Violin and orchestra - Digital Download Completed and orchestrated after the sketches of Debussy by Robert Orledge. Composed by Robert Orledge and Claude Debussy (1862-1918). Arranged by Robert Orledge. This edition: vocal/piano score. Violin Library. Downloadable. Duration 10 minutes. Schott Music - Digital #Q46518. Published by Schott Music - Digital

String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Parts. 10 pages. Published by Music for all Occasions

Accordion,Double Bass,Guitar - Digital Download SKU: A0.1068890 Composed by Lars Ek. Folk,World. Full Performance. Duration 259. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921479. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068890). Something quite astonishing has happened in the Swedish accordion world during the last couple of years, we´ve got a new idol. It´s astonishing in two different ways: for us who know the accordion world it´s a fact that Lars Ek has been around as a professional accordionist for almost 20 years, since he finished school, second: he has become an idol playing music and in a style that has it´s roots 50 years back in the accordion music history. One could say that Lars Ek, today 35 years old, should have been 85, active in the 30´s. Himself, he confess that he feels kind of secret longing back to a time when accordionists were equilibrists, when accordionists played in a brilliant way, the golden age it was for all accordion music all over the world, an age that we will never meet again. It´s a type of music which is historical but not belonging to the museums, not dead, it´s a typical of music filled with life. Very much so thanks to Lars Ek. It´s a quite notable situation. Lars Ek has been playing the accordion for a long time, he has been playing all types of music that can be played on an accordion. Just some few years ago he met, via phonograph records, the music of Nils Lind and Ragge Sundquist (two legendary Swedish performers from the 30´s and the 40´s, both dead since long ago - they both founded a school and a style) and, of course, also Frosini. And then, finally, Lars Ek felt that it was exactly here, in this style where he belonged. Lars Ek finally came home. Some sloppy listeners say that Lars Ek is copying the music of Nils Lind. Those are listeners who don´t listen. Others say that Lars is a maniac - he plays on an accordion of the Raggie Sundquist brand from 1937 and since a couple of years he also owns and plays an accordion once owned by Pietro Frosini, manufactured in 1927. That´s not mania. The style asks for such instruments. It´s most correct that way. Lars Ek has become incredibly popular. There are many reasons. He has lots of personality, he is a stage personality, he shows enthusiasm and joy while performing, he knows how to attract an audience (and the girls say he´s very handsome). One other reason is that the music Lars performs finds lots of response from the audience. And, please, don´t think it´s only those old ones who were around in the 30´s who love the music - so do even the young ones! Lars Ek x 2 is the name of the record. The explanation is simple. Lars wasn´t able to find a second accordionist to assist him. So, thanks to the technique he is his own second accordionist himself in five of the tunes performed. There is one more explanation. Lars performs melodies linked to the names of Nils Lind, Ragge Sundquist and Frosini, but he also plays five compositions of hes own. Just to show how he wants accordion music to be composed. Lars Ek does not need any recommendation, his records sell anyway. But you´re going to get some final words. This records is, regarding style, very rare to be recorded in 1982, it´s a matter of looking back and to do so with lots of skill, a look back that golden age of the accordion. It´s also a very personal record. The inspiration may very well be Nils Lind, Ragge Sundquist and Pietro Frosini. But it´s Lars Ek who plays. In his personal way. Which means that this is a record played in a very personal way.

