SKU: A0.880999

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

SKU: A0.532808

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

SKU: A0.532807

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

SKU: A0.835820

The Troubles of an Automaton, or The Table and the Chair.  

Composed Paul Burnell 2019. 

Duration c.5:45 (c.6:30 if performed with optional additional ending and A6 narration)  

For Cimbalom or other instruments, three Gongs, Bass Drum and Narrator  

Text: Clementina Maria Black (1853-1922)  / Edward Lear (1812-1888)

Note: The associated recording is of the version using the text by Clementina Maria Black.

 First performed by Jordan Wright-Murray on 30 May 2019.

 The Cimbalom part may be played on a chromatic hammered dulcimer or hackbrett or any other instruments.  

Gongs - ideally 3 bossed/tuned gongs, non-specific pitches: high, medium, low. Bass drum - ideally an orchestral bass drum.  

The octave lower transposition indications in the cimbalom part are optional and when given beneath two-note chords only apply to the lower note.  From bar 62 to the end the cimbalom may be played an octave higher than written.  The cimbalom and gongs are played laissez vibrer throughout.  The bass drum is played laissez vibrer, except where marked with x on stem (for example in bar 32), indicating dead stick technique.  

The narrator may choose one of two texts: 

A:  The Troubles of an Automaton (Excerpt) by Clementina Maria Black 

B:  The Table and the Chair by Edward Lear.  

The start of each section of Narrator text is indicated in the score with boxed text.  Where necessary the end of a text section is shown as unboxed text.  The additional section after Fine 1, starting at bar 101, is optional and can be performed with or without the A6 narration. It is also possible to perform the whole piece without the Narrator, provided the texts are available to the audience.

SKU: A0.1224901

Title: 3 Pieces by Thomas Adams
Composer: Thomas Adams (1785-1858)
Arranger: Andrew Lamb
Description: This is a transcription of 3 pieces by Thomas Adams (1785-1858).

Prelude
Overture
Andante Pastorale
Thomas Adam was an English composer, born in London in 1785. He was born to a family of musicians and began his musical journey as a choirboy at St. Paul’s Cathedral. He later became the organist at St. Anne’s Church in Soho, where he cultivated his skills in composition.

Adams was a prolific composer, and his works incorporate a variety of musical styles and genres. He is known for his choral music, hymns, and anthems, which were popular in both the Anglican and Nonconformist churches.

Adams also worked as a music publisher and was the proprietor of the music shop Adams and Co. in London. He was a founding member of the Royal Society of Musicians and received the honour of being appointed the organist of the Chapel Royal in 1836.

Despite his many accomplishments, Adams’s music has largely fallen out of favour and is rarely performed today. Nonetheless, his contributions to English choral music and his legacy as a respected musician within his community continue to be remembered. Adams passed away in 1858.

SKU: A0.532820

Jules Demersseman was born on January 9, 1833 in Hondschoote, a small town in the north of France now near the border of Belgium. He entered the Paris Conservatory in 1844 in the class of Jean-Louis Tulou and won a first prize in flute in 1845. Demersseman had a career as a pedogogue and soloist, often performing his own compositions. A close friend of Adolphe Sax, he wrote some of the first works ever written for the saxophone, as well as for the saxhorn and for Sax‘s valved trombone, most of which were published by Sax himself.. Demersseman died in Paris on December 1, 1866 at the age of 33. Two versions of this work were published by the Adolphe Sax puublishing company: a version for voice and organ and a version for voice with Alto Saxophone, Sax Valved Trombone and Bass Saxhorn, an interesting combination which is perhaps not as easy to find as it was in Sax's showroom, where the piece was likely performed to show the qualities of Sax's instruments. These versions are also published by Musik Fabrik in seperate editions. This current version was arranged using the first edition of the trio version as its source, and the saxophone and voice parts remain essentially as in the original, with some editorial dynamic changes. The version may be performed in three possible ways: either as a piece for Clarinet Quartet, as a work with Voice and Clarinet Trio, or as a work with Voice and clarinet quartet, with Clarinet 1 doubling the voice. A voical part (in C) is included with the set.

SKU: A0.532821

Jules Demersseman was born on January 9, 1833 in Hondschoote, a small town in the north of France now near the border of Belgium. He entered the Paris Conservatory in 1844 in the class of Jean-Louis Tulou and won a first prize in flute in 1845. Demersseman had a career as a pedogogue and soloist, often performing his own compositions. A close friend of Adolphe Sax, he wrote some of the first works ever written for the saxophone, as well as for the saxhorn and for Sax‘s valved trombone, most of which were published by Sax himself.. Demersseman died in Paris on December 1, 1866 at the age of 33. Two versions of this work were published by the Adolphe Sax puublishing company: a version for voice and organ and a version for voice with Alto Saxophone, Sax Valved Trombone and Bass Saxhorn, an interesting combination which is perhaps not as easy to find as it was in Sax's showroom, where the piece was likely performed to show the qualities of Sax's instruments. These versions are also published by Musik Fabrik in seperate editions. This current version was arranged using the first edition of the trio version as its source, and the saxophone and voice parts remain essentially as in the original, with some editorial dynamic changes. The version may be performed in three possible ways: either as a piece for SATB Saxophone Quartet, as a work with Voice and ATB Trio, or as a work with Voice and SATB saxophone quartet, with the Soprano saxophone doubling the voice. A voical part (in C) is included with the set.

