Full Orchestra - Level 4 - Digital Download SKU: A0.1393788 By Rita Coolidge. By John Barry and Tim Rice. Arranged by John Langley for Studio Orchestrations. Contemporary,Film/TV,Pop,Standards. 103 pages. Www.studio-orchestrations.com #977260. Published by www.studio-orchestrations.com (A0.1393788). IMPORTANT:  Please see note below about the key of this versionThis classic song by John Barry and Tim Rice originally sung by Rita Coolidge comes from Roger Moore's last Bond appearance in Octopussy. This is a film very much of its time, many dry double-entendre from our leading man for sure which might raise a Moore-like eyebrow these days.  Likewise the song here is perhaps one of the lesser played James Bond title tracks too but it is a charming departure from some of the higher octane anthems like Thunderball, Live and let die or even Goldfinger and returns us to the gentler musical era / genre of From Russia with love, For your eyes only and You only live twice.So why not program this in your film night for singer and orchestra.  This score and parts are a semitone/half-step higher (starting in F major) which might suit some female performers slightly better for range.   The original Rita Coolidge performancxe key (starting in E major) is dusky and mellow (ie. quite low) but is also available on this website.INSTRUMENTATION:2 Flutes2 Oboes2 Clarinets[Optional 2nd clarinet dbl. Alto Saxophone SOLO]Alto Saxophone (SOLO)2 Bassoons4 French Horns3 TrombonesTubaTimpaniPercussion [Susp.Cym. / Glock]HarpPianoElectric Guitar (Lead)Acoustic Guitar (Rhythm)[Optional]Bass GuitarDrum KitString SectionEnjoy!If you like this arrangement then other dramatic and very striking orchestrations exist from arranger John Langley for the following pieces:BarcelonaCome what mayDiamonds are foreverLet it snow, let it snow, let it snowMary did you knowMillion DreamsOnce upon a DecemberSummer wineTango de RoxanneWhen you believe

Contrabassoon,Instrumental Solo,Piano - Level 1 - Digital Download SKU: A0.548727 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and individual part. 4 pages. Jmsgu3 #3411773. Published by jmsgu3 (A0.548727). Out of the Depths I Cry to You by Martin Luther. First verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. Piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics which are essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed compositions, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.

Piano Solo - Level 1 - Digital Download SKU: A0.1108633 By Judy Garland. By E.Y. Yip Harburg and Harold Arlen. Arranged by Fernando Ramos. 20th Century,Broadway,Film/TV,Musical/Show,Pop,Standards. Score. 2 pages. Fernando Ramos #711280. Published by Fernando Ramos (A0.1108633). Other Arrangements Available: https://www.sheetmusicplus.com/publishers/fernando-ramos-sheet-music/3016426?isPLP=1 I make piano solo arrangements for my students of songs that they love! My goal is to create something that sounds beautiful as a standalone piece of music and, most importantly, that it also makes pianistic sense. Each of my arrangements is made for a specific student, so the results will vary in terms of playing level. Most decisions are based on their current skills and abilities, or where I would like for them to be when they complete the piece. This arrangement was made for a late beginner student who has almost completed Alfred's Masterwork Classics Level 1/2. She has also been working in the Prep Level of the Keith Snell books. Primary IV Class. I wanted to see what would happen if she had to do a left hand accompaniment with less (than usual) blocked or broken chords. To compromise, I gave it a lullaby feel, which worked amazingly well in a recital setting! The main theme recap was especially difficult for her, but she persevered and got it down. It's a beautiful and sweet rendition. Pedal and fingering suggestions are included.

String Quartet Cello,String Quartet,Viola,Violin - Level 3 - Digital Download SKU: A0.1267126 Composed by Giuseppe Verdi. Arranged by Ryuichi Horikoshi. 19th Century. 17 pages. R1音楽�画室 #859762. Published by R1音楽�画室 (A0.1267126). La Traviata Libiamo ne' lieti calici   (String Quartet version)Composed by Verdi / Arranged by Ryuichi HorikoshiScore, Set of Parts 17pages. Published by R1 Music Planning Office.Libiamo ne' lieti calici   is a song sung in the opera La Traviata.Alfredo, the main character, is asked to sing a song, and he declines at first, but at everyone's urging he prepares with a glass in his hand and sings with passion, then Violetta joins him for a duet, and then everyone joins him for a gorgeous song.I tried to reproduce this part with a quartet. The progression of the original music is followed, so it is possible for a singer to join the quartet. I think it is effective when played at weddings, parties, concerts, etc. to enliven the occasion.The entire piece is approximately 3 minutes long, but even shorter versions are possible.For example, if the piece ends with exercise number F, it can be shortened to almost half the length. It is also possible to skip from Exercises D to L and end on a high note.rehearsal markA/B/C/D/E/L.