Easy Piano - Level 1 - Digital Download SKU: A0.809399 By The Beatles. By John Lennon, John Winston Lennon, Paul James Mccartney, and Paul McCartney. Arranged by Academia Unimusica. Rock. Score. 2 pages. Unimusic Academy (Academia Unimusica) #6247353. Published by Unimusic Academy (Academia Unimusica) (A0.809399). Hey Jude is a song by the English rock band the Beatles that was released as a non-album single in August 1968. It was written by Paul McCartney and credited to the Lennon–McCartney partnership. The single was the Beatles' first release on their Apple record label and one of the First Four singles by Apple's roster of artists, marking the label's public launch. Hey Jude was a number-one hit in many countries around the world and became the year's top-selling single in the UK, the US, Australia and Canada. Its nine-week run at number one on the Billboard Hot 100 tied the all-time record in 1968 for the longest run at the top of the US charts. It has sold approximately eight million copies and is frequently included on music critics' lists of the greatest songs of all time. The writing and recording of Hey Jude coincided with a period of upheaval in the Beatles. The ballad evolved from Hey Jules, a song McCartney wrote to comfort John Lennon's son, Julian, after Lennon had left his wife for the Japanese artist Yoko Ono. The lyrics espouse a positive outlook on a sad situation, while also encouraging Jude to pursue his opportunities to find love. After the fourth verse, the song shifts to a coda featuring a Na-na-na na refrain that lasts for over four minutes. Hey Jude was the first Beatles song to be recorded on eight-track recording equipment. The sessions took place at Trident Studios in central London, midway through the recording of the group's self-titled double album (also known as the White Album), and led to an argument between McCartney and George Harrison over the song's guitar part. Ringo Starr later left the band only to return shortly before they filmed the promotional clip for the single. The clip was directed by Michael Lindsay-Hogg and first aired on David Frost's UK television show. Contrasting with the problems afflicting the band, this performance captured the song's theme of optimism and togetherness by featuring the studio audience joining the Beatles as they sang the coda. At over seven minutes in length, Hey Jude was the longest single to top the British charts up to that time.[1] Its arrangement and extended coda encouraged many imitative works through to the early 1970s. In 2013, Billboard magazine named it the 10th biggest song of all time in terms of chart success.[2] McCartney has continued to perform Hey Jude in concert since Lennon's death in 1980, leading audiences in singing the coda. Julian Lennon and McCartney have each bid successfully at auction for items of memorabilia related to the song's creation.

High voice and piano - Moderately Difficult - Digital Download SKU: MQ.8454-2E Composed by David Conte. Secular, 21st century. Instrument part. 6 pages. E. C. Schirmer Music Company - Digital #8454-2E. Published by E. C. Schirmer Music Company - Digital (MQ.8454-2E). English.American Death Ballads was composed especially for tenor Brian Thorsett. We have been frequent collaborators since 2011, when he premiered the complete set of my Three Settings of W. B. Yeats for string quartet and tenor. At his urging, I transcribed and published my Three Poems of Christina Rossetti (originally for medium voice) for high voice, which he premiered at the San Francisco Conservatory in 2014. American Death Ballads was premiered by him at the San Francisco Conservatory, November 1, 2015, with pianist John Churchwell, and at the National Association of Teachers of Singing (NATS) Conference in Chicago, July 10, 2016, with pianist Warren Jones.The choice of texts for my American Death Ballads was inspired partly by Copland’s Old American Songs, which I deeply admire, but more by my dear friend and colleague the late Conrad Susa’s Two Murder Ballads. The ingenuity of Susa’s accompaniments for his ballads in imagining anew the original source material owes a great deal to Copland’s accompaniment for his songs. Though the content of my songs is completely original and not based on preexisting melodies, I have tried to expand on this further, as the texts are much longer, and go through many different moods and characters. The four texts I chose include stories about murder, death, and dying. Though two of the texts were written in England, they traveled to the colonies almost immediately. The subjects of the texts had spent time in America, and their stories were well known to Americans.Wicked Polly is a cautionary tale. Polly has lived a dissolute and immoral life, saying, 'I'll turn to God when I grow old.' Suddenly taken ill, she realizes that it is too late to repent. She dies in agony and is presumably sent to hell; young people are advised to heed. My musical setting is stately and preacherly in character for the narrator; for Polly it becomes pleading and remorseful. The Unquiet Grave was brought to the attention of Alan Lomax, the great American field collector of folk music, by English folk singer Shirley Collins. The text is taken from an English folk song dating from 1400. In The Unquiet Grave, a young man mourns his dead lover too fervently and prevents her from obtaining peace. The dead woman complains that his weeping is keeping her from peaceful rest. He begs a kiss; she tells him it would kill him. When he persists, wanting to join her in death, she explains that once they were both dead their hearts would simply decay, and that he should enjoy life while he has it. My setting is in a flowing Andante with a rocking accompaniment. Three voices are delineated here: the narrator, the mournful lover, and the dead lover speaking from the grave. The Dying Californian first appeared in the New England Diadem in 1854. Its lyrics are based on a letter from a New Englander’s sailor to his brother who is dying at sea while on the way to California to seek his fortune in the California gold fields. He implores his brother to impart his message to his father, mother, wife, and children. My setting opens with the singer alone in a moderate dirge tempo, then, joined by the piano, moves through many tonalities and moods before ending with supreme confidence as the speaker 'gained a port called Heaven/Where the gold will never rust.'Captain Kidd was a Scottish sailor who was tried and executed for piracy and murder in 1701. The American connection to this ballad is that Kidd escaped to America and for a time lived in New York and Boston, though he was a wanted criminal by the British authorities and was extradited to Britain, where he was hung at 'Executioner’s Dock.' The lyric was printed in Britain in 1701, traveling to the colonies almost immediately. Though the didactic tone of the text is similar to Wicked Polly, it expresses no regret until the final lines: 'Take warning now by me, and shun bad company, / Lest you come to hell with me, for I must die.' My setting is fast and spirited, expressing the confidence of a man who lived life as he wanted. -David Conte.

