Instrumental Duet Alto Saxophone,Flute,Instrumental Duet - Level 4 - Digital Download SKU: A0.592097 Composed by David McKeown. 20th Century,Concert,Contemporary,Halloween,Standards. Score and parts. 5 pages. David McKeown #6348683. Published by David McKeown (A0.592097). Derek the Deskbound Demon is a fun and original duet written by David McKeown for one Flute and one Alto Saxophone. Derek the Deskbound Demon is one in a series of ten Halloween-themed duets each presenting a portrait of a different Halloween character. All ten can be bought together in one collection by searching for 10 Spooky Halloween Duets for Flute and Alto Saxophone.Most demons spend their time playing fiendish tricks on folk or devising infernal tortures, but all that activity requires organisation behind the scenes and that’s where Derek comes in. Not for him, the sweaty toil at the furnace; Derek may well have little red horns and a pointy tail, but he much prefers sorting out payroll, tax receipts, spreadsheets and work rotas.Derek the Deskbound Demon is suitable for players at an advanced intermediate level and above, with the accessible key and range balanced by the fast tempo and variable meter. With a playing-time of around three minutes, Derek the Deskbound Demon is a perfect upbeat addition to any performance program, formal or informal. Click the link above to listen to a full performance of the clarinet version of this duet on YouTube. There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

Brass Quintet - Level 1 - Digital Download SKU: A0.774960 Composed by Edwin Franko Goldman. Arranged by Bill Wilson. March,Patriotic. 29 pages. Alexander Wilson #2928543. Published by Alexander Wilson (A0.774960). Edwin Franko Goldman's classic, The Chimes of Liberty, is a stirring patriotic march. Arranged for brass quintet (two Bb trumpets, French horn, trombone, and tuba). Includes world parts (horn in Eb, trombone in Bb TC, tuba in Eb TC, and tuba in Bb TC). Performance time is approximately 2:40. Visit our website, www.tootsuitebrasspublishing.com, for a catalog of our arrangements available through sheetmusicplus.com.

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532735 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Standards. 24 pages. Musik Fabrik Music Publishing #1921. Published by Musik Fabrik Music Publishing (A0.532735). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532736 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque,Standards. 21 pages. Musik Fabrik Music Publishing #1923. Published by Musik Fabrik Music Publishing (A0.532736). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532733 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque. 22 pages. Musik Fabrik Music Publishing #1919. Published by Musik Fabrik Music Publishing (A0.532733). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 4 - Digital Download SKU: A0.532734 Composed by Johann Sebastian Bach. Arranged by Paul Wehage. Baroque. 21 pages. Musik Fabrik Music Publishing #1917. Published by Musik Fabrik Music Publishing (A0.532734). The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ». In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...

Piano,Trombone - Level 2 - Digital Download SKU: A0.590313 Composed by Various. Arranged by David McKeown. Christian,Gospel,Praise & Worship,Sacred. Score and part. 28 pages. David McKeown #6203829. Published by David McKeown (A0.590313). 16 Favourite Hymns Vol.1 for solo Trombone (Treble Clef in B Flat) is a collection of popular traditional hymns. They are simply arranged in easy keys for Trombone in B Flat on the Treble Clef with separate piano accompaniment and chord symbols provided in the same file. The hymns are in alphabetical order and are as follows·    Abide with Me, (Eventide)·    All People that on Earth do Dwell, (Old 100th)·    All Things Bright and Beautiful, (Bright and Beautiful)·    Amazing Grace, (Old Britain)·    Be Thou MY Vision, (Slane)·    Christ the Lord is Risen Today, (Crosby)·    The Church’s One Foundation, (Aurelia)·    City of God, (Richmond)·    Crown Him with Many Crowns, (Diademata)·    The Day Thou Gavest, (St Clement)·    Dear Lord and Father of Mankind, (Repton)·    Eternal Father Strong to Save, (Melita)·    The God of Love My Shepherd Is, (University)·    Oh God, Our Help in Ages Past, (St Anne)·    Guide Me O Thou Great Jehovah, (Cwm Rhondda)·    Praise My Soul the King of Heaven (Laude Anima)Volume 2 contains another 16 hymns arranged in the same way and is available via my home page at http://www.sheetmusicplus.com/publishers/david-mckeown/6203

