Twenty-three patriotic and seasonal selections, hymns, gospel songs and choruses From the Forward: EASY ENSEMBLE MUSIC is a collection of patriotic and seasonal selections, hymns, gospel songs and choruses. It has been prepared for use by church ensembles in various types of programs and services. It is also practical for school ensembles, which today are an important adjunct of the instrumental music teaching program. This volume is intended to help provide worthwhile and instructive music that is interesting to perform for players just beyond the beginner stage (or Grade II as defined by the Instrumentalist Magazine.) It will probably be used most often by youngsters who will need to spend time in individual practice before performing the selections with a group. However, more experienced musicians will find the contents pleasant to play without being taxing. Most selections are of modest length, have ample time for lead parts to catch their breath, and do not make undue demands upon range, technique, or rhythmic virtuosity. All selections are scored for a five (or four) part brass ensemble. Performing groups must have at least one book for each part (with the possible exception of Part 5, Tuba) in order to obtain satisfactory harmony. The parts are distinguished as follows: Part 1: C Instruments (Violin, Oboe, Flute); 1st Bb Trumpet or Cornet (Bb Clarinet) Part 2: 2nd Bb Trumpet or Cornet (Bb Clarinet) Part 3: Trombone (Baritone bass clef, Bassoon, Cello); F Horn (English Horn); Eb Horn (Alto Saxophone, Eb Alto Clarinet) Part 4: Trombone (Baritone bass clef, Bassoon, Cello); Baritone treble clef (Tenor Saxophone, Bass Clarinet) Part 5: Tuba or Sousaphone (Bassoon or Cello with occasional lower range limits, String Bass 8vb) WESLEY L. HANSON

Twenty-three patriotic and seasonal selections, hymns, gospel songs and choruses From the Forward: EASY ENSEMBLE MUSIC is a collection of patriotic and seasonal selections, hymns, gospel songs and choruses. It has been prepared for use by church ensembles in various types of programs and services. It is also practical for school ensembles, which today are an important adjunct of the instrumental music teaching program. This volume is intended to help provide worthwhile and instructive music that is interesting to perform for players just beyond the beginner stage (or Grade II as defined by the Instrumentalist Magazine.) It will probably be used most often by youngsters who will need to spend time in individual practice before performing the selections with a group. However, more experienced musicians will find the contents pleasant to play without being taxing. Most selections are of modest length, have ample time for lead parts to catch their breath, and do not make undue demands upon range, technique, or rhythmic virtuosity. All selections are scored for a five (or four) part brass ensemble. Performing groups must have at least one book for each part (with the possible exception of Part 5, Tuba) in order to obtain satisfactory harmony. The parts are distinguished as follows: Part 1: C Instruments (Violin, Oboe, Flute); 1st Bb Trumpet or Cornet (Bb Clarinet) Part 2: 2nd Bb Trumpet or Cornet (Bb Clarinet) Part 3: Trombone (Baritone bass clef, Bassoon, Cello); F Horn (English Horn); Eb Horn (Alto Saxophone, Eb Alto Clarinet) Part 4: Trombone (Baritone bass clef, Bassoon, Cello); Baritone treble clef (Tenor Saxophone, Bass Clarinet) Part 5: Tuba or Sousaphone (Bassoon or Cello with occasional lower range limits, String Bass 8vb) WESLEY L. HANSON

String Quartet Cello,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.1206658 By Oh Wonder. By Oh Wonder. Arranged by Graham Boag. 20th Century,Classical,Contemporary,Film/TV. Score and parts. 11 pages. Graham Boag #804840. Published by Graham Boag (A0.1206658). Oh Wonder is the debut studio album by English alt-pop duo Oh Wonder, self-released on 4 September 2015. The album is the accumulation of singles released monthly throughout 2014–2015, in addition to two unreleased songs.The song All We Do is featured in the opening credits of the ITV crime drama Unforgotten, at the end of the Miss Taken episode of the CBS drama Elementary, in an episode of ITV's Coronation Street, and in the 2015 MTV American slasher horror series Scream. Scream also featured the song Shark in season 1 episode 2, and Technicolor Beat in season 1 episode 5. The song Drive was used in the pilot episode of the 2015 BBC drama Doctor Foster. “White Blood was featured in season 3, episode 2 of The CW drama Reign. The first verse of the song Landslide was sampled in rapper Lil Uzi Vert's song The Way Life Goes from their album Luv Is Rage 2, as well as retaining some