Baritone Horn TC,Bass Trombone,Instrumental Duet - Level 3 - Digital Download SKU: A0.1074280 Composed by Josquin des Prez. Arranged by James M. Guthrie. Contest,Festival,Instructional,Renaissance,Traditional,Wedding. 50 pages. Jmsgu3 #678573. Published by jmsgu3 (A0.1074280). Josquin des Prez (c.1450-1521) was a composer of the Renaissance period, widely regarded as one of the greatest composers of all time. His compositions set the standard for polyphonic music and are considered a high point in the history of music. He wrote a wide range of works, including masses, motets, and chansons, and was the first composer to set popular secular tunes as mass movements. His influence can be seen in the works of many later composers, including Johann Sebastian Bach, Antonio Vivaldi, and George Frideric Handel.Josquin des Prez was a prolific composer of chamber music and duets during the Renaissance period. He wrote several types of chamber music and duets, including madrigals, chansons, and motets. His compositions are characterized by their intricate counterpoint, as well as their harmonic richness and emotional expressiveness. His works often featured two voices in harmony, and he was known to use imitation and complex canonic techniques to create interesting musical textures. Josquin's chamber music and duets are renowned for their complexity and beauty, and they remain some of the most influential and admired works from the Renaissance period.Josquin Desprez is widely regarded as one of the most influential composers of the Renaissance period. His innovative use of counterpoint and canon helped to revolutionize the musical landscape of the time. Counterpoint is a technique of combining two or more independent melodies in a way that creates harmony and a cohesive musical texture. Josquin was a master of this technique, often combining multiple voices in complex contrapuntal textures. His use of canon, or round, was also highly influential. Canon involves two or more voices repeating the same melody in different registers and often with different rhythms. Josquin wrote canons in various styles and forms, including the popular “circular canon� and the more complex “strict canon.� He was also an early adopter of the “inverted canon� form, in which the same melody is repeated but in an inverted form. Josquin’s use of counterpoint and canon had a lasting impact on the development of Western music and helped to establish the foundation for many of the musical forms and techniques still used today.Contents: I. Duo from the Augsberger LiederbuchII. Agnus Dei II from Missa De Beata Virgine III. Duo from the Hör Organ tablatureIV. Agnus Dei II from Missa Ave maris stellaV. Benedictus from Missa GaudeamusVI. Agnus Dei II from Missa GaudeamusVII. Pleni sunt coeli from the Sanctus of Missa Hercules dux Ferrarie VIII. Agnus Dei II from Missa La sol fa re mi IX. Benedictus from Missa L'homme armé super voces musicalesX. Benedictus from Missa L'homme armé Sexti Toni XI. Pleni sunt coeli from Missa Malheur me bat XII. Pleni sunt from Missa Mater patris (canon at the major second)XIII. Benedictus from Missa Mater patris XIV. Agnus Dei II from Missa Mater patris (canon at the unison)XV. Pleni sunt caeli from Missa Pange lingua XVI. Benedictus from Missa Pange lingua XVII. Agnus Dei II from Missa Pange lingua XVIII. Pleni sunt from Missa sine nomine XIX. Domine non secundum peccata nostra XX. Ave verum and Cuius latus XXI. In principio erat verbum from Motet Verbum caro factus est XXII. Per illud ave prolatum - Secunda pars of motet Benedicta es caelorum regina.

Alto Saxophone,Piano - Level 3 - Digital Download SKU: A0.533347 Composed by Ali Ben Sou Alle, Wolfgang Amadeus Mozart. Arranged by Paul Wehage. Concert,Opera,Romantic Period,Standards. Score and part. 22 pages. Musik Fabrik Music Publishing #2348197. Published by Musik Fabrik Music Publishing (A0.533347). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in 1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London. While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began touring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the «turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was during this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection known as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution. Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, he performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial Family. After 1865, nothing more is known about him. Soualle not only performed on the clarinet, saxophone and piano, but also frequently sang during his concerts. He also wrote songs while he was in London. His opera fantasies are usually written for the Alto saxophone and are generally in the form of an introductory aria with cadenza, a theme with one or more variations and then a final waltz movement in rondo form with a final brillant variation. This specific work opens with motives from the Opera‘s overture, leading to Donna Anna’s 1st act aria Or sai, chi l'onore. The duet Là ci darem la mano is the subject of two variations followed by a brief interlude using Zerlina’s aria Batti, batti, o bel Masetto and then the final section is the duo Andiam’ Andiam ‘ Mio Bene between Don Giovanni and Zerlina which ends the Act I duet. The work ends with a brillant coda