SKU: A0.534438

One of the first original compositions written for the saxophone, by one of Sax's closest associates. Jules Demersseman was born on January 9, 1833 in Hondschoote, a small town in the north of France now near the border of Belgium. He entered the Paris Conservatory in 1844 in the class of Jean-Louis Tulou and won a first prize in flute in 1845. Demersseman had a career as a pedogogue and soloist, often performing his own compositions. A close friend of Adolphe Sax, he wrote some of the first works ever written for the saxophone, as well as for the saxhorn and for Sax‘s valved trombone, most of which were published by Sax himself.. Demersseman died in Paris on December 1, 1866 at the age of 33.

The work is in the form of a long lyrical episode punctuated with more florid passages which serve as counterpoint  to the main melody.. It is important to listen to vocal performances in this style, especially in performing the solo cadenzas, which (in spite of the notation) are not necessarily meant to be performed as virtuoso effects., but rather as a means of displaying expression and beautiful tone.

SKU: A0.1501962

As performed by Bing Crosby in Walt Disney's film The Adventures of Ichabod and Mr. Toad.

SKU: A0.798321

Joe Sent Me is the title tune from an original Prohibition Era Musical Comedy which originally ran for 20 performances in 1978 - then one the Theatre Americana Best New Musical prize, and then revived in 2007 for another successful 14 show run. This SATB arrangement features a jazzy piano accompaniment. A full orchestration for 9 piece jazz band or full orchestra is available from the composer. The excerpt is performed by a 30 piece orchestra with 30 singers.

SKU: A0.1083332

One of the most famous Brazilian songs and one of the best known compositions by Chiquinha Gonzaga, the modinha Lua branca has a history surrounded by mystery. It was written for the burleta Forrodobó, performed at Teatro São José in June 1912, as a modinha for the characters Sá Zeferina and Escandanhas, whose original verses maintain the caricature spirit of the play. In 1929, this romantic version appeared with the title Lua branca (White Moon), recorded by the singer Gastão Formenti, without the authorship of the verses and the new title being known to this day. Between the two versions, there was an arrangement on disc with the title Lua de fulgores by the singer R. Ricciardi, pseudonym of the paulista Paraguassu, but it was the version recorded by Gastão Formenti, accompanied on the piano by professor J. Otaviano, and the Irmãos Vitale edition with harmonization by the pianist that became famous. Chiquinha Gonzaga had to claim authorship of the modinha, denouncing plagiarism and obtaining victory through Sbat, an entity she founded. The original version was recorded as a comic scene by Pinto Filho and Maria Vidal, in 1930, with the title Sá Zeferina. Also the original melody with verses by Paulo César Pinheiro, entitled Serenata de uma mulher (A Woman's Serenade), was recorded by Olívia Hime in 1998. The version canonized as Lua branca has numerous phonograph records by singers and instrumentalists such as Paulo Tapajós, Paulo Fortes, Rosemary, Vânia Carvalho, Maria Bethânia, Verônica Sabino, Leila Pinheiro, Joana, Alessandra Maestrini, Antonio Adolfo, Eudóxia de Barros, Rosária Gatti, Marcus Vianna, Maria Teresa Madeira, and Leandro Braga.

SKU: A0.1049003

Chinese Rhapsody No.3 was composed e in Toronto, Canada , 1988. Huang dedicated the piece to the Canadian Saxophonist Paul Brodie who premiered it in Parry sound of Ontario in the same year. Written in Saibei Folk Style, the music is divided into 5 movements without stop. As usual, Huang didn‘t use any folk song . But the typical taste of Huang’s “Zhang Jia Kou[張家�] accent� is pretty easy to be identified. With the concert virtuosity, the 1st movement is composed as an emotional Cadenza which expresses the profound affections to the land of Saibei. Using the same Alto Sax., the lyric 2nd movement is followed by a folk dance, the 3rd movement. Chang to a Soprano Saxophone, the 4th movement is sound like a dreamy nocturne which is interrupted by the percussions of the fiery 5th movement. The whole Rhapsody ends on a climax of the Chinese Northern west “wind and percussion “style�. Brodie found more than 300 trills in this piece. Perhaps this is the key to perform the music in real Chinese style. Huang has composed 5 versions of these pieces for different ensembles: saxophone solo with piano, or strings, or winds/brasses, or Chinese traditional orchestra, or symphony orchestra. The attached mp3 was performed by the German saxophonist Jurgen Demmler with pianist Peter Grabinger in 1996. Duration: 20’.