of the original vocals, so Oh Wonder are credited as featured artists on the song. Unforgotten is a British crime drama television series, which initially aired on ITV on 8 October 2015. It was created and written by Chris Lang and directed by Andy Wilson. The programme follows a team of London detectives led by DCI Cassie Stuart (Nicola Walker) (Series 1–4), DCI Jess James (Sinéad Keenan) (Series 5) and DI Sunny Khan (Sanjeev Bhaskar) as they solve cold cases of disappearance and murder. Each series consists of six episodes. Series 1 to 4 were broadcast in the UK in 2015, 2017, 2018 and 2021. On 30 March 2021 a fifth series was announced, scheduled for release in 2023, and it was confirmed that Sanjeev Bhaskar would reprise his role. A year later it was confirmed that Sinéad Keenan would replace Walker as Bhaskar's new partner, DCI Jessica Jessie James. Filming for the fifth series began on 14 March 2022. The first episode of series 5 premiered on ITV in February 2023.Each series deals with a new case, introducing seemingly unconnected characters who are gradually revealed to have some relationship with the victim. As the murder mystery unfolds, the emotional ramifications of the crime on the lives of those affected are also explored. Unforgotten has received critical acclaim. Tom Courtenay won the 2016 BAFTA TV Award for Best Supporting Actor for the first series and Mark Bonnar won the 2017 BAFTA Scotland for Best Actor in Television for the second series.  

Piano Solo - Level 3 - Digital Download SKU: A0.1431316 By Keith Terrett. By Petur Alberg. Arranged by Keith Terrett. 20th Century,Classical,Contest,Festival,Instructional,Traditional. Score. 3 pages. Keith Terrett #1011784. Published by Keith Terrett (A0.1431316). An arrangement of the Faroese National Anthem for Piano.Tú alfagra land mítt (Thou fairest land of mine), officially Mítt alfagra land (My fairest land), is the national anthem of the Faroe Islands. It was written in 1906 by headteacher Símun av Skarði, and the melody was composed in 1907 by violinist Petur Alberg.The song was written in a work dated 1 February 1906 by Símun av Skarði, the headmaster of a high school in Føgrulið, southwest of Klaksvík. It was written during a time of strong division in the Faroe Islands between conservatives who wanted to preserve Danish rule and autonomists who wanted more self-government, of which Símun was the latter.Violinist Petur Alberg wrote the first notes of the music of the anthem on 4 September 1907, after the melody came to him that evening. He later sang the melody down the phone in the Løgting to Símun av Skarði, who liked it. Petur then sent it to a music teacher he knew in Akureyri, Iceland, and to asked him to harmonise it for a male quartet. In October 1907, the male quartet arrangement arrived, and singers began to practice it for a Boxing Day concert in Sloan's Hall in Tórshavn. Petur, not daring to reveal the song's author, told the singers the song was Icelandic, by a certain Jón Sveinsson. However, the singers liked the song. The song was performed at the concert on 26 December 1907, which was the first time any song by Petur had been performed publicly and the first time Tú alfagra land mítt was performed publicly.On 8 January 1908, Tú alfagra land mítt was published in the Faroese newspaper Tingakrossur. It was then published in the Lesibók, a literary history in chronological order, in 1911. It was later published in many editions of the Songbók Føroya fólks (Faroese People's Songbook), generally in the number one position, from 1913 through 1959.In 1925, a Nynorsk translation of the song by Rolf Hjort Schøgen was published in the Tingakrossur. In 1928, a Danish translation by university student Tormod Jørgensen was published in Højskolebladet No. 7928.[1][2] An Icelandic translation by Jochum M. Eggertsson appeared in the magazine Dvöl in 1935. The same year, a German translation by Ernst Krenn was published in the Føroyaheftið (Faroese Instalment), a Faroese booklet at the Nordic Society in Vienna, Austria. In 1943, an English translation by Padre G. C. C. Knowleson was featured in the notes of the magazine The Pioneer by some British soldiers in the Faroe Islands during World War II. As the national anthem Tú alfagra land mítt won out in a rivalry with Eg oyggjar veit (I know some islands), from 1877, on which song should become the national anthem of the Faroe Islands. Tú alfagra land mítt has been sung at all festivals in the Faroe Islands, and it has been in the psalm book of the Faroese Church since 1990. The national radio station Útvarp Føroya, established in 1957, played it every night before ending its broadcast for the evening.

