Voice and piano (2 songs with violoncello; 1 vocal duet) - Medium - Digital Download SKU: MQ.8491-47E Composed by MeeAe Cecilia Nam and Theodore Gouvy. 6 pages. E. C. Schirmer Music Company - Digital #8491-47E. Published by E. C. Schirmer Music Company - Digital (MQ.8491-47E). French.A French composer, Théodore Gouvy (1819-1898) was one of the most significant composers of 19th Century in Europe. The movement of rediscovering his instrumental music has been increasingly successful in Europe since the 1990s, especially following the birth of L’Institut Gouvy in France. However, his solo vocal music has been waiting to be unveiled to the public. Volume One includes 52 songs of Gouvy.Gouvy traveled widely throughout Europe. He was also a lover of nature. Generally, he spent his winters in Leipzig, but in the summertime, he always returned to Hombourg-Haut, France, to stroll through the woods, to hunt, and to relax. Gouvy was fluent in several languages and had a great appreciation of the Renaissance French Poetry of Pierre de Ronsard whose poetry he had set to music. The fifty-two songs in this volume are largely by Ronsard and other Renaissance poets of La Pléiade.Although Ronsard is approximately 300 years older than Gouvy, they both seem to have the same interest in classical literature, though, admittedly, for different reasons. Celebrated by the French and English courts, Ronsard (1525-1585) was the leader of La Pléiade: a group of seven poets (Joachim Du Bellay (1522-1560), Rémy Belleau (1528-1577), Étienne Jodelle (1532-1573), Pontus de Tyard (1521-1603), Jean–Antoine Baïf (1532-1589), and Jean Daurat (1508-1588), who dedicated their efforts to writing poetry in French rather than in Latin (or Greek) as most of the Romantic poets did. They wished to enrich the French language, and establish a new literature which would be the equal of the other literature of their period, and the equal to poets of the past. French Romantic poetry featured the closeness of the poet to nature, and his ability to communicate with nature by personifying (anthropomorphizing) all of nature’s elements: flowers, the planets, the moon, the breeze, and even the sand upon the shore. As a significant melodist, Gouvy’s treatment of the vocal solo line and his treatment and development of the piano accompaniment places him in the upper echelons as a composer of songs. His diverse cultural life led a rich and significant musical life, interacting with his contemporaries who admired his work, and whom Gouvy knew well, such as Liszt, Brahms, Schumann, Mendelssohn, Berlioz and Gounod. Contents:Six Odes de Ronsard pour ténor et piano, Op. 37 (No. 3 et No. 5 avec violoncelle) Neuf Poésies de Ronsard pour soprano ou ténor et piano, Op. 41 Six Poésies de Ronsard pour soprano ou ténor et piano, Op. 42 Quatre Odes de Ronsard pour baryton et piano, Op. 43 Huit Poésies de Ronsard pour ténor ou soprano et piano, Op. 44 Sept Poésies de Ronsard pour ténor ou soprano et piano, Op. 47.

Woodwind Ensemble,Woodwind Trio Clarinet - Level 5 - Digital Download SKU: A0.913622 Composed by James Marshall. Contemporary,World. 19 pages. James Marshall Music #5019613. Published by James Marshall Music (A0.913622). A new Clarinet Trio dedicated to my High School fellow Clarinet players Rod and Bill. Having reconnected as friends andproficient clarinet players, we have been playing together again whenever possible. As a composer and returning private teacher in retirement, my thoughts turned to writing us a trio. In March 2019 I traveled to London and Paris. The influences and moods of the heritage cultures are savored in the reminiscent character of this short piece. Hints of Debussy, Poulenc, Vaughn Williams and Ligeti are heard in the sonorous combination of three clarinets.

