Flute,Piano - Level 5 - Digital Download SKU: A0.1042377 Composed by Jamie Farrow. Classical,Contemporary. Score and part. 12 pages. Jamie Farrow #647168. Published by Jamie Farrow (A0.1042377). This is a piece for flute and piano duo. Fastnet Rock, home to the Fastnet Lighthouse, is Ireland’s most southerly point situated in the Atlantic Ocean, famous for massive waves that engulf the island during storms. Three photographs (see below) and the lighthouse’s history were my inspiration for this duet, with the different images and ideas that they created, influencing my composition’s structure, themes and ideas at play. The piece starts at sunset and finishes at sunrise, with four sections each representing a different moment that follow a gradually developing structure through the first three sections before a gentle reprise of the ideas from Section 1 (S1) in Section 4 (S4). This gives a cyclicity to the piece, furthered by the tonal regions explored in each of the sections; Ebmaj to Amin to Bmin to Amin to Ebmaj. S1 invokes thoughts of the colours of sunset It is divided into four sub-sections, characterised by either solo flute or flute with piano, with each section exploring a different range of colours generated by their keys. Throughout, accidentals provide additional colour reminiscent of light diffracted during a sunset with the piano in the duo section voiced low in its range adding warmth explored through pivot chords. The flute plays in a very free recitative style, allowing the flautist individual expression emphasising the organicity of sunset as each performer will express this section differently. Section 2 (S2) and Section 3 (S3) are closely related, focusing on night-time through to sunrise in S4, with S2 providing the build up to the events of S3. In S2 the piano plays at the extremes of its range with widely spaced chords and no sense of beat, creating stillness and a sense of uneasiness through the constantly and irregularly beating A. The flute represents the rising storm and wind playing an organically-evolving motif beginning low in range, before gradually adding more notes and slowly rising, eventually reaching a dramatic climax which explores the extremities of its range whilst accelerating into S3. The drama and large gestures of S3 represent an Atlantic storm, a wall of oscillating sound through repeated piano ostinatos and constant use of the sustain pedal. Coupled with the frequently changing time-signature creating a sense of wild waves rolling in the ocean, the chordal bars percussively suggesting waves hitting the island. The flute captures the drama and emotion of the storm and the whistling wind, with long rising and falling gestures exploring the instrument’s very extremities. S4 brings the morning after the storm. We hear the same flute idea as in S1, this time played in the sadder Amin, communicating a sense of loss and despair following the storm. The piano emulates the now gently lapping waves against the rocks of Fastnet with the triplet motif in the bass. The right-hand of the piano plays a chordal accompaniment as in S1 but much slower, representing the slowly emerging colours of a sunrise which become richer and richer like the chords before the sunrise in the final few bars with a move into Ebmaj.

Voice and piano - Medium - Digital Download SKU: MQ.8492-33E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 8 pages. E. C. Schirmer Music Company - Digital #8492-33E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-33E). 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).

Chorus - Digital Download SKU: AX.00-PO-0001880 Winter Sings Her Song - SATB. Composed by David Waggoner. Secular Choral. 11 pages. Alfred Music - Digital Sheet Music #00-PO-0001880. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0001880). UPC: 038081468013.Elegant. Expressive. Evocative. The poetry elicits icy images of winter; the music sends shivers up the spine. Listen closely for the voice of winter, sung by a soloist or small group, to appear halfway through the piece. Your audience will sit silently in awe before applauding.Recorded Acc. Available.

Large Ensemble Voice - Level 4 - Digital Download SKU: A0.978430 Composed by Edward Elgar. Arranged by Sandstone Music. Romantic Period. Score and parts. 255 pages. Sandstone Music #6057707. Published by Sandstone Music (A0.978430). This newly edited version of Elgar's 'Sea Pictures' matches up our piano vocal score with a new conductor score and orchestra parts. Previous versions of this work by other publishers are traditionally littered with mistakes and wrong notes / instructions, which have been fixed in this edition, including the addition of rehearsal marks which correspond across the piano vocal and conductor scores and orchestra parts. Elgar's 1899 work is a song cycle consisting of five songs: Sea Slumber Song, In Haven (Capri), Sabbath Morning at Sea, Where Corals Lie and The Swimmer. It has become one of the most popular works for contraltos and mezzo-sopranos and is frequently a major study work at conservatoires and universities. In the piano vocal score (available elsewhere on this website), the piano part has been adjusted to more closely resemble the orchestral parts. Please note, this set features the keys which Sea Pictures are traditionally performed in, suitable for mezzo-soprano / contralto, as Elgar adjusted them for contralto Dame Clara Butt for the premiere. We also publish this score in his original higher keys for soprano elsewhere on this site.