Guitar - difficult - Digital Download First Sonata on Shakespearean Characters. Composed by Hans Werner Henze (1926-). This edition: Sheet music. Guitar Archive. Downloadable. Duration 25 minutes. Schott Music - Digital #Q4978. Published by Schott Music - Digital

Piano Solo, Narrator - Advanced - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Recital, Spoken Word. Score. 30 pages. Published by Musik Fabrik Music Publishing

Cello Ensemble - Advanced - Digital Download Composed by Ludwig van Beethoven (1770-1827). Arranged by Joe Procopio. Romantic Period, Classical Period. Set of Parts. 47 pages. Published by JoeCopio Music LLC

Flute - Advanced - Digital Download Composed by Ludwig van Beethoven (1770-1827). Arranged by Joe Procopio. Romantic Period, Classical Period. Set of Parts. 17 pages. Published by JoeCopio Music LLC

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting go�. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my door�. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean� of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdom�. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeterna�. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen� [“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning�] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben� [“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold�]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus� [“And my soul spread its wings wide. Flew through the still country as if homeward bound.�]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed� occupation with the “old� country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomer�. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).

String Ensemble,String Trio - Level 3 - Digital Download SKU: A0.576736 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #119391. Published by David Warin Solomons (A0.576736). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.

Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.

String Quintet Cello,Double Bass,Viola,Violin - Level 3 - Digital Download SKU: A0.521718 By Andrea Bocelli & Sarah Brightman. By Francesco Sartori. Arranged by Sherry Lewis. Contemporary. 18 pages. Sherry Lewis Publishing #6402909. Published by Sherry Lewis Publishing (A0.521718). TIME TO SAY GOODBYE String Orchestra for 2 violins, viola, cello and string bass chord charts such as E, Cm, etc. Intermediate Level Score: 5 pages Parts: 10 pages Time: 3'30 MY QUARTET VERSIONS, in short notice work fine for solo, two parts and three parts  however I also offer individual versions for one, two and three parts that are more detailed for these ensembles. Please visit  https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer. If you can’t find a title then contact me through www.baysbest.com/smp-arrangeme/ and I’ll give you the link back to Sheet Music Plus’s listing. VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument. PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups.  AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music. LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations.  ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work. EXCELLENT for corporate events, weddings, social gatherings and recitals. APPROPRIATE for students and schools. CHURCH REPERTOIRE I’m always adding more titles. Sherry Lewis is a professional arranger and musician residing in Northern California. Thank you for your purchase!