Organ - Digital Download SKU: A0.828708 Composed by Jan Zach. Arranged by Guido Menestrina. Baroque. Score. 5 pages. Guido Menestrina #405395. Published by Guido Menestrina (A0.828708). Transcription by Guido Menestrina, follow the score on youtube: https://youtu.be/A0riyf_X3P4 Jan Zach, called in German Johann Zach (baptized 13 November 1699 – 24 May 1773) was a Czech composer, violinist and organist. Although he was a gifted and versatile composer capable of writing both in Baroque and Classical idioms, his eccentric personality led to numerous conflicts and lack of steady employment from about 1756 onwards. Zach was born in Čelákovice, Bohemia into a wheelwright's family. In 1724 he moved to Prague and started working as violinist at St Gallus and at St Martín. According to Dlabacž, he studied organ under Bohuslav Matěj Černohorský, who lived in Prague from 1720 to 1727. Zach's career as organist started at St Martín, and by 1737 he was also playing the organ at the monastic church of the Merciful Brethren and the Minorite chapel of St Ann. In 1737 he competed for the position of organist at St. Vitus Cathedral, but was not successful. Details of what happened next are unknown: he was reported to have left Bohemia, but apparently remained in Prague at least until 1740. By early 1745 he was living in Augsburg and then on 24 April 1745 he was appointed Kapellmeister of the Electoral orchestra at the court of Johann Friedrich Karl von Ostein, Prince-Elector of Mainz. He visited Italy in 1746 and, briefly, Bohemia in 1747.[1] Zach evidently had a complex and eccentric personality, which led to numerous conflicts that plagued his life at Mainz. He was suspended from his position in 1750 and finally dismissed in 1756. From that point on it appears that Zach never again had steady employment. He traveled through Europe and supported himself financially by performing and selling copies of his works, teaching, dedicating his compositions, and so on. He visited numerous courts and monasteries in Germany and Austria, stayed in Italy in 1767 and between 1771and 1772, and may have worked as choirmaster at the Pairis Abbey in Alsace. He stayed several times at the Stams Abbey at Stams, Tyrol, where he may have had connections, and served as music teacher at the Jesuit school in Munich, for several brief periods of time. The last mentions of Zach in contemporary sources indicate that in January 1773 he was at the Wallerstein court, and according to the Frankfurt Kayserliche Reichs-Ober-Post-Amts-Zeitung of 5 June 1773 he died on a journey, at Ellwangen. Zach was buried in the local church of St Wolfgang. Zach's surviving oeuvre comprises a wealth of both instrumental and sacred music: some 30 masses, 28 string sinfonias, a dozen keyboard works and other pieces. Due to the nature of Zach's life it is difficult to establish a precise chronology. His work reflects the transition from the old Baroque style to the emerging Classical music era ideals. Zach was equally adept at strict counterpoint and the style galant, and was also influenced by Czech folk music. Zach was fond of chromatic modulations. Scholar Johann Branberger, writing in the early 20th century, noted Zach's preference for chromatic, and often exotic, themes. Only a few of Zach's pieces were published during his lifetime: a harpsichord sonata (in Oeuvres mêlées, v/6 (Nuremberg, 1759)), a harpsichord concerto (Nuremberg, 1766; GS C13), and the collection Sei sonate for harpsichord and violin or flute (Paris, 1767).

Voice and piano (2 songs with violoncello; 1 vocal duet) - Medium - Digital Download SKU: MQ.8491-14E Composed by MeeAe Cecilia Nam and Theodore Gouvy. 6 pages. E. C. Schirmer Music Company - Digital #8491-14E. Published by E. C. Schirmer Music Company - Digital (MQ.8491-14E). French.A French composer, Théodore Gouvy (1819-1898) was one of the most significant composers of 19th Century in Europe. The movement of rediscovering his instrumental music has been increasingly successful in Europe since the 1990s, especially following the birth of L’Institut Gouvy in France. However, his solo vocal music has been waiting to be unveiled to the public. Volume One includes 52 songs of Gouvy.Gouvy traveled widely throughout Europe. He was also a lover of nature. Generally, he spent his winters in Leipzig, but in the summertime, he always returned to Hombourg-Haut, France, to stroll through the woods, to hunt, and to relax. Gouvy was fluent in several languages and had a great appreciation of the Renaissance French Poetry of Pierre de Ronsard whose poetry he had set to music. The fifty-two songs in this volume are largely by Ronsard and other Renaissance poets of La Pléiade.Although Ronsard is approximately 300 years older than Gouvy, they both seem to have the same interest in classical literature, though, admittedly, for different reasons. Celebrated by the French and English courts, Ronsard (1525-1585) was the leader of La Pléiade: a group of seven poets (Joachim Du Bellay (1522-1560), Rémy Belleau (1528-1577), Étienne Jodelle (1532-1573), Pontus de Tyard (1521-1603), Jean–Antoine Baïf (1532-1589), and Jean Daurat (1508-1588), who dedicated their efforts to writing poetry in French rather than in Latin (or Greek) as most of the Romantic poets did. They wished to enrich the French language, and establish a new literature which would be the equal of the other literature of their period, and the equal to poets of the past. French Romantic poetry featured the closeness of the poet to nature, and his ability to communicate with nature by personifying (anthropomorphizing) all of nature’s elements: flowers, the planets, the moon, the breeze, and even the sand upon the shore. As a significant melodist, Gouvy’s treatment of the vocal solo line and his treatment and development of the piano accompaniment places him in the upper echelons as a composer of songs. His diverse cultural life led a rich and significant musical life, interacting with his contemporaries who admired his work, and whom Gouvy knew well, such as Liszt, Brahms, Schumann, Mendelssohn, Berlioz and Gounod. Contents:Six Odes de Ronsard pour ténor et piano, Op. 37 (No. 3 et No. 5 avec violoncelle) Neuf Poésies de Ronsard pour soprano ou ténor et piano, Op. 41 Six Poésies de Ronsard pour soprano ou ténor et piano, Op. 42 Quatre Odes de Ronsard pour baryton et piano, Op. 43 Huit Poésies de Ronsard pour ténor ou soprano et piano, Op. 44 Sept Poésies de Ronsard pour ténor ou soprano et piano, Op. 47.