Voice and piano - Medium - Digital Download SKU: MQ.8492-21E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-21E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-21E). 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).

Voice and piano - Medium - Digital Download SKU: MQ.8492-31E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 7 pages. E. C. Schirmer Music Company - Digital #8492-31E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-31E). 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).

Full Orchestra - Level 4 - Digital Download SKU: A0.978454 Composed by Edward Elgar. Arranged by Sandstone Music. Romantic Period. Score and parts. 65 pages. Sandstone Music #6716133. Published by Sandstone Music (A0.978454). This newly edited version of Elgar's 'Sea Pictures' matches up our piano vocal score with a new conductor score and orchestra parts. Previous versions of this work by other publishers are traditionally littered with mistakes and wrong notes / instructions, which have been fixed in this edition, including the addition of rehearsal marks which correspond across the piano vocal and conductor scores and orchestra parts. Elgar's 1899 work is a song cycle consisting of five songs: Sea Slumber Song, In Haven (Capri), Sabbath Morning at Sea, Where Corals Lie and The Swimmer. It has become one of the most popular works for singers and is frequently a major study work at conservatoires and universities. In the piano vocal score (available elsewhere on this website), the piano part has been adjusted to more closely resemble the orchestral parts. Please note, this version features the original higher keys which Elgar wrote initially for soprano. Sea Pictures is traditionally performed in lower keys, suitable for mezzo-soprano / contralto, as Elgar adjusted them for contralto Dame Clara Butt for the premiere and we also publish this score elsewhere on this site. This is the original, higher version for soprano.

Voice and piano - Medium - Digital Download SKU: MQ.8492-30E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 5 pages. E. C. Schirmer Music Company - Digital #8492-30E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-30E). 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).

Large Ensemble Voice - Level 4 - Digital Download SKU: A0.978439 Composed by Edward Elgar. Arranged by Sandstone Music. Romantic Period. Score and parts. 65 pages. Sandstone Music #6059101. Published by Sandstone Music (A0.978439). This newly edited version of Elgar's 'Sea Pictures' matches up our piano vocal score with a new conductor score and orchestra parts. Previous versions of this work by other publishers are traditionally littered with mistakes and wrong notes / instructions, which have been fixed in this edition, including the addition of rehearsal marks which correspond across the piano vocal and conductor scores and orchestra parts. Elgar's 1899 work is a song cycle consisting of five songs: Sea Slumber Song, In Haven (Capri), Sabbath Morning at Sea, Where Corals Lie and The Swimmer. It has become one of the most popular works for contraltos and mezzo-sopranos and is frequently a major study work at conservatoires and universities. In the piano vocal score (available elsewhere on this website), the piano part has been adjusted to more closely resemble the orchestral parts. Please note, this score features the keys which Sea Pictures are traditionally performed in, suitable for mezzo-soprano / contralto, as Elgar adjusted them for contralto Dame Clara Butt for the premiere. We also publish this score in his original higher keys for soprano elsewhere on this site.

Piano,Vocal,Voice - Digital Download SKU: A0.502994 By Ed Sheeran. By Ed Sheeran and Jake Gosling. Arranged by Joseph Stribrny. Contemporary,Folk,Pop. Score. 8 pages. Published by Joseph Stribrny (A0.502994). Arranger notes: The vocal part was dictated closely from Ed Sheeran's performance. The vocal part is rather moving and free, so some light rhythmic liberty can be taken. The piano part is mostly dictated based on the guitar part. There are sections where piano is added from where it is performed in the recording. That's where the ossia staves show up. It is not to be performed at the same time, but rather chosen by the accompanist as to which staff they wish to play in the right hand.