Cello, String Duet - Early Intermediate - Digital Download Composed by Georg Mertens, Anonymous, Jaques Offenbach, J.S. Bach, L. Boccherini, B. Fomin, P.I. Tchaikovsky, M. Carcassi, a. Kummer. Arranged by Georg Mertens. Method, Etudes and Exercises, Classroom, General Instructional, Technique Training. Set of Parts, Solo Part. 60 pages. Published by Georg Mertens

Level 4 - Digital Download SKU: A0.1136040 By Budapest Scoring. By King Henry VIII (attrib.). Arranged by David Warin Solomons. Classical,Contemporary. Full Performance. Duration 144. David Warin Solomons #736065. Published by David Warin Solomons (A0.1136040). Hélas madame is attributed to King Henry VIII. It is part of a secular collection, found on a manuscript that was used in Henry's court. The originality of the song has been questioned, with various parts of the song allegedly taken from similar pieces in Europe. The song itself is a courtship conversation in Middle French between a man and woman. Hélas madame, celle que j’ayme tant: Souffrez que soye vostre humble servant; Vostre humble servant je serays a toujours Et tant que je viv’ray aultr’ n’aymeray que vous. Hélas, beau sire, vous estez bel et bon, Sage et courtoys et de noble maison, Et aussi bon que l’on scairoit finer, Mais cil que j’ayme, ne scairoye oublier. Hellas, ma dame, pences en vostre cas: Entre nous deulx ne fault point d’avocatz. Certes non pas, et vous le scavez bien. Allez vous en, car vous ne faictez rien. Mon cueur souspire et se plaint tendrement, Quant il ne peult trouver allegement. Ne scay comment on me veult dechasser; S’il est ainsi, j’ayray ailleurs chasser. Hellas, ma dame, et n’en seray-je point? Certes beau sire, je ne le vous dis point. Servez a point: il vous sera mery. Hellas, ma dame, de bon cueur vous mercy. Alas my lady, whom I do so love: Suffer me to be your humble servant; Your humble servant I shall always be. And while I live, I'll love none else but you. Alas, fair sir, you are good and kind, Wise and courteous and from a noble house, And as good as one could find, But I can't forget the one I love. Alas my lady, think upon your case: Between us two, no need for advocate. Certainly not, and you know it well. Be gone, for you are doing nothing. My heart sighs and tenderly complains, When it cannot find relief. I know not how it wants me to woo; If it is so, I'll go wooing elsewhere. Alas my lady, and shall I not? Certainly, fair sir, I have not said so. Behave rightly and you will be rewarded. Alas my lady, from my whole heart, thank you. Performed by Anita Szabó Ildikó Szabady Iza Nagy Boglárka Dávid.

Piano Solo - Level 4 - Digital Download SKU: A0.534653 Composed by Claude Debussy/Robert Orledge. 20th Century,Concert,Romantic Period,Standards. Score. 16 pages. Musik Fabrik Music Publishing #5726995. Published by Musik Fabrik Music Publishing (A0.534653). Recorded for Grand Piano (GP822) by Nicolas Horvath.IFêtes galantes was actually planned as a hybrid opera-ballet to a libretto by Debussy’s friend Louis Laloy. For this, Laloy arranged selected poetry by Paul Verlaine into three tableaux, replacing an earlier (unstarted) Debussyan project with Charles Morice entitled Crimen amoris. During his last productive summer of 1915, Debussy set a sequence from the start of the first tableau, ‘Les Masques’, involving stanzas 1 and 3 of the opening song for Mezzetin in Verlaine’s comedy Les Uns et les autres. The action is set in a park à la Watteau late one summer afternoon as Mezzetin attempts to entertain a group of nonchalant masqueraders with only the aid of his voice and a mandolin..This appears to have been prefaced by a slower, elegiac introduction reminiscent of the opening of the comtemporary Cello Sonata and it leads to a danced minuet by the masqued dancers which has clear echoes of the piano piece L’Isle Joyeuse (1904). Following Laloy’s scenario, the mas-queraders then sing extracts from Verlaine’s ‘A la promenade’ (from Fêtes galantes itself). The minuet returns at greater length before being cut short by a chilly gust of wind, after which the park returns to its orginal state (and music) as though nothing had really happened.