Voice and piano (2 songs with violoncello; 1 vocal duet) - Medium - Digital Download SKU: MQ.8491-02E Composed by MeeAe Cecilia Nam and Theodore Gouvy. 7 pages. E. C. Schirmer Music Company - Digital #8491-02E. Published by E. C. Schirmer Music Company - Digital (MQ.8491-02E). French.A French composer, Théodore Gouvy (1819-1898) was one of the most significant composers of 19th Century in Europe. The movement of rediscovering his instrumental music has been increasingly successful in Europe since the 1990s, especially following the birth of L’Institut Gouvy in France. However, his solo vocal music has been waiting to be unveiled to the public. Volume One includes 52 songs of Gouvy.Gouvy traveled widely throughout Europe. He was also a lover of nature. Generally, he spent his winters in Leipzig, but in the summertime, he always returned to Hombourg-Haut, France, to stroll through the woods, to hunt, and to relax. Gouvy was fluent in several languages and had a great appreciation of the Renaissance French Poetry of Pierre de Ronsard whose poetry he had set to music. The fifty-two songs in this volume are largely by Ronsard and other Renaissance poets of La Pléiade.Although Ronsard is approximately 300 years older than Gouvy, they both seem to have the same interest in classical literature, though, admittedly, for different reasons. Celebrated by the French and English courts, Ronsard (1525-1585) was the leader of La Pléiade: a group of seven poets (Joachim Du Bellay (1522-1560), Rémy Belleau (1528-1577), Étienne Jodelle (1532-1573), Pontus de Tyard (1521-1603), Jean–Antoine Baïf (1532-1589), and Jean Daurat (1508-1588), who dedicated their efforts to writing poetry in French rather than in Latin (or Greek) as most of the Romantic poets did. They wished to enrich the French language, and establish a new literature which would be the equal of the other literature of their period, and the equal to poets of the past. French Romantic poetry featured the closeness of the poet to nature, and his ability to communicate with nature by personifying (anthropomorphizing) all of nature’s elements: flowers, the planets, the moon, the breeze, and even the sand upon the shore. As a significant melodist, Gouvy’s treatment of the vocal solo line and his treatment and development of the piano accompaniment places him in the upper echelons as a composer of songs. His diverse cultural life led a rich and significant musical life, interacting with his contemporaries who admired his work, and whom Gouvy knew well, such as Liszt, Brahms, Schumann, Mendelssohn, Berlioz and Gounod. Contents:Six Odes de Ronsard pour ténor et piano, Op. 37 (No. 3 et No. 5 avec violoncelle) Neuf Poésies de Ronsard pour soprano ou ténor et piano, Op. 41 Six Poésies de Ronsard pour soprano ou ténor et piano, Op. 42 Quatre Odes de Ronsard pour baryton et piano, Op. 43 Huit Poésies de Ronsard pour ténor ou soprano et piano, Op. 44 Sept Poésies de Ronsard pour ténor ou soprano et piano, Op. 47.