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Tenor Saxophone - Level 2 - Digital Download SKU: A0.587862 Composed by Various. Arranged by David McKeown. Christian,Easter,Sacred. 64 pages. David McKeown #5031039. Published by David McKeown (A0.587862). 16 Favourite Easter Hymns for Saxophone Quartet AAAT is a beautiful collection of well-known traditional Easter hymns. They are arranged in four parts for three Alto and one Tenor Saxophone. Separate parts are included with the score in one single pdf file. You can watch and listen to two of these hymns via the youtube link above. 16 Favourite Easter Hymns for Saxophone Quartet AAAT are simply arranged in easy keys and are fun to play for musicians with a year or two’s experience and above. Teachers and students alike will find 16 Favourite Easter Hymns for Saxophone Quartet AAAT useful for building ensemble, reading and rhythmic skills.The hymns are in alphabetical order and are as follows…·     All Creatures of Our God and King, (Lasst Uns Erfreuen)·     All Hail the Power of Jesus Name, (Coronation)·     Before the Throne of God Above, (Before the Throne)·     Blessed Assurance, (Blessed Assurance)·     Christ the Lord is Risen Today, (Easter Hymn)·     Crown Him with Many Crowns, (Diademata)·     The Day of Resurrection, (Ellacombe)·     Just as I Am, (Woodworth)·     I Know that My Redeemer Lives, (Bradford)·     It is Well with My Soul, (Ville du Havre)·     A Mighty Fortress is Our God, (Ein Feste Burg)·     Nothing But the Blood of Jesus, (What Can Wash Away My Sin)·     There is a Green Hill Far Away, (The Green Hill)·     Thine Be the Glory, (Judas Maccabeus)·     Were You There? (Were You There?)·     When I Survey the Wondrous Cross, (Hamburg) There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203 

Piano,Trombone - Level 3 - Digital Download SKU: A0.587631 Composed by Various. Arranged by David McKeown. Baroque,Concert,Romantic Period,Standards,Wedding. Score and part. 24 pages. David McKeown #4594701. Published by David McKeown (A0.587631). The Wedding Album is a collection of four beautiful and timeless wedding favourites, arranged for Solo Trombone in Bb (Treble Clef) with Piano accompaniment. Whether for that Special Day, for a recital, or for your own entertainment, these arrangements are ideal for players at an intermediate level or higher. The 24-page file includes the piano accompaniments and the separate solo parts at the end. Ave Maria was written by Franz Schubert in 1825 as the sixth song in his song cycle based on Walter Scott’s poem The Lady of the Lake. It is perhaps the best known of all his melodies, adapted for piano by Franz Liszt, and for orchestra many times since. It is often sung with the Latin lyrics of the Catholic hymn of the same name and has been heard everywhere from the Disney movie Fantasia to the funeral of J.F. Kennedy. The Bridal March was written by Richard Wagner in 1850, scored for orchestra and chorus, and opening the third act of his opera, Lohingren. It is best known in the English-speaking world as Here Comes the Bride. Queen Victoria’s daughter used the music for her marriage in 1858, and its popularity has endured ever since.The Prince of Denmark’s March is better known nowadays as the Trumpet Voluntary and is often used in wedding ceremonies. It was in fact written for organ, with the melody played on thetrumpet stop.  Written around 1700, for many years this piece was mistakenly attributed to Henry Purcell. Only recently has it been established that the composer was Jeremiah Clarke, organist at St Paul’s Cathedral. It is somewhat ironic that this composer of a wedding mainstay was himself a victim of unrequited love. He consequently shot himself in the cathedral graveyard. Felix Mendelssohn’s Wedding March was originally written in 1842 as incidental music to Shakespeare’s famousplay, Midsummer Night’s Dream. When Queen Victoria’s daughter used the music for her marriage in 1858, it became instantly popular and has remained a wedding favourite ever since.These four arrangements are also available as single titles for $3.99 each. You can find these along with many more top quality arrangements and compositions by David McKeown at http://www.sheetmusicplus.com/publishers/david-mckeown/6203 