Small Ensemble Alto Saxophone,Bass Clarinet,Tenor Saxophone - Level 4 - Digital Download SKU: A0.968994 Composed by Cole Poter. Arranged by Cristian Gomez. Jazz. Score and parts. 8 pages. Kike G #5011755. Published by Kike G (A0.968994). « Begin the Beguine » es una  canción  compuesta por  Cole Porter  que está identificado uno de los módulos de la música popular estadounidense.Fue compuesta en 1934, según el propio Porter, en un crucero exótico por las islas  Fiyi . Sus orígenes son inciertos: de acuerdo con él, que antes había declarado haber oído los cuatro primeros compara a un isleño en  Kalahabi  que bailaba frenéticamente bajo la luna indonesia, la había escuchado a una banda martiniquesa en un café cantante de  París . Entonces bautizó el ritmo como una rumba calipso. Más tarde, sin embargo, aseguraría que no venía de  Trinidad , sino de la misma  Martinica  y que se llamaba  bel-air de la lune .Actualmente el ritmo es conocido como  beguine . El 

Baritone Horn TC,Vocal Solo,Voice - Level 3 - Digital Download SKU: A0.533424 Composed by Ange Flégier. Concert,Halloween,Romantic Period,Standards. 15 pages. Musik Fabrik Music Publishing #2913661. Published by Musik Fabrik Music Publishing (A0.533424). A setting of a poem by René de Saint-Prest. Edited by Jared Schwartz and Mary Dibbern.Recorded on Ange Flégier: Mélodies for Baritone Voice and Piano.Toccata Classics, 2016. In d minor Duration: aprox. 5 minutes 00 secondsIl est un vieux manoir à la muraille altière,Là règne un grand seigneur à l’âme impie et fière,Que l’on redoute aux environs,Le plus cruel des hauts barons!Lorsque tombe la nuit, il quitte la tourelleEn s’écriant: amis, courons!Puis l’arme au poing, le coeur gonflé de rage,Ils s’en vont répandant l’effroi sur leur passage!Refrain:Et Satan, l’oeil en feu, palpitant de bonheur,Enfin sûr de sa proie est près du vieux seigneur!Un soir qu’il chevauchait dans la forêt prochaine,Le diable, le suivant, l’entraîna dans la plaine,Et s’élança sur lui soudainEn blasphémant saisit sa mainEt demi-mort d’effroi, tout pâle et sans défense,Le renversa sur le chemin;Puis l’entrainant, malgré sa résistance,L’emporta d’un seul bond, dans sa fournaise immense!On dit que tous les soirs, près de la tour tremblante,On entend retentir une voix languissante,Qui remplit l’air de cris affreux;Puis on croit voir briller des feux.C’est l’âme du baron qu’avec lui, sur la terre,La nuit, Satan traîne en tous lieux;Et du château les noirs oiseaux de proie,Seuls seigneurs désormais, poussent des cris de joie!