Voice and piano - Medium - Digital Download SKU: MQ.8492-01E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8492-01E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-01E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Baritone voice and piano - Moderately Easy - Digital Download SKU: MQ.8826-3E Composed by Gwyneth W. Walker. African American Heritage. 6 pages. E. C. Schirmer Music Company - Digital #8826-3E. Published by E. C. Schirmer Music Company - Digital (MQ.8826-3E). English.I’ve Known Rivers is a multi-movement work, comprised of songs based on four different poems by Langston Hughes (1902–1967). Though he lived much of his life in the Harlem neighborhood of New York City, Hughes was born in Missouri and raised in Kansas, Illinois, and Ohio. At age seventeen, he traveled to Mexico to live with his estranged father. As he crossed the Mississippi River, he was inspired to write The Negro Speaks of Rivers, which begins “I’ve known rivers….,� and is the text for the first movement, “My Soul Has Grown Deep.� It reflects upon rivers of historic and geographical importance—the Euphrates, Congo, Nile, and Mississippi. As the rivers have endured over time, so has the human soul. The waters—the blood—runs deep.In contrast to the universal message of the first song, “Troubled Water,� which uses the poetry of the same title, is contemporary and personal. Water becomes an image of the unsettled and uncertain nature of love. The journey of love is a journey of troubled water. There is no resolution.Undaunted by the elusive nature of love, the poet, heard via the chorus, turns flippant, displaying a persevering and humorous outlook in “Jump Right In!� (to the river) from Hughes’ poem Life is Fine. Romantic misadventures will not conquer the spirit. “I could’ve died for love, but for livin’ I was born.�“In time of silver rain,� once more using the poem of the same title, is a song of healing. With the regeneration of spring, the poet marvels at the wonder of life.Though intended to be performed as the complete multi-movement work I’ve Known Rivers, each song may be performed separately. Duration: 12:00.Contents:My Soul has Grown DeepTroubled WaterJump Right In!In Time of Silver Rain.

Voice and piano - Medium - Digital Download SKU: MQ.8492-26E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-26E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-26E). French.Gouvy was known for writing some of the most beautiful melodies of the Romantic period. His style is a combination of German forms and an early French romantic harmonic structure. His writing for the piano in the songs is totally unified in mood and description with the voice, just as the piano is in Schubert’s songs. The equal partnership of the vocal line and piano interact closely to bring the poetry vividly into life with unimaginable artistic heights and unbridled passion.This volume includes Gouvy songs set to 18 poems of Philippe Desportes (1546–1606), and 18 poems of Moritz Hartmann (1821–1872). The elements of Romantic love poetry, such as enchanting love and its pain, and the personifying of nature, are fluently described with a great sensitivity in both voice and piano. Gouvy’s melody stir up the imagination because of his special treatment of words through a distinguishable and melodious vocal line, and his story telling and poetic treatment and development of the piano accompaniment. His compositional artistry places him in the upper echelons of art-song composers. One should note that Gouvy had a special fondness for the 16th Century poetry of La Pléiade (a group of Renaissance French poets, led by Pièrre de Ronsard (1524–1585). Desportes was truly the heir to Ronsard; however his work, when compared to that of Ronsard, is filled with greater abstraction and greater fluidity. Desportes seems to avoid any of the passionate anger that is occasionally characteristic of La Pléiade. This may be an indication that Desportes lived in a less distressed time. It also seems necessary to point out that he learned much in his early career by copying and studying the earlier works of La Pléiade. This has led some scholars to label him as a plagiarist, but it is important to realize that all the members of La Pléiade copied from each other when they wished to learn something new, and truly understand the style of the other poets in the group. Gouvy’s only choice of poems from his contemporaries, were the works of Moritz Hartmann (1821–1872), a good friend of Gouvy’s. Much of his poetry was strongly political in support of freedom of the individual. He traveled to Leipzig in 1845, but when the authorities discovered a volume of patriotic poems entitled Kelch und Schwert (Chalice and Sword), he fled to Belgium and France. It is at this time that he possibly met Théodore Gouvy. Eighteen poems of Hartmann were translated from German to French by the French poet, Adolph Larmande, of whom very little is known. Pierre Toussaint Adolphe Larmande seems to have been a rather obscure poet and musician. We know that he taught music theory at the Paris Conservatory at the same time Anton Reicha and Michele Carafa were on the faculty. We also know that in 1847 he married an English woman by the name of Marie Caroline Bradley. There are random documents, such as a Certificate of Arrival in London, England, in 1837, but there are no birth and death dates given, and that includes his obituary notice. Contents:18 Sonnets et Chansons de Desportes pour ténor ou soprano et piano, Op. 45 Six poésies allemandes de Moritz Hartmann pour baryton et piano, Op. 21 Douze poésies allemandes de Moritz Hartmann pour ténor et piano, Op. 26 (Poésies françaises d’Adolphe Larmande).