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.904849 Composed by Giorgia Todrani, Maurizio Fabrizio. Arranged by Marco Borsoi. Jazz,Pop,World. Octavo. 21 pages. Marco Borsoi #3512071. Published by Marco Borsoi (A0.904849). Strano il mio destino è un brano musicale della cantautrice italiana Giorgia, 3º classificato al Festival di Sanremo 1996. Il pezzo è contenuto nell'album Strano il mio destino (Live & studio 95/96). Autori del brano sono Giorgia e Maurizio Fabrizio. Questa armonizzazione originale per coro misto SATB e pianoforte, esalta ancor più le caratteristiche melodiche e armoniche del brano, rendendolo ancora più unico e magico. Il brano parla di una donna che riflette su una storia passata. Una storia che lei stessa ha voluto o dovuto chiudere, ma non certo senza rimpianti; Che donna sarò, se non sei con me e se ti amerò ancora e di più …. E pensa: Strano il mio destino che mi porta qui … ; un destino che la costringe, per qualche motivo, a riflettere sul suo passato, riportandola al momento in cui ha deciso di andarsene via in silenzio. Un destino che, ancora oggi, la sorprende a ripensare a quell’amore ma senza indicarle una nuova strada dove poter andare, perché, anche se tutto quell’amore, io l’ho spazzato via…, fa male non pensare a te. Nel ritornello, emerge una speranza (sottolineata dall’apertura della melodia): Io non ti perderò, oltre il tempo e le distanze andrò…; speranza che viene confermata nell’ultima strofa: È chiaro il mio destino … io ti raggiungerò, quando la ragazza capisce anche che non tutto dipende da lei: proverò a gridare e forse sentirai, la mia voce che ti chiama, se vuoi.. E la speranza, divenuta certezza, ritorna con la ripetizione, enfatizzata dallo slancio melodico, della frase conclusiva … per non lasciati più. --------------- Strano il mio Destino is a piece of music by the Italian singer-songwriter Giorgia, 3rd at the Sanremo Festival 1996. The piece is on the album Strano il mio destino (Live & studio 95/96). Authors of the song are Giorgia and Maurizio Fabrizio.This original harmonization for mixed SATB choir and piano, enhances even more the melodic and harmonic characteristics of the piece, making it even more unique and magical. The song is about a woman who reflects on a past story. A story that she herself wanted or had to close, but certainly not without regrets; What a woman I will be, if you are not with me and if I will love you more and more.... And she thinks: Strange is my fate, that brings me here…; a fate that compels her, for some reason, to reflect on her past, bringing her back to the moment in which she decided to leave away in silence. A destiny that, even today, surprises her to rethink about that love but without indicating a new way to go, because, even if all that love, I have swept it away ..., it hurts not to think about you. In the refrain, a hope emerges (underlined by the opening of the melody): I will not lose you, beyond time and distance I will go ...; hope that is confirmed in the last stanza: It is clear my destiny ... I will reach you, when the girl also understands that not everything depends on her: I will try to shout and maybe you will hear, my voice calling you, if you want . And hope, become certainty, returns with the repetition, emphasized by the melodic impetus, of the concluding sentence ... not to leave you, anymore.

B-Flat Clarinet,Piano - Level 1 - Digital Download SKU: A0.548715 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411741. Published by jmsgu3 (A0.548715). Out of the Depths I Cry to You by Martin Luther arranged for clarinet & piano.  The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.

Saxophone Quartet,Woodwind Ensemble - Level 1 - Digital Download SKU: A0.1184005 Composed by Richard Wagner. Arranged by Langanho. Classical,Opera,Romantic Period,Wedding. 6 pages. Avery Lynn Jordan #783703. Published by Avery Lynn Jordan (A0.1184005). This reduction was made for saxophone aatb quartet and piano with chords, with the intention of being totally practical for musicians of small groups who wish to use it especially at weddings, and not only, can be used for academic or performance purposes, because in it were extracted all the essence of the original work, however, being adapted to be easy to play, serving professional musicians or beginners. The Bridal Chorus by Richard Wagner was composed in 1850 as a prelude to the third act of the opera Lohengrin. It is played when Elsa and Lohengrin enter the bridal chamber to consummate their marriage. The wedding night turns tragic, and Wagner is said to have found it amusing that the piece was used at weddings.

Oboe,Piano - Level 1 - Digital Download SKU: A0.548719 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411753. Published by jmsgu3 (A0.548719). Out of the Depths I Cry to You by Martin Luther. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.