Bass Voice,Vocal Solo - Level 3 - Digital Download SKU: A0.533425 Composed by Ange Flégier. Concert,Halloween,Romantic Period,Standards. 15 pages. Musik Fabrik Music Publishing #2913665. Published by Musik Fabrik Music Publishing (A0.533425). A setting of a poem by René de Saint-Prest. Edited by Jared Schwartz and Mary Dibbern.Recorded on Ange Flégier: Mélodies for Bass Voice and Piano.Toccata Classics, 2016. In b minor Duration: aprox. 5 minutes 00 secondsIl est un vieux manoir à la muraille altière,Là règne un grand seigneur à l’âme impie et fière,Que l’on redoute aux environs,Le plus cruel des hauts barons!Lorsque tombe la nuit, il quitte la tourelleEn s’écriant: amis, courons!Puis l’arme au poing, le coeur gonflé de rage,Ils s’en vont répandant l’effroi sur leur passage!Refrain:Et Satan, l’oeil en feu, palpitant de bonheur,Enfin sûr de sa proie est près du vieux seigneur!Un soir qu’il chevauchait dans la forêt prochaine,Le diable, le suivant, l’entraîna dans la plaine,Et s’élança sur lui soudainEn blasphémant saisit sa mainEt demi-mort d’effroi, tout pâle et sans défense,Le renversa sur le chemin;Puis l’entrainant, malgré sa résistance,L’emporta d’un seul bond, dans sa fournaise immense!On dit que tous les soirs, près de la tour tremblante,On entend retentir une voix languissante,Qui remplit l’air de cris affreux;Puis on croit voir briller des feux.C’est l’âme du baron qu’avec lui, sur la terre,La nuit, Satan traîne en tous lieux;Et du château les noirs oiseaux de proie,Seuls seigneurs désormais, poussent des cris de joie!

String Quartet String Quartet - Level 3 - Digital Download SKU: A0.1333373 Composed by Franz Schubert (1797-1828). Arranged by Stephen Levintow. 19th Century,Chamber,Romantic Period. 25 pages. Cypress Publishing #919561. Published by Cypress Publishing (A0.1333373). A bouquet of dances for string ensemble such as might have been assembled for dancing in Schubert's time. The collection consists of eight Ländler followed by the rousing Grätzer Galopp.CYPRESS PUBLISHING is pleased to be the imprint for arrangements for string ensemble by Stephen Levintow. He is a free lance professional violist and violinist specializing in chamber music, who began making string quartet and trio arrangements for wedding, party and corporate events, to expand the repertory or to improve on existing versions. Selections include unusual pieces by both familiar and lesser-known composers, plus standard classical and popular favorites. The goal is to produce high-quality, musically satisfying arrangements faithful to the composer’s original material, yet sight-readable in most cases by working professionals or intermediate to advanced students. The full range of normal string technique is employed, while avoiding unnecessary technical complexity. Melodic material is distributed throughout the four voices where appropriate, to maintain listener and performer interest. All parts and scores are set in Sibelius© software format, with careful attention to legibility and page turns.

Instrumental Duet,Piano Cello,Fiddle,Instrumental Duet,Piano - Level 1 - Digital Download SKU: A0.1365317 By Leonard Cohen. By Leonard Cohen. Arranged by Matheus Felix. Film/TV,Spiritual,Wedding. 4 pages. Matheus Felix #949637. Published by Matheus Felix (A0.1365317). Arranjo de Hallelujah para Violino, Violoncelo e Piano Cifra:Este arranjo emocional de Hallelujah mergulha nas profundezas da composição atemporal de Leonard Cohen, adaptando-a para uma rica tapeçaria sonora composta por violino, violoncelo e piano cifra. O violino, assumindo o papel principal, expressa a intensidade e a melancolia da letra, evocando uma narrativa envolvente e apaixonada. O violoncelo, com suas linhas melódicas e graves expressivos, adiciona uma dimensão emocional profunda à interpretação, proporcionando uma ressonância que ressoa com a profundidade poética da música. O piano cifra, com sua capacidade única de sustentar acordes e criar atmosferas variadas, contribui para a intensidade e a beleza harmoniosa da peça. A dinâmica cuidadosa entre os instrumentos reflete a jornada emocional da música, desde momentos suaves e contemplativos até clímax poderosos e expressivos. A harmonia entre os músicos cria uma sinergia única, destacando as nuances líricas e a riqueza emocional da composição. Este arranjo de Hallelujah não apenas presta homenagem à versatilidade da música, mas também capta a essência da espiritualidade e da profunda conexão emocional que ela transmite. Os músicos, com sua habilidade técnica e sensibilidade artística, conduzem os ouvintes por uma jornada musical que ressoa com a verdade e a beleza atemporal desta canção emblemática.