Piano Solo - Level 4 - Digital Download SKU: A0.1258022 By Carmen Cavallaro. By Traditional Italian Folk Song. Arranged by Timothy Stapay. Broadway,Film/TV,Folk,Musical/Show,Singer/Songwriter,Standards. Score. 4 pages. Timothy Stapay #851260. Published by Timothy Stapay (A0.1258022). Santa Lucia is a traditional Italian folk song; here arranged as played by the famous pianist, Carmen Cavallaro.  Mr Cavallaro was of Italian heritage, and was famous on records and in Hollywood movies as a virtuoso romantic-style piano performer.Carmen Cavallaro (May 6, 1913 – October 12, 1989) was an American pianist. He established himself as one of the most accomplished and admired light music pianists of his generation.Cavallaro formed his own band, a five-piece combo, in St. Louis, Missouri, in 1939. His popularity grew and his group expanded into a 14-piece orchestra, releasing some 19 albums for Decca over the years. Although his band traveled the country and played in all the top spots, he made a particular impact at the Mark Hopkins Hotel in San Francisco, which became a favored venue.  Other venues where he drew large audiences included New York’s Hotel Astor, Chicago’s Palmer House and the Coconut Grove in Los Angeles. In 1963 he had a million-seller hit recording of the song, Sukiyaki.Cavallaro's single best-selling recording was his pop version of Chopin's 'Polonaise', Op. 53.He was awarded a Star on the Hollywood Walk of Fame at 6301 Hollywood Boulevard in Hollywood.

Voice and piano (2 songs with violoncello; 1 vocal duet) - Medium - Digital Download SKU: MQ.8491-27E Composed by MeeAe Cecilia Nam and Theodore Gouvy. 5 pages. E. C. Schirmer Music Company - Digital #8491-27E. Published by E. C. Schirmer Music Company - Digital (MQ.8491-27E). French.A French composer, Théodore Gouvy (1819-1898) was one of the most significant composers of 19th Century in Europe. The movement of rediscovering his instrumental music has been increasingly successful in Europe since the 1990s, especially following the birth of L’Institut Gouvy in France. However, his solo vocal music has been waiting to be unveiled to the public. Volume One includes 52 songs of Gouvy.Gouvy traveled widely throughout Europe. He was also a lover of nature. Generally, he spent his winters in Leipzig, but in the summertime, he always returned to Hombourg-Haut, France, to stroll through the woods, to hunt, and to relax. Gouvy was fluent in several languages and had a great appreciation of the Renaissance French Poetry of Pierre de Ronsard whose poetry he had set to music. The fifty-two songs in this volume are largely by Ronsard and other Renaissance poets of La Pléiade.Although Ronsard is approximately 300 years older than Gouvy, they both seem to have the same interest in classical literature, though, admittedly, for different reasons. Celebrated by the French and English courts, Ronsard (1525-1585) was the leader of La Pléiade: a group of seven poets (Joachim Du Bellay (1522-1560), Rémy Belleau (1528-1577), Étienne Jodelle (1532-1573), Pontus de Tyard (1521-1603), Jean–Antoine Baïf (1532-1589), and Jean Daurat (1508-1588), who dedicated their efforts to writing poetry in French rather than in Latin (or Greek) as most of the Romantic poets did. They wished to enrich the French language, and establish a new literature which would be the equal of the other literature of their period, and the equal to poets of the past. French Romantic poetry featured the closeness of the poet to nature, and his ability to communicate with nature by personifying (anthropomorphizing) all of nature’s elements: flowers, the planets, the moon, the breeze, and even the sand upon the shore. As a significant melodist, Gouvy’s treatment of the vocal solo line and his treatment and development of the piano accompaniment places him in the upper echelons as a composer of songs. His diverse cultural life led a rich and significant musical life, interacting with his contemporaries who admired his work, and whom Gouvy knew well, such as Liszt, Brahms, Schumann, Mendelssohn, Berlioz and Gounod. Contents:Six Odes de Ronsard pour ténor et piano, Op. 37 (No. 3 et No. 5 avec violoncelle) Neuf Poésies de Ronsard pour soprano ou ténor et piano, Op. 41 Six Poésies de Ronsard pour soprano ou ténor et piano, Op. 42 Quatre Odes de Ronsard pour baryton et piano, Op. 43 Huit Poésies de Ronsard pour ténor ou soprano et piano, Op. 44 Sept Poésies de Ronsard pour ténor ou soprano et piano, Op. 47.