Piano Solo - Level 3 - Digital Download SKU: A0.533319 Composed by Jacques Leguerney. 20th Century,Concert,Standards. Score. 12 pages. Musik Fabrik Music Publishing #2343097. Published by Musik Fabrik Music Publishing (A0.533319). This charming piano solo was first performed by its dedicatee, Jacques Leguerney’s good friend and muse Thérèse Cahen (1897-1944), in the Salle Debussy-Pleyel. They met around 1925. Cahen was the first person outside of his family to encourage his musical aspirations. For years, they met every Saturday to read through and discuss his music. She not only helped him with piano and harmony, but also performed his early chamber works, recruiting from her entourage to help him find high level interpreters for his music. Other early Leguerney works that she premiered included the Trio pour violon, violoncello et piano; the Sonatine pour flûte et piano; and two vocal chamber works presented by the Société Musicale Indépendente (S. M. I.), Epitaphe guerrière and Clair de lune for voice, flute and piano. Their friendship lasted until Cahen was deported from Paris on July 31, 1944, only a few weeks prior to the Liberation of Paris. Working with the Center of the Union Générale des Israélites de France in Saint-Mandé (a Parisian suburb), Thérèse Cahen had dedicated herself to the care of children of deported French parents. She left Paris with these children in the Convoy 77, and was taken to the gas chamber of Auschwitz. She left a letter for him, along with her grand piano, which remained in his apartment until his death.My dear Jacques,It is impossible to write on this little page how much I have appreciated your kindness toward me for years and years, and how much happiness this has given me: there have been thousands of Saturdays, and I thought of them every day of the week. Probably you didn’t realize the influence you have had on me: it seems that my whole personality, my way of thinking and feeling has been transformed by you; it is a very deep imprint. If I am taken and in consequence you read this letter, tell yourself that I will continue to count the Saturdays in order to have an idea of the number of songs composed during my absence and that I will be delighted to hear them when I return. If I don’t return, I definitely want you to keep my piano but I don’t think it will happen and I say that I will see you soon.Very tenderly,ThérèsePS Speaking of tenderness, I think with emotion about the little passage concerning tenderness in your latest song.[La Fontaine d’Hélène]

B-Flat instrument,B-Flat trombone,Baritone Horn TC/Euphonium,C Instrument,Instrumental Solo,Piano,Tenor Trombone,Trombone/Baritone B.C. - Level 3 - Digital Download SKU: A0.1320503 Composed by Pietro Mascagni. Arranged by Rob Bushnell. Classical,Easter,Film/TV,Opera,Romantic Period. Score and individual part. 9 pages. RBMusic #909019. Published by RBMusic (A0.1320503). In 1889, a struggling composer called Pietro Mascagni heard about a sponsored competition for one-act operas, specifically for young Italian composers who had not yet had an opera performed, only two months before the deadline. With little time, he selected the subject for his opera and asked his childhood friend, Giovanni Targioni-Tozzetti (who was helped by Guido Menasci), to write a libretto for him. Mascagni selected a story that he had seen as a play in Milan in early 1884 by realist writer Giovanni Verga, “Rustic Chivalry�, or Cavalleria rusticana. A passionate love tragedy featuring seduction, adultery, revenge and murder, it is surprising set on Easter morning.Mascagni received only a few verses at a time from his librettists, but he was not worried because he had the opera clear in his mind: “I identified with the drama to such an extent that I felt it within myself in terms of music.� After two months’ of work, the music for Cavalleria rusticana was finished but he feared the opera would fail and put the music in a draw. Fortunately, his wife sent it off, he unanimously won the competition and was soon the talk of Europe. (At the premiere in May 1890 in Rome, Mascagni received no fewer than 60 curtain calls.) Unfortunately, it was a one-hit wonder with Mascagni unable to repeat its success, saying towards the end of his life that “it is a pity I wrote Cavalleria first for I was crowned before I became king.� He died, penniless, in 1945.Today, few people have heard of Mascagni’s name, and, if they have, it is rarely in relation to anything but one piece from Cavalleria rusticana, the Intermezzo. A short piece of purely orchestral music that is uses to denote the passage of time, the orchestration is very simple but it is such an indulgently beautiful melody (based on a hymn heard earlier in the short opera) that perfectly captures the peace of country living in Sicily against the intense feelings of the main characters and the looming tragedy to come.The piece is so popular that (along with the “Easter Hymn� from the same opera), it is the only reason Mascagni features in the Classic FM’s Hall of Fame.The piece was used in the 1980 film Raging Bull and the 1990 film The Godfather Part III.This arrangement (for solo trombone or euphonium and piano accompaniment) includes an alternative part for trombone/euphonium in treble clef. A recording of the original song can be found on YouTube: https://www.youtube.com/watch?v=Kgr-I1y1_2M.Other searchable terms: Italy, Martin Scorsese, Robert De Niro, Joe Pesci, Cathy Moriarty, Nicholas Colasanto, Theresa Saldana, Frank Vincent, Al Pacino, Diane Keaton, Talia Shire, Andy García, Eli Wallach, Joe Mantegna, Bridget Fonda, George Hamilton, Sofia Coppola.