Plectrum orchestra - Advanced - Digital Download SKU: ZZ.DZ-4247 Composed by J.A. Hasse. Arranged by Vincent Beer-Demander. Score and parts. 65 pages. Les Productions d'OZ - Digital #DZ 4247. Published by Les Productions d'OZ - Digital

Guitar - Advanced - Digital Download SKU: ZZ.DZ-4262 Composed by Bryan Johanson and Jesse McCann. Method Book. 140 pages. Les Productions d'OZ - Digital #DZ 4262. Published by Les Productions d'OZ - Digital (ZZ.DZ-4262). In this ambitious series, Bryan Johanson and Jesse McCann seek to address this missing element in the study of classical guitar. In light of the sheer volume of guitar music written over the centuries, not to men- tion early works by the guitar’s plucked-string relatives, the authors’ choices were by necessity limited to a select group of standards. These might be considered among the most popular works in the guitar canon, admired over the years by performers, students, and audiences alike for their beauty, musical expression, and idiomatic sonority. There are, of course, other pieces that could have been included. But by choosing works that give a broad survey of styles across musical periods (Renaissance, Baroque, Classical, Romantic, and early 20th century) written by some of the guitar’s most important composers, the authors present a com- prehensive cross-section of the essential repertoire for the instrument.- William KanengiserDans cette série ambitieuse, Bryan Johanson et Jesse McCann cherchent à aborder cet élément manquant dans l'étude de la guitare classique. En raison du volume considérable de musique pour guitare écrite au fil des siècles, sans mentionner les œuvres anciennes des instruments à cordes pincées apparentés à la guitare, les choix des auteurs étaient nécessairement limités à un groupe restreint de « standards ». Ces œuvres peuvent être considérées parmi les plus populaires du répertoire de la guitare, admirées au fil des ans par les interprètes, les étudiants et les auditoires pour leur beauté, leur expression musicale et leur sonorité idiomatique. Il existe, bien sûr, d'autres pièces qui auraient pu être incluses. Mais en choisissant des œuvres qui offrent un large panorama des styles à travers les périodes musicales (Renaissance, Baroque, Classique, Romantique et début du 20e siècle) écrites par certains des compositeurs les plus importants pour la guitare, les auteurs présentent une section transversale complète du répertoire essentiel pour l'instrument.- William Kanengiser.

Piano Solo - Level 2 - Digital Download SKU: A0.1478307 Composed by José De Jesús Ravelo. 19th Century,Classical,Historic,Romantic Period. Score. 52 pages. Editorial Copistas Acuario #1055685. Published by Editorial Copistas Acuario (A0.1478307). La presente publicacio?n de la tanda de valses «Pita», del reconocido compositor dominicano Jose? De Jesu?s Ravelo, se basa en la primera edicio?n de la obra realizada en 1897 con el estampado musical disen?ado en Leipzig por C. G. Ro?der. Esta coleccio?n de valses esta? dedicada a la entonces enamorada del compositor, la Srta. Josefa de la Fuente, conocida como “Pepita”, con quien contraeri?a matrimonio en 1902. Adema?s, esta? documentada la intencio?n del compositor de recaudar fondos con la edicio?n de esta obra y destinarlos al proyecto del Parque Independencia en Santo Domingo. De ahi? la inscripcio?n «mi ofrenda al Parque ‘Independencia’» en la portada, la cual hemos decidido recrear como homenaje, incluyendo tambie?n una reinterpretacio?n de la ilustracio?n original alego?rica a la independencia dominicana. Por lo tanto, adema?s de ser una de las primeras ediciones impresas conocidas de mu?sica dominicana, la tanda de valses «Pita» se circunscribe tambie?n a la historia del desarrollo y expansio?n de nuestra ciudad capital, ligada al proceso de construccio?n de uno de sus puntos de referencia ma?s importantes. Agradecemos la iniciativa de la Fundacio?n Copistas Acuario por reeditar esta obra como resultado de su continua labor de rescate del patrimonio musical nacional. Ahora si?, adentre?monos en esta historia de un joven Ravelo enamorado y emocione?monos junto a e?l con la mu?sica que inspiro? su amor. --------------------------------------------------------------------------------------------------------The present publication of the “Pita” waltz suite, by the renowned Dominican composer Jose? De Jesu?s Ravelo, is based on the first edition of the work made in 1897 with the musical print designed in Leipzig by C. G. Ro?der. This collection of waltzes is dedicated to the composer’s then fiance?e, Miss Josefa de la Fuente, known as “Pepita”, whom he would marry in 1902. In addition, it is documented the composer’s intention to raise funds with the edition of this work and allocate them to the project of the Independencia Park in Santo Domingo. Hence the inscription “mi ofrenda al Parque ‘Independencia’” on the cover, which we have decided to recreate as a tribute, also including a reinterpretation of the original illustration allegorical to the Dominican independence. Therefore, in addition to being one of the first known printed editions of Dominican music, the “Pita” waltz suite is also circumscribed to the history of the development and expansion of our capital city, linked to the process of construction of one of its most important landmarks. We are grateful for the initiative of the Fundacio?n Copistas Acuario for reissuing this work as a result of its continuous work to rescue the national musical heritage. Now, let’s delve into this story of a young Ravelo in love and let’s be moved along with him by the music that inspired his love.