Brass Ensemble,Brass Quintet Horn,Trombone,Trumpet,Tuba - Digital Download SKU: A0.1495808 Composed by Richard John (Gb1) Thompson. Arranged by Peet du Toit. Traditional. 7 pages. Peet du Toit #1072337. Published by Peet du Toit (A0.1495808). BANKS AND BRAES (O' BONNY DOON). AKA and see “Bonnie Doon,” Lost is My Quiet, Caledonian Hunt's Delight (The), Ye Banks and Braes. Scottish, Air and Waltz (6/8 or 3/4 time). The antiquarian William Chappell claims the tune is English on the strength of its being included in a Collection of English Songs by Dale (who published about 1780-1794) under the title Lost is my quiet. However, the collector John Glen (1891) relates a delightful story of the tune's origins involving the famous Scots poet, Robert Burns (1759-1796), who wrote to publisher George Thomson in 1794:Do you known the history of the air? It is curious enough. A good many years ago, Mr. James Miller, writer in your good own (Edinburgh), a gentleman whom, possibly, you know, was in company with our good friend Clarke; and taling of Scottish music, Miller expressed an ardent ambition to be able to compose a Scots air. Mr. Clarke, partly by way of a joke, told him to keep to the black keys of the harpsichord, and preserve some kind of rhythm, and he would infallibly compose a Scots air. Certain it is, that, in a few days, Mr. Miller produced the rudiments of an air which Mr. Clarke, with some touches and corrections, fashioned into the tune in question. Ritson, you know, has the same story of the black keys; but this account which I have just given you, Mr. Clarke informed me of several years ago.Miller's tune was first published under the title Caledonian Hunt's Delight (The) in Gow's 2nd Collection (1788), but Glen concludes that it is more likely that Lost is my quiet is a poor adaptation and nothing else. He also notes there is a tune having a supposed resemblance in Playford's Appollo's Banquet (1690) entitled Scotch Tune (A) (No. 68), but in the end he believes that neither Chappell's arguments nor facts are strong enough to deprive Mr. Miller of his claim. The Caledonian Hunt's Delight appears also in George Thomson's A Select Collection of Original Scottish Airs for the Voice (Edinburgh, 1793-1797), arranged by Kozeluch. A rondo on the air was composed by Domenico Corri (1746-1825) under the title Favourite Irish Air (which, of course, it is not).