Piano Solo - Level 3 - Digital Download SKU: A0.918282 Arranged by Brenda Dillon. Folk,Standards. Score. 3 pages. Dillon's Music Group #6077777. Published by Dillon's Music Group (A0.918282). Shenandoah originated with Canadian and U.S. fur-traders, who traveled by canoe down the Missouri River.  They were considered great singers and passed on this song to sailors who sang it while hauling in their anchors.About the composer: Brenda Dillon is best known for her contributions to the Recreational Music Making movement.  In addition to her contributions to the RMM Track for MTNA's Pedagogy Saturday, she also presented group piano and RMM sessions throughout the U.S.  As well as serving as a teacher trainer, she has written extensive articles on both group piano and RMM teaching.  She has publications with Hal Leonard and Alfred Music listed on her website (www.brendadillon.com).

Voice and piano (2 songs with violoncello; 1 vocal duet) - Medium - Digital Download SKU: MQ.8491-37E Composed by MeeAe Cecilia Nam and Theodore Gouvy. 3 pages. E. C. Schirmer Music Company - Digital #8491-37E. Published by E. C. Schirmer Music Company - Digital (MQ.8491-37E). French.A French composer, Théodore Gouvy (1819-1898) was one of the most significant composers of 19th Century in Europe. The movement of rediscovering his instrumental music has been increasingly successful in Europe since the 1990s, especially following the birth of L’Institut Gouvy in France. However, his solo vocal music has been waiting to be unveiled to the public. Volume One includes 52 songs of Gouvy.Gouvy traveled widely throughout Europe. He was also a lover of nature. Generally, he spent his winters in Leipzig, but in the summertime, he always returned to Hombourg-Haut, France, to stroll through the woods, to hunt, and to relax. Gouvy was fluent in several languages and had a great appreciation of the Renaissance French Poetry of Pierre de Ronsard whose poetry he had set to music. The fifty-two songs in this volume are largely by Ronsard and other Renaissance poets of La Pléiade.Although Ronsard is approximately 300 years older than Gouvy, they both seem to have the same interest in classical literature, though, admittedly, for different reasons. Celebrated by the French and English courts, Ronsard (1525-1585) was the leader of La Pléiade: a group of seven poets (Joachim Du Bellay (1522-1560), Rémy Belleau (1528-1577), Étienne Jodelle (1532-1573), Pontus de Tyard (1521-1603), Jean–Antoine Baïf (1532-1589), and Jean Daurat (1508-1588), who dedicated their efforts to writing poetry in French rather than in Latin (or Greek) as most of the Romantic poets did. They wished to enrich the French language, and establish a new literature which would be the equal of the other literature of their period, and the equal to poets of the past. French Romantic poetry featured the closeness of the poet to nature, and his ability to communicate with nature by personifying (anthropomorphizing) all of nature’s elements: flowers, the planets, the moon, the breeze, and even the sand upon the shore. As a significant melodist, Gouvy’s treatment of the vocal solo line and his treatment and development of the piano accompaniment places him in the upper echelons as a composer of songs. His diverse cultural life led a rich and significant musical life, interacting with his contemporaries who admired his work, and whom Gouvy knew well, such as Liszt, Brahms, Schumann, Mendelssohn, Berlioz and Gounod. Contents:Six Odes de Ronsard pour ténor et piano, Op. 37 (No. 3 et No. 5 avec violoncelle) Neuf Poésies de Ronsard pour soprano ou ténor et piano, Op. 41 Six Poésies de Ronsard pour soprano ou ténor et piano, Op. 42 Quatre Odes de Ronsard pour baryton et piano, Op. 43 Huit Poésies de Ronsard pour ténor ou soprano et piano, Op. 44 Sept Poésies de Ronsard pour ténor ou soprano et piano, Op. 47.