Piano Solo - Level 5 - Digital Download SKU: A0.973026 Composed by Francis Kayali. 20th Century,Concert,Contemporary. Score. 26 pages. Francis Kayali #5718759. Published by Francis Kayali (A0.973026). Composed between January and March 2003, the Suite for Piano was written for a recital by pianist Qi Liu (1976-2017), at Stony Brook University, in March of 2003.The opening of the first movement evokes bells, not unlike those in Rachmaninoff’s Rus­sian Easter (the finale of his First Suite for Two Pianos). This is contrasted with a short and murky rising gesture. The middle section incorporates pianistic patterns (some reminiscent of Debussy), a yearning Ibe­rian melody, and a barely-recogniz­able snippet of Chopin used for a climax. The murky gesture eventually returns, introducing a triumphant state­ment of the opening bells.Early on, I had decided the piece should include references to the other pieces on the re­cital’s program: Beethoven’s Piano Sonata No. 18 (op. 31, No. 3) and Brahms’s F minor So­nata (op. 5). As soon as I had word from Qi that she was going to play the Beethoven, I immedi­ately wanted to hear it. I wasn’t familiar with the piece, and since I didn’t have a score or a re­cording of it at home, I decided to download it in MIDI format from the internet. Unbeknownst to me, the computer’s rendition transformed the lively sec­ond movement scherzo into a slow-moving hymn which reminded me of the Ode to Joy. I was quite sur­prised the next morn­ing when I went to the mu­sic library and listened to a re­cording played by a human. Nonetheless, I was drawn to the melody, and I found the slow effect interesting, so I de­cided to base my middle movement (the slow movement) around the theme of Beetho­ven’s scherzo, making it the hid­den theme for a short set of variations. The end of the movement also contains less direct refer­ences to the music of Brahms (very short allu­sions to the Sonata and to the Variations on a Theme by Haydn).The last movement explores fast and light fingerwork, in a sort of toccata or capriccio, pro­viding a flashy ending to the piece. As in the first movement, the form is A-B-A. Before the return of the first section, a little dance evokes the opening of the piece. (The murky gesture from the first movement also finds its way into this last movement).Each of the three movements experiments at one point with using the sustain pedal in order to create a wash of sound. This effect is used most prominently in the second movement.Movement I: https://www.youtube.com/watch?v=n-NKcs076UIMovement II: https://www.youtube.com/watch?v=XSxkOcdlpiYMovement III: https://www.youtube.com/watch?v=CntmWYdOA9Y

Choral Guitar,Piano,Vocal,Voice - Level 2 - Digital Download SKU: A0.801678 Composed by French Carol - unknown. Arranged by Connie Boss. Celtic,Christmas,Irish,Multicultural,Sacred,World. Score. 14 pages. Connie Boss #6403523. Published by Connie Boss (A0.801678). This lovely French carol is about two women that found out that Jesus was born and that he was very special. They went around the town to let everyone know. They made food for Mary and Joseph. They warned others to be very quiet as to not awaken Jesus if he was sleeping. This is in SATB parts with parts for flute, violin and cello and piano accompaniment. It has a unique intro and the last verse has SATB taking turns. cdboss@cvalley.netBring a Torch Jeanette, IsabellaFrench CarolArranged by Connie Boss Bring a torchBring a torchBring a torchBring a torch Jeanette, Isabella. Bring a torch, Jeanette, Isabella!Bring a torch, to the stable callChrist is born, tell the folk of the villageJesus is born and Mary's calling.Ah![a] Ah! Beautiful is the Mother!Ah! Ah! Beautiful is her Child Who is knocking on the door?Who is it, knocking like that?Open up, we've arranged on a platterLovely cakes that we have brought hereKnock! Knock! Open the door for us!Knock! Knock! Let us celebrate! It is wrong when the Child is sleeping,It is wrong to speak so loud.Silence, now as you gather around HimLest your noise should waken Jesus.Hush! Hush! See how He slumbers;Hush! Hush! See how He's fast asleep! Softly now unto the stable,Softly for a moment come!Look and see how charming is Jesus,Look at Him there,] His cheeks are rosy!Hush! Hush! See how the Child is sleeping;Hush! Hush! See how He smiles in His dreams