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 1 - Digital Download SKU: A0.1385695 By Adele. By Adele Adkins and Dan Wilson. Arranged by Jhonatan Lucio Viana. 21st Century,Holiday,Pop,R & B,Thriller. 10 pages. JLVPartitura #969632. Published by JLVPartitura (A0.1385695). Immerse yourself in this arrangement of Someone Like You by Adele for Saxophone Quartet + Chords (Soprano, Alto, Tenor and Baritone). Key Features: 1) Adaptation smooth transition to your instrument, preserving the original music's magic and emotion; 2) Level Intermediate, suitable for those starting out or at an easy intermediate level; 3) Format professionally edited PDF for effortless study and performance; 4) Genre blends classical elements with whimsical touches, appealing to both adults and children; 5) Melody simple yet enchanting, evoking wonder and curiosity; 6) Key Ab Major.Unlock the transformative power of music in your life! Purchase the sheet music today and immerse yourself in the beauty of this composition. Elevate your musical experience with every note of this carefully crafted arrangement. Don't hesitate any longer, embark on this unique musical journey and enrich your life with every chord.I'm happy to share this exclusive arrangement to enrich your musical journey. After purchasing the sheet music of your choice, I invite you to explore my extensive collection, accessible on the website under my name: Jhonatan Lucio Viana. Discover a variety of meticulously crafted arrangements for various instruments and voices, all at affordable prices.

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 1 - Digital Download SKU: A0.1385693 By Adele. By Adele Adkins and Dan Wilson. Arranged by Jhonatan Lucio Viana. 21st Century,Holiday,Pop,R & B,Thriller. 10 pages. JLVPartitura #969630. Published by JLVPartitura (A0.1385693). Immerse yourself in this arrangement of Someone Like You by Adele for Saxophone Quartet (Soprano, Alto, Tenor and Baritone). Key Features: 1) Adaptation smooth transition to your instrument, preserving the original music's magic and emotion; 2) Level Intermediate, suitable for those starting out or at an easy intermediate level; 3) Format professionally edited PDF for effortless study and performance; 4) Genre blends classical elements with whimsical touches, appealing to both adults and children; 5) Melody simple yet enchanting, evoking wonder and curiosity; 6) Key Ab Major.Unlock the transformative power of music in your life! Purchase the sheet music today and immerse yourself in the beauty of this composition. Elevate your musical experience with every note of this carefully crafted arrangement. Don't hesitate any longer, embark on this unique musical journey and enrich your life with every chord.I'm happy to share this exclusive arrangement to enrich your musical journey. After purchasing the sheet music of your choice, I invite you to explore my extensive collection, accessible on the website under my name: Jhonatan Lucio Viana. Discover a variety of meticulously crafted arrangements for various instruments and voices, all at affordable prices.

Alto saxophone in Eb and piano - very easy to easy - Digital Download SKU: S9.Q8106 Arranged by Uwe Korn. This edition: Sheet music. Downloadable. Schott Music - Digital #Q8106. Published by Schott Music - Digital (S9.Q8106). German.

Tenor saxophone in Bb and piano - very easy to easy - Digital Download SKU: S9.Q8148 Arranged by Uwe Korn. This edition: Sheet music. Downloadable. Schott Music - Digital #Q8148. Published by Schott Music - Digital (S9.Q8148). German.

Baritone Saxophone,Piano - Level 4 - Digital Download SKU: A0.549445 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 15 pages. Jmsgu3 #3497127. Published by jmsgu3 (A0.549445). Score: 10 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic operas such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, and 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.  

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 3 - Digital Download SKU: A0.1124310 Composed by Edward Elgar. Arranged by Robert Luke Thompson. 19th Century,Chamber,Classical,Film/TV,Patriotic. 10 pages. Monkspath Music #725064. Published by Monkspath Music (A0.1124310). Sir Edward Elgar’s compositional output was prolific, with many well-known pieces, including the Pomp & Circumstance marches, Dream of Gerontius, and of course, the Engima Variations. Elgar’s legacy has been widely debated, but there is no doubt of his influence on ‘English’ music and composers such as Ralph Vaughan Williams, but also further afield, on composers as diverse as Richard Strauss, Jean Sibelius, and Igor Stravinsky. Along with a central theme woven and varied throughout the work, each movement of Engima Variations is also a musical illustration, based on a family member or close friend of Elgar, and indeed Elgar himself. He dedicated the work “to my friends pictured within�. “Nimrod� is the name given to the ninth movement, based on Elgar’s editor and publisher, Augustus J, Jaeger. Musically, there is an obvious hint at the 2nd movement of Beethoven’s Piano Sonata Pathetique, but beyond this there are beautiful legato lines spread across the whole ensemble and a wide variety of timbral, dynamic, and tempo colourations. “Nimrod� has become a popular piece as a standalone item – often featuring in funerals, memorial services, and other solemn events such as Remembrance Sunday. Hans Zimmer also adapts the piece for use in the score for the 2017 film Dunkirk, and has become a standard tune to represent stoic ‘Britishness’. For further pieces, view the Monkspath Music catalogue and click here!