Picc. · 2 · 2 · Engl. Hr. · 2 · 2 - 2 Ventil-Hr. · 2 Natur-Hr. · 2 Ventil-Trp. · 3 Pos. · Basstb. - P. - Str. Auf der Bühne: 3 Picc. (womöglich mehrfach besetzt) - 6 Hr. - Tamtam - Windschleuder - Digital Download SKU: S9.Q25915 Romantic Opera in 3 Acts. Composed by Richard Wagner. This edition: vocal/piano score. Initial release - Opera - theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Duration 135' 0. Schott Music - Digital #Q25915. Published by Schott Music - Digital (S9.Q25915). German • English.An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner’s ten great operas, in every important version, based on the Complete Edition. * The score corresponds to the performance materials from the Complete Edition. * For practical use in rehearsal cues and bar numbers throughout. * The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords. * The forewords are given in three languages(German, English, French). * Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition. DER FLIEGENDE HOLLÄNDER (Original version) With this edition, the original version of Wagner’s opera Der fliegende Holländer [The flying Dutchman] WWV 63 is made available to the public for the first time in piano score form. The score on which the edition is based was published in the Richard Wagner-Complete Edition 1983: Richard Wagner. Collected works Vol. 4, I-II, The Flying Dutchman. Romantic opera in three acts (original version 1841), edited by Isolde Vetter (Schott Music International, Mainz, RWA 104-10/RWA 104-20).� (Egon Voss, quoted from the foreword of the new Der fliegende Holländer vocal score) Original version and 1842-1880 version The original version of Der fliegende Holländer dates from 1841. Wagner, at the time a completely unknown Kapellmeister in France, trying to get a foothold in Paris, saw the opportunity for a stage work that would meet the fashion at the Paris Opera of performing several short works one after another. Der fliegende Holländer, conceived in 1840 and composed in 1841, seemed to him suited to the purpose. In 1841, even when Wagner no longer counted on a success in Paris, he still held to the conception of a one-act opera and offered the work to German opera houses under the title of “Romantic Opera in One Act and Three Scenes�. This version is set in Scotland, taking as the literary model for the opera Heinrich Heine’s novel fragment “From the Memoirs of Mr. Schnabelewopski�, and the protagonists have English names. This version was never performed in Wagner’s lifetime. Beginning in 1842, the work went through a tale of constant revision: Even before the Dresden premiere (2nd January 1843) Wagner undertook fundamental alterations. He transposed the location from Scotland to Norway, changed character’s names as appropriate, divided the opera into three acts – not least due to considerations of scene changes – and transposed Senta’s Ballad from A minor to G minor. It was in this version that the score of the opera went to print in 1845. For a performance in 1860 he composed the later so-called ‘Tristan’ or ‘Redemption’ ending to the Overture. Until the very end of his life, Wagner contemplated a plan for a final score or a definitive vocal score: it never came to be, so that to this day, as with Tannhäuser, we still do not have Der fliegende Holländer in a final version. Based on the research conducted in the creation of the Complete Edition, our editions contain, in one case the original version of 1841, while the other essentially goes back to the first printing of the score of 1845, but with the addition of the source material for the retouchings dating from 1842 to 1889. VOCAL SCORES The original version of the opera was made available for the first time in a vocal score in 2005 (ED 8065). The completely revised new edition of the vocal score of the 1842-1880 version appeared in 2011 (ED 20531).Les opéras de Richard Wagner paraissent pour la première fois sous forme de piano-chant chez Schott en version originale. Sont déjà publiés dans la série : L’Or du Rhin, Lohengrin, Parsifal et Le Vaisseau fantôme (première version de 1841 et version 1842-1880). Les autres opéras de Wagner représentés à Bayreuth paraîtront d'ici 2013, année anniversaire de la naissance du compositeur.