Choral Choir,Choral (SAB) - Level 3 - Digital Download SKU: A0.1389486 By Leonard Cohen. By Leonard Cohen. Arranged by Justin Matthew Starr. Contemporary,Pop,Rock,Standards. 16 pages. J M Starr Music #973074. Published by J M Starr Music (A0.1389486). “Hallelujah� was originally released by Canadian singer/songwriter Leonard Cohen in 1984 on his album Various Positions. This composition, however, is one of the few in history that may be more well-known due to covers of the song than the original version. In 1991, John Cale did a cover of the song that removed the synthesizers, gospel choir, full band, and low, borderline-talking bass voice from Cohen’s original; and replaced it all with a bare-bones piano and tenor voice. It is not difficult to argue that this arrangement of the composition became the definitive version that all future covers would be based on: from Jeff Buckley’s stripped-down guitar and voice 1994 version, to Rufus Wainright’s piano and voice 2001 cover for the soundtrack to the motion picture Shrek, to k.d. lang, the a cappella group Pentatonix, and many, many more.When I first arranged this song in 2010 for my 8th grade SAB choir, I did not know the John Cale version existed; rather, I started by transcribing the Rufus Wainright recording and then made it my own from there. My arrangement is melodically akin to the Wainright, but I added harmonies in various places throughout. Lyric selection was also a choice I had to me, as each version of the song contains a different number of verses. Cohen’s 1984 original had four, and then in 1988 he sang a live version with seven (supposedly he drafted over 80 different verses!). I decided to go with five. This allowed me to structure the song in a way that got feature and give the melody to: a Soloist(s) (verse 1), the Baritones (verse 2), the Altos (verse 3), the Sopranos (verse 4) and then the entire choir (verse 5). Over the years that I have performed this with my students, I couldn’t help myself from rocking out with little bluesy fills and licks in the final choruses, so I decided to write it in. I hope you, your students, and accompanist have fun with that!

Small Ensemble Alto Voice,Flute,Piano,Soprano voice - Level 2 - Digital Download SKU: A0.1128119 Composed by Connie Boss. Christmas. Score and parts. 8 pages. Connie Boss #728735. Published by Connie Boss (A0.1128119). This is an original song I composed about the Wisemen coming from the East searching for the infant King. When they saw the star, they knew they had to follow it. It is a great song for Epiphany. It contains 3 verses and a bridge. If you think it's too long, you could cut out the bridge. This is for duet, optional flute and piano. email cdboss@cvalley.net for any questions or requests.

Woodwind Ensemble Bass Clarinet - Level 3 - Digital Download SKU: A0.1157792 Composed by Phil Thrift. Latin,Pop. 17 pages. Phil Thrift #758124. Published by Phil Thrift (A0.1157792). Are You The One? is an original composition initially written for trombone quartet (listen to it on SoundCloud). With a few modifications, it also works well for clarinets. The piece is not technically difficult; the real challenge will be accurate playing, maintaining that bossa nova feel without a rhythm section. Your bass clarinet player will need to keep driving this piece forward. It will be ideal as a lighter number between other more demanding pieces in a concert program. Are You The One? is actually a song, so treat it as such. Each player should “sing� the melody lines when they have them! And, as usual in my pieces, every player has the lead at some point.

Woodwind Ensemble,Woodwind Trio Clarinet - Level 2 - Digital Download SKU: A0.844571 Composed by Charles Czerny. Arranged by Phil Beaman. Classical,Folk,Instructional. 17 pages. Phil Beaman #3904129. Published by Phil Beaman (A0.844571). In 1853 Charles Czerny composed a set of 20 easy piano pieces which he called Amusement des Jeunes Amateurs (Amusement for Young Amateurs); they were subtitled Petites et Brillantes Recreations (Small and Brilliant Recreations).   Let's just say they are easy fun little pieces! All of the pieces were loosely based on a folk song or a popular theme from a classical composer. One of them was based on a popular folk Russian polka, so he called it Polka Russe.I have taken Polka Russe and freely arranged it for Instrumental Trio, using some of Czerny's themes, re-arranging them into parts, and also re-ordering them into my own Rondo. Form is Intro-ABACADA-Coda. I have broken up his melodies and spread them across all three parts; each part is of equal importance and each part independently adds to the stunning melodic weaving. Parts are mostly scales and arpeggios. It requires careful counting and close attention to rhythmic interplay, but sounds quite advanced and dramatic when all details are observed.    This piece is really quite Easy, I have just marked it Early Intermediate because of the Allegretto vivace tempo, the note range (two octaves), and the necessary counting. A fun piece to show your technique and musicianship as a group in any concert.  1:45 minutes, 8 pages score, 3 pages @ part(Temporary recording of piano reduction of parts)

Woodwind Ensemble,Woodwind Quartet - Level 1 - Digital Download SKU: A0.1183840 Composed by Richard Wagner. Arranged by Langanho. Classical,Opera,Romantic Period,Wedding. 6 pages. Avery Lynn Jordan #783533. Published by Avery Lynn Jordan (A0.1183840). This reduction was made for string quartet with chords, with the intention of being totally practical for musicians of small groups who wish to use it especially at weddings, and not only, can be used for academic or performance purposes, because in it were extracted all the essence of the original work, however, being adapted to be easy to play, serving professional musicians or beginners. The Bridal Chorus by Richard Wagner was composed in 1850 as a prelude to the third act of the opera Lohengrin. It is played when Elsa and Lohengrin enter the bridal chamber to consummate their marriage. The wedding night turns tragic, and Wagner is said to have found it amusing that the piece was used at weddings.