Instrumental Duet,Piano Cello,Fiddle,Instrumental Duet,Piano - Level 1 - Digital Download SKU: A0.1365309 By Elton John. By Elton John and Tim Rice. Arranged by Matheus Felix. Broadway,Film/TV,Musical/Show. 6 pages. Matheus Felix #949627. Published by Matheus Felix (A0.1365309). Arranjo de Can You Feel The Love Tonight para Violino, Violoncelo e Piano Cifra:Neste tocante arranjo, a icônica balada Can You Feel The Love Tonight de Elton John ganha uma nova dimensão ao ser habilmente adaptada para uma formação instrumental única: violino, violoncelo e piano cifra. O violino, com sua voz expressiva, interpreta a melodia apaixonada, transmitindo a emotividade e a ternura da canção original.O violoncelo, com sua profundidade sonora e ressonância, contribui para a riqueza harmônica da peça, adicionando camadas de emoção que envolvem os ouvintes. O piano cifra, com sua capacidade de sustentar acordes e criar uma base sólida, une-se aos instrumentos melódicos, formando um conjunto coeso e harmonioso.A interpretação destes talentosos músicos eleva a beleza lírica da composição, destacando os momentos mais emocionantes da canção. As transições suaves entre os instrumentos e a habilidade em criar um equilíbrio sonoro proporcionam uma experiência auditiva envolvente, convidando os ouvintes a se perderem na magia da música.Este arranjo de Can You Feel The Love Tonight respeita a essência romântica da canção original enquanto adiciona uma interpretação única e emocionante, criando uma atmosfera que ecoa o sentimento intemporal do amor.

Choral Choir (SATB divisi) - Level 4 - Digital Download SKU: A0.1281192 By Javier Busto. By Javier Busto. Arranged by Javier Busto. 21st Century,A Cappella,Chamber,Classical,Contemporary. Octavo. 4 pages. Bustovega #872534. Published by bustovega (A0.1281192). AMETSETAN (zati bat): This is a part of a bigger work (untitled Ametsetan), reduced to be sang as compulsory work at the TOLOSA INTERNATIONAL CHORAL COMPETITION in 2004. Zati bat in Basque means » one part».The original work, AMETSETAN (the long version) was commissioned by the CORK INTERNATIONAL CHORAL FESTIVAL for the 38th Seminar on Contemporary Choral Music. First performance, Cork, Ireland, 2 May 2003.Its intention is to recreate the atmosphere of the open-air festivity in an Irish small village during its festival day, from the point of view of a Basque musician who never visited that country and only knows its music.The work has four different parts: 1- In the first one, people are invited to join the festival. 2- In the second one, women sing the Ave Maria during the religious celebration. 3- Dancing makes the people happy and it is an excuse to meet. 4- In the last part, when the feast comes to an end nobody wants to say goodbye.The composition’s closing text has been written by JOSUNE LÓPEZ, a component in my choir, Kanta Cantemus Korua. Miss López has tried to transmit all her love and admiration towards Ireland.* The lyrics are in Basque language. Spanish and English translation of the text is included for those who hardly recognize Basque language. Furthermore, a small introductory guide can be found in the score for a correct Basque pronunciation.