Choir - Digital Download SKU: A0.1059474 Composed by Maurice Ravel. Arranged by David Warin Solomons. 20th Century,Romantic Period. Full Performance. Duration 99. David Warin Solomons #3387809. Published by David Warin Solomons (A0.1059474). Sung by the dwsChoraleLes vieilles:                           [English translation below] N'allez pas au bois d'Ormonde, Jeunes filles, n'allez pas au bois: Il y a plein de satyres, de centaures, de malins sorciers, Des farfadets et des incubes, Des ogres, des lutins, Des faunes, des follets, des lamies, Diables, diablots, diablotins, Des chèvre-pieds, des gnomes, des démons, Des loups-garous, des elfes, des myrmidons, Des enchanteurs et des mages, Des stryges, des sylphes, des moines-bourrus, Des cyclopes, des djinns, gobelins, Korrigans, nécromans, kobolds... Les vieux : N'allez pas au bois d'Ormonde, Jeunes garçons, n'allez pas au bois: Il y a plein de faunesses, de bacchantes et de males fées, Des satyresses, des ogresses et des babaïagas, Des centauresses et des diablesses, Goules sortant du sabbat, Des farfadettes et des démones, Des larves, des nymphes, des myrmidones, Hamadryades, dryades, naïades, ménades, thyades, Follettes, lémures, gnomides, succubes, gorgones, gobelines... N'allez pas au bois d'Ormonde. Filles et garçons : N'irons plus au bois d'Ormonde, Hélas! plus jamais n'irons au bois. Il n'y a plus de satyres, plus de nymphes ni de males fées. Plus de farfadets, plus d'incubes, Plus d'ogres, de lutins, De faunes, de follets, de lamies, Diables, diablots, diablotins, De chèvre-pieds, de gnomes, de démons, De loups-garous, ni d'elfes, de myrmidons, Plus d'enchanteurs ni de mages, de stryges, de sylphes, De moines-bourrus, de cyclopes, de djinns, De diabloteaux, d'éfrits, d'aegypans, de sylvains, gobelins, Korrigans, nécromans, kobolds... N'allez pas au bois d'Ormonde, Les malavisées vieilles, les malavisés vieux Les ont effarouchés! [English Translation] Old women : Don't go to Ormond wood, Maidens beware, go not to the woods: They are full of grim satyrs, and of centaurs, of cunning wizards, Of hobgoblins and of incubus, Imps and ogres hide there, Will o'the wisps and fauns, roguish lamia, Flying devils, devilkins, Goat-footed folk and gnomes and demons, Full of werewolves, elves, tiny myrmidons, Of enchanters and of magicians, Strygia and sylphs, full of humpback monks, Of cyclops and of djinns, goblins, Korrigans, necromancers, kobolds... Old men : Don't go to Ormond wood, Young lads beware, go not to the woods: They are hiding host of fauns, and of bacchantes and of fairy folks, Of satyresses and ogresses, and of babaïagas, Of centauresses and of shedevils, Witches out from their sabbath, Of she-hobgoblins, of female demons, Of larves and of nymphs, tiny myrmidons, Of Hamadryads, and dryads, of naiads, menades, thyades, Will o'wisps, of lemures, female gnomes, succubus, of gorgons and she-goblins... Don't go to Ormond wood. Maidens and Young lads : We shall not go to the wood again, Alas, never more shall we go there. There are no more grim satyrs, And no more nymphs, fairy folk have fled. Gone the hobgoblins and incubus, Or ogres, no more imps, Fauns or will o' the wisps, No more furies, flying devil, devilkins, goat-footed folks, No more gnomes or demons, No more werewolves, elves, imps and myrmidons, No enchanters, or magicians, or strygia, No more sylphs or humpba.

