rebane, a pianist and a piano teacher, tell a story about Piano Creatures. The tunes, in different degrees of difficulty, are suitable for elementary, middle school, and high school students. They are easy to learn, even without any direction from a teacher, as their recordings would show you. Peeter Rebane specifically arranged some of the Piano Creature pieces for piano and pop band, but arrangements without the piano are also available for anyone to jam along with a band. Kerstin Hallik has infused the Piano Creature of a life of their own with her colorful illustrations. While enjoying the new music, you will get acquainted with new friends - the Piano Creatures.

Cello,Flute,Harpsichord,Violin - Level 3 - Digital Download SKU: A0.1487810 Composed by Leopold Hofmann. Arranged by Allan Badley. Classical. 48 pages. Artaria Editions #1064748. Published by Artaria Editions (A0.1487810). Artaria Editions AE198For flute, violin, cello, harpsichord, and basso (usually a second cello)The present work was advertised by Breitkopf (Supplement IV) in 1769 along with two of the composer's keyboard concerti.Most of Hofmann's keyboard music appears to date from his years as Hofklaviermeister (1769-1774) and we can assume that a good deal of it was intended as teaching material. In the circumstances it is tempting to suggest that this attractive and unusually-scored work was composed for Hofmann's imperial pupils and that Joseph II perhaps played the cello part in a domestic concert at court. This edition is based on a set of MS parts now preserved in the Staatsbibliothek zu Berlin under the shelfmark Mus.ms. 10733/3. The wrapper reads: 'A/ Concertino / a / Cembalo / Flauto Traverso / Violino / Violoncello / e / Basso / del Sigr. Leop: Hoffmann / Grave' . The intended 'basso' instrument is uncertain but in all likelihood it was played by a second cello. In the absence of both the autograph score and an authentic set of parts, this edition presents as faithfully as possible the intentions of the composer as transmitted in the Berlin copy. The simple continuo realisation, printed here in smaller type, has been added by a later hand and is certainly not the work of the composer. As is often the case in Hofmann's chamber music there are few dynamic markings in the parts although considerable care is taken with articulation. The style and notation of these have been standardised throughout, and, where missing from the source, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets. Like most eighteenth-century sources, the present manuscript is inconsistent at times in its notation of appoggiature ; these too have been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Allan Badley.