C Instrument - Level 4 - Digital Download SKU: A0.1207558 Composed by Scott Walker. Folk. Lead Sheet / Fake Book. 40 pages. S'got Possiblities #805726. Published by S'got Possiblities (A0.1207558). This is a collection of fiddle tunes that I have written at different points since I began playing Irish music over 3 decades ago. The collection includes typical types of tunes, including reels, jigs, hornpipes, waltzes. There are a few tunes that don't fall exactly into those catagories, including an old time tune, a quasi cajun tune, a slow tune that is quasi Scottish, and one air that was originally written for solo cello, and is more of a concert piece for cello and fiddle, in a folk style. There are short descriptions of the tunes that tell a bit about my life, where I lived and traveled, and what I was doing.  Most of the tunes were written at a specific place, some on trips, and some at home. Memories of the places and the people there are woven into the sound. I sincerely hope you enjoy this music!

String Ensemble,String Trio Cello,Double Bass,Violin - Level 4 - Digital Download SKU: A0.993653 Composed by Dennis Garretson. Arranged by Dennis Garretson. 20th Century,Broadway,Contemporary. Score and parts. 9 pages. Dennis Garretson #4580793. Published by Dennis Garretson (A0.993653). Retelling the myth of the lovers, in a modern fashionDescriptionOrpheus: Un Amore Immortale features a 6 minutes symphony written for violins, cellos and double basses, with an optional solo violin and cello part for a better depths. Debut in the 2018 Acadia University Composer Recital.This Trio Symphony features a Violin, Cello and Double bass, in contrast to the original string trio layout to deliver full harmony. The piece possesses a structure deeply related to modern film scores through the use of rhythmic pulses and ostinatos, with a stable ritornello (theme) occurring throughout the six-minute performance. This piece is a direct retelling of the story Orpheus and Eurydice, as it goesOrpheus, a legendary musician gifted with superhuman musical abilities, traveled to the Underworld to save his bride Eurydice, whom during the wedding died an untimely death. the symphony utilized modern cinematic elements to speak out the events. a saddening finale which ultimately points to the original tragedy of Eurydice's ultimate fate.For the following for the Full Recording:https://soundcloud.com/dcgarretsoncomposer/orpheus-amore-immortale-a-cinematic-trio-symphonyAbout the ComposerDennis Garretson is young Pianist, Improviser and Composer.Born and raised in Hong Kong, he started as a self-taught composer in high school. and became increasingly influenced by Hollywood &Blockbuster sounds, which paved the way towards discovering his passion towards the realm of orchestral music & film scores. He produced his first soundtrack when he was 17 and secured his first Media Award in the 12th Annual Hong Kong Film Art Association for the best original composition.Currently pursuing a music degree in Nova Scotia Canada, Dennis has the honorable opportunity of studying under multi Juno nominated composer - Peter Togni. His style of writing could be described as - Adaptive Story Telling, allowing listeners to have their very own unique interpretations of what the music could be about while anchoring within reach of the composer's core idea. Dennis strives to be a composer of true versatility, albeit his primary interest remains committed to film scores. He has written in the styles of Schoenberg's 12-tone techniques and has gone as polar as modern movie and trailer music. His music has been commissioned for short films and could be heard on various media platforms.For work inquiry, please contact through social media.

Ukulele - Level 3 - Digital Download SKU: A0.1151103 By Michael P Walker. By Francesco Molino. Arranged by Michael P Walker. 19th Century,Classical. Score. 53 pages. Michael P Walker #751283. Published by Michael P Walker (A0.1151103). Who would have thought you could play classical music on a ukulele? But you can! Francesco Molino was an Italian musician and composer, born at Ivrea near Turin on 4 June 1768. At the age of fifteen, in 1783, he enrolled in the band of the Piedmont Regiment as an oboist, a post from which he resigned in 1793. He often traveled to Spain to give concerts. From 1786 to 1789, he played the viola in the orchestra of the Teatro Regio in Turin, and from 1814 to 1818, he was employed in the royal chapel in Turin. By 1817 he had published two guitar methods. Then in about 1820, he moved to Paris where he was very active as a teacher and composer, until his death there in 1847. His works were largely neglected until the twentieth century when many of them were republished. Have fun! Along with this book, there are more than 80 books of arrangements of Renaissance, Baroque, Classical, and Romantic era music for the baritone ukulele and there are more than Sixty-five others with arrangements for the Low G ukulele. You can find them here: https://morgancomusic.com.