Concert Band - Level 4 - Digital Download SKU: A0.1433990 By Albert Ketelbey. By Albert Ketelbey. Arranged by John Ivor Holland. 20th Century,Classical,Multicultural,World. 85 pages. John Ivor Holland #1014221. Published by John Ivor Holland (A0.1433990). Albert William Ketèlbey (1875-1959) was an English composer, conductor and pianist, best known for his short pieces of light orchestral music. He was born in Birmingham and moved to London in 1889 to study at Trinity College of Music. After a brilliant studentship he did not pursue the classical career predicted for him, becoming musical director of the Vaudeville Theatre before gaining fame as a composer of light music and as a conductor of his own works. One of his earliest works in the genre, 'In a Monastery Garden' (1915), sold over a million copies and brought him to widespread notice; his later musical depictions of exotic scenes caught the public imagination and established his fortune. Such works as 'In a Persian Market' (1920), 'In a Chinese Temple-Garden' (1923), and 'In the Mystic Land of Egypt' (1931) became best-sellers in print and on records; by the late 1920s he was Britain's first millionaire composer. Ketèlbey's popularity began to wane during the Second World War and his originality also declined; many of his post-war works were re-workings of older pieces and he increasingly found his music ignored by the BBC. In 1949 he moved to the Isle of Wight, where he spent his retirement, and he died at home in obscurity. On the last night of the 2009 Proms season, the orchestra performed his 'In a Monastery Garden', marking the fiftieth anniversary of Ketèlbey's death—the first time his music had been included in the festival's finale. This arrangement of 'In a Chinese Temple-Garden' has been created with the modern concert band in mind and is sensitively cross-cued for smaller ensembles.

SSA choir and piano - Medium - Digital Download SKU: MQ.7.0672-E Composed by Stephen Chatman. Advanced/Collegiate. Secular, 21st Century, Creation/Nature. Instrument part. 12 pages. Duration 2 minutes, 40 seconds. Galaxy Music Corporation - Digital #7.0672-E. Published by Galaxy Music Corporation - Digital (MQ.7.0672-E). UPC: 600313706721. English.Night Vision was commissioned by Persephone Singers, a women’s choir in Whitehorse, Yukon, directed by Barbara Chamberlin. It was premiered on May 2, 2015 at the Yukon Arts Centre in Whitehorse. This setting of Whitehorse poet, Joanna Lilley, was part of Whitehorse Community Choir’s major commissioning project, which paired Yukon poets with Yukon and Canadian composers and arrangers. The words and music of Night Vision convey the spirit of the cold, vast northern wilderness. The fast, energetic music complements images of wild foxes, coyotes and wolves at night, through the back gate, two pairs of eyes electric in the flash-light. Contrasting homophonic and contrapuntal sections build in intensity toward the climactic final moments and a loud ending. This piece would be an effective finale to a set or program. Duration: 2:40.

Brass Quartet E-Flat Cornet,Euphonium,Flugelhorn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1326076 Composed by Ron Goodwin. Arranged by Kevin P Holdgate. 20th Century,Broadway,Film/TV,Musical/Show. 12 pages. Kevin P Holdgate #914275. Published by Kevin P Holdgate (A0.1326076). Those Magnificent Men in their Flying Machines; Or, How I Flew from London to Paris in 25 Hours and 11 Minutes is a 1965 British epic period comedy film that satirizes the early years of aviation. Directed and co-written by Ken Annakin, the film stars an international ensemble cast, including Stuart Whitman, Sarah Miles, Robert Morley, Terry-Thomas, James Fox, Red Skelton, Benny Hill, Jean-Pierre Cassel, Gert Fröbe and Alberto Sordi.Based on a screenplay entitled Flying Crazy, the fictional account is set in 1910, when English press magnate Lord Rawnsley offers £10,000 (equivalent to £1,100,000 in 2023 to the winner of the Daily Post air race from London to Paris to prove that Britain is number one in the air.This quartet version, with parts for both Eb & Bb instruments is a fun to play and always goes down well with audiences young and old.