Chorus - Digital Download SKU: AX.00-PO-0001882 Winter Sings Her Song - SSA. Composed by David Waggoner. Secular Choral. 11 pages. Alfred Music - Digital Sheet Music #00-PO-0001882. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0001882). UPC: 038081468037.Elegant. Expressive. Evocative. The poetry elicits icy images of winter; the music sends shivers up the spine. Listen closely for the voice of winter, sung by a soloist or small group, to appear halfway through the piece. Your audience will sit silently in awe before applauding.Recorded Acc. Available.

Piano Solo - Level 4 - Digital Download SKU: A0.1206640 By Kathleen Ryan. By Kathleen Ryan. Blues,Classical,New Age. Score. 5 pages. Indigo Mesa Music LLC #804821. Published by Indigo Mesa Music LLC (A0.1206640). A jaunty little 12-bar blues solo as composed and performed by Kathleen Ryan on her CD Drivin'!Kathleen's inspirations: “Not much happens around here, but what does is pretty good.� Of course, that is closely related to, “Not much happens in a small town, but what you hear makes up for it.�Late intermediate level. Quite a lot of (mellow) syncopation.

Cello,Instrumental Duet,Violin - Level 4 - Digital Download SKU: A0.1447144 Composed by Socrates Arvanitakis. Classical,Contemporary. 74 pages. Socrates Arvanitakis #1026923. Published by Socrates Arvanitakis (A0.1447144). This edition of violin and violoncello duets follows closely my publication of the same Greek folk pieces for classical guitar. The arrangements for guitar solo were written in two-part counterpoint and followed the strophic form of the folk songs involved. The melodic transcriptions of the folk melodies were not based in any particular performance, also avoiding the elaborate in many cases instrumental introductions associated with these songs. Thus, only the vocal melodies in a general recognizable version were presented. This new presentation for instrumental duets will stay with this generalised melodic version (without exploiting the instrumental introductions), but the form from strophic will become ternary (ABA). In the middle section the main melody will be played in the lower voice and the original guitar contrapuntal voice will be used in the upper voice if by chance it includes invertible counterpoint, otherwise new material will be added to fit the rules but also the intended harmony.The total collection is centred more on the music from mainland Greece and less in that from the Islands.The three dance rhythms of Kalamatianos (7/8), Tsamikos (3/4), and Syrtos Balos (2/4) are predominant in the whole first collection.TECHNICALSeparate parts have been included and they can be extracted as separate files with any free PDF editing programme on line.Empty pages have been added for inclusion/deletion at will and left-right hand page arrangement.Thematic Index with active internal links for ease of navigation have been added.Audio file (mp3) has been addedCONTENTS226 ??(?)???? (??????) (Soft Dance from Patmos)227 ???? ????? ??? ????? (Coachman, drive slowly the coach)228 ??? ???? ???? (I Told You, Mother)229 ???????? (????????????) (Soultana - Dance from Soufli)230 ?????? ?????? (Sousta Dance from Crete)231 ?????? ?????? (Seed of Paper)232 ??? ???????? (In Ioannina)233 ??? ???????? (In the Three Mountain Tops)234 ???? ????? ?????????? (In Up-Town Neighborhood)235 ???? ????????? ??? ????? (In Your Embroidered Apron)236 ??? '?? ??????? (I told you, Birbo)237 ???? ??? ?? ?????? (I will Descent to Hades)238 ???? ?????????? ???? ?????? (In The Mills Of Valtetsi)239 ?????????? ???? ???????? (It went cloudy on Mount Parnassus)240 ?????? ????????? (Syrtos Dance from Rhodes)241 ?' ?????????? ? ???? (Androutsos' Mother).

Voice and piano - Medium - Digital Download SKU: MQ.8492-35E Composed by MeeAe Cecilia Nam and Theodore Gouvy. Instrument part. 4 pages. E. C. Schirmer Music Company - Digital #8492-35E. Published by E. C. Schirmer Music Company - Digital (MQ.8492-35E). 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).