Tenor Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.534399 Composed by Gregory Sullivan Isaacs. 20th Century,Opera,Romantic Period,Standards. 126 pages. Musik Fabrik Music Publishing #3424583. Published by Musik Fabrik Music Publishing (A0.534399). Described as a « tour de force« during the operaâ??s initial run of performances â??Henry Faustâ?� by Gregory Sullivan Isaacs is a three-act, one character opera based on Goëtheâ??s play as translated by Anna Swanwich (1859) with a libretto by the composer. It was premièred at the Circle Theatre in Chicago on April 11, 1993 with the Composer as Faust and Kevin Hinton, pianistâ??Henry Faustâ?� started out as a thought about the â??essenceâ?� of opera. Isaacs thought that one singer, one piano, and a black box theater were all that was really needed to achieve â??opera-nessâ?�. Goetheâ??s play, â??Faust,â?� immediately came to mind. The tale of the professor who makes a deal with the devil for infinite knowledge and the restoration of youth, only to betray himself by lust, seemed perfect. The three-act opera is for tenor and piano and in a Goethe-era English translation by Anna Swanwick. She was the leading translator of Goethe of her day and one of the first advocates for womenâ??s rights. Every word Faust sings is a line from the play.The opera is set in a miserable single-occupancy hotel room furnished with an iron cot, a beat-up dresser and a tattered arm chair. Faust, disheveled and in his pajamas, lives out the drama. The ensuing events, the feverish creations of an addled brain, are all real to Faust. He sees and interacts with the other two characters â?? the devil and Gretchen â?? and flies to hell to dance at the Witches Sabbath. Both the tenor and piano parts are equally demanding and require artists of the first order. The tenor part covers a great range â?? both vocally and dramatically. The piano part requires a virtuoso and musically expresses all of the imaginary characters.SOME SELECTED HENRY FAUST REVIEWS â??You can add Henry Faust to that short list of successful single-singer operas (Schoenbergâ??s Ewartung and Poulencâ??s La Voix Humaine) ... it proved to be a moving experience. Isaacsâ?? music, cast in traditional forms, such as fugue, passacaglia, rondo and variation, is always accessible... often strikingly beautiful, as in the Ländler that closes act two.â?�                THE DETROIT FREE PRESS (John Guinn) - Detroitâ??Written in what Isaacs calls â??refreshed tonality,â?? this lush, supplely intense music serves the drama well ... from the despairing agitato of Faust's opening agonies to the lyrical frenzy of his first glimpse of Gretchen to a hushed declaration of love as tender as we could wish... Isaacs' tour de force certainly has a future.â?�               THE CHICAGO READER (Larry Bommer) - Chicagoâ??...the first (full evening) operatic monodrama ever promises to give Goethe's thrice-told tale a fresh contemporary slantâ?¦ a theater piece that uses opera as its language... a prototype of a new kind of small theater piece, eminently practical at a time of reduced opera company budgets... (Isaacs) brings solid professional credits ... an experienced conductor as well as composer/performer.â?�          THE CHICAGO TRIBUNE (John von Rhein) â?? Chicago

By Old English Air, words by Francis Smith. Arranged by Horace J. Scruggs, III. For Choral. Sacred. Intermediate. Octavo. Published by Horace Jefferson Scruggs, III

Alto Voice,Guitar - Level 3 - Digital Download SKU: A0.1387471 By András Csáki (guitar) and Bernadett Nagy (alto). By David Warin Solomons. Contemporary. Full Performance. Duration 167. David Warin Solomons #971325. Published by David Warin Solomons (A0.1387471). This setting of Paul Verlaine's poem Nevermore plays on an ambiguity of major and minor modes, swaying back and forth between the tonal centres of G minor and E flat majorThe poem and English translation are as follows:Nevermore  Souvenir, souvenir, que me veux-tu? L'automneFaisait voler la grive à travers l'air atone,Et le soleil dardait un rayon monotoneSur le bois jaunissant où la bise détone.Nous étions seul à seule et marchions en rêvant,Elle et moi, les cheveux et la pensée au vent.Soudain, tournant vers moi son regard émouvant :Quel fut ton plus beau jour? fit sa voix d'or vivant,Sa voix douce et sonore, au frais timbre angélique.Un sourire discret lui donna la réplique,Et je baisai sa main blanche, dévotement.-- Ah! les premières fleurs, qu'elles sont parfumées !Et qu'il bruit avec un murmure charmantLe premier oui qui sort de lèvres bien-aimées !English translation by S N Solomons:Memory, what would you have of me? AutumnDrove the thrush up through the atonic airAnd the pale sun pierced in monotoneThe chill and windy woods and the leaf flare.Together but alone we went our ways,Hair blown awry and monad thoughts unfurled.Sudden she turned to me her tender gaze:What was your finest day? - a voice of gold,Dulcet and low, ineffable and fresh.And I said nothing, offered her a smile,Seized her pale hand and pressed a kiss.Ah those first flowers of spring how sweet they were,And that first whispered Yes, how it beguiled,Won from those lovely lips with gentle murmur.(c) S N Solomons.

Guitar,Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1373984 Composed by David Warin Solomons. 20th Century,Contemporary. Score. 8 pages. David Warin Solomons #958551. Published by David Warin Solomons (A0.1373984). This setting of Paul Verlaine's poem Nevermore plays on an ambiguity of major and minor modes, swaying back and forth between the tonal centres of G minor and E flat major The pdf contains score and separate guitar partThe poem and English translation are as follows:Nevermore Souvenir, souvenir, que me veux-tu? L'automneFaisait voler la grive à travers l'air atone,Et le soleil dardait un rayon monotoneSur le bois jaunissant où la bise détone.Nous étions seul à seule et marchions en rêvant,Elle et moi, les cheveux et la pensée au vent.Soudain, tournant vers moi son regard émouvant :Quel fut ton plus beau jour? fit sa voix d'or vivant,Sa voix douce et sonore, au frais timbre angélique.Un sourire discret lui donna la réplique,Et je baisai sa main blanche, dévotement.-- Ah! les premières fleurs, qu'elles sont parfumées !Et qu'il bruit avec un murmure charmantLe premier oui qui sort de lèvres bien-aimées !English translation by S N Solomons:Memory, what would you have of me? AutumnDrove the thrush up through the atonic airAnd the pale sun pierced in monotoneThe chill and windy woods and the leaf flare.Together but alone we went our ways,Hair blown awry and monad thoughts unfurled.Sudden she turned to me her tender gaze:What was your finest day? - a voice of gold,Dulcet and low, ineffable and fresh.And I said nothing, offered her a smile,Seized her pale hand and pressed a kiss.Ah those first flowers of spring how sweet they were,And that first whispered Yes, how it beguiled,Won from those lovely lips with gentle murmur.(c) S N Solomons.

Guitar,Voice - Digital Download SKU: A0.1103420 By David Warin Solomons. By Traditional. Arranged by David Warin Solomons. Chamber,Medieval. Full Performance. Duration 222. David Warin Solomons #706688. Published by David Warin Solomons (A0.1103420). [Original French - English translation follows below] Qui vauroit bons vers oir del deport du viel antif De deux biaux enfans petis Nicholette et Aucasins Des grans paines qu'il soufrit et des prouesses qu'il fit por s'amie o'l' clair vis Dos est li cans biaus li dis et cortois et bien asis Nus hom n'est si esbahis tant dolans ni entrepris de grant mal amala dis se il oit ne soit garis et de joie resbaudis tant par est douce. Qui vauroit bons vers oir del deport du viel antif De deux biaux enfans petis Nicholette et Aucasins, Nicholette et Aucasins [English translation] Who will hear a fine old song 'tis an ancient tale I sing Of two young folk who could do no wrong Nicolette and Aucassin Of the sufferings he would embrace, his acts were noble full of grace for his lover fair of face. Sweet the song and full of renown courtly gentle as I sing No man can be so cast down taken up with suffering sore with heavy worries and pain that if he hears it he'll refrain and be joyful once again so pretty and sweet the song is. Who will hear a fine old song 'tis an ancient tale I sing Of two young folk who could do no wrong Nicolette and Aucassin, Nicolette and Aucassin.