Piano Solo - Level 4 - Digital Download SKU: A0.733625 Composed by Amy J. Snyder. Celtic,Concert,Folk,Holiday,World. Score. 7 pages. Amy J. Snyder #6320153. Published by Amy J. Snyder (A0.733625). Squall at Kilkee Bay is a lively, advanced intermediate piano solo, with a Celtic flavor. This arrangement has several keychanges, and helpful fingering. It's a great show-piece for recitals or just for fun. The title refers to an historic event, the shipwreck of the Edmond, in 1850 in Kilkee Bay, Ireland. The Edmond was battered by a fierce storm and pushed into the Bay, crashing against the rocks. A man by the name of Richard Russel was occupying a house on the bay. He was trying to secure his rattling bedroom window, when he spotted the distressed ship. He call the coastguard and then went down to the ship to try to help people to safety. He and 3 coastguards, James McCarthy, Timothy Hannigan, and Patrick Shannon rescued 100 passengers, men, women and children. Many others were not as fortunate. The 3 coastguards received silver medals for their heroic efforts. It's quite a story! Here is the link if you'd like to read it: http://www.clarelibrary.ie/.../wreck_of_edmond_kilkee.htm  Written by Amy J. Snyder, copyright 2015  (original title White Water Rafting. Other compositions from Amy include The Charleston Rag, Shadow Valley, The South Carolina Blues, The Union Pacific Railroad Rag, The Sun Still Sets on the Mississippi River, Le Renard Dans La Neige (The Fox in the Snow), and more. Visit Amy at  www.facebook.com/amyjsnyder7.

String Orchestra - Level 4 - Digital Download SKU: A0.1266223 Composed by Antonio Vivaldi. Arranged by Snakewood Editions. Baroque,Classical. Score and Parts. 14 pages. Sneakwood Editions #858970. Published by Sneakwood Editions (A0.1266223). Vivaldi – Sinfonia (first Allegro) for strings and continuo from L’Olimpiade RV 725. Preface + Score + Parts (PDF) Preface and Notes Score Parts (Violin I, Violin II, Viola and Basso) Vivaldi – Sinfonia for strings and continuo from L’Olimpiade RV 725L´Olimpiade. Dramma per Musica, is an opera in three acts based on a libretto by Pietro Metastasio composed by Vivaldi and premiered at the Teatro Sant’Angelo on February 17, 1734, during the carnival. There is an earlier version based on the same libretto but written by Antonio Caldara in 1733. There are more than 50 later versions written by various authors, including Pergolesi (1735).Vivaldi’s opera begins with a Sinfonia for strings (Allegro) followed by two instrumental movements: Andante in cut time, and Allegro in 3/8 time. This edition includes just the first Allegro.There is an autograph copy in score format contained in the manuscript I-Tn, Foà 39, Bl. 1-140. The present edition is based on this manuscript.It is very interesting to mention that there is a violin concerto based on this same symphony (or perhaps the thematic transfer was from the concerto to the symphony). It is the violin concerto in C major rv 177.There are several sources for this concerto: Vivaldi’s autograph contained in the manuscript I-Tn, Foà 31, Bl. 14-25, in score format, and two sources in Dresden, the manuscript D-Dl, Mus. 2389-O-83 (score) and D-Dl, Mus. 2389-O-83a.The concerto includes some changes from the Sinfonia. Although these are different works, the connection between the two pieces seems obvious and the annotations that we find in the violin concerto could complement the information that appears in the Sinfonia. For this reason, it is interesting to mention these changes in this edition.

Choral Choir (SA) - Level 1 - Digital Download SKU: A0.510166 Composed by words and music by Glyn Lehmann. Children,Contemporary. Octavo. 5 pages. Glyn Lehmann #3507863. Published by Glyn Lehmann (A0.510166). There's a strange creature lurking down at the waterhole!Some say it has no arms or legs, just a long tail and a big head. Others say it has long legs, a stumpy tail and big bulgy eyes. Sounds scary! Are you brave enough to find out for yourself?A fun song for children between 5 and 9 years. They will learn about the polliwog (here's a clue; it's usually called a tadpole, ssh!). Along the way there's a subtle message about facing fears and finding things out for yourself.For 2-parts (easy) or unison.The Polliwogwords and music by Glyn LehmannCHORUSHave you ever seen a polliwogHiding in the water underneath a logLurking in the shadowsGrowing every dayI hope I never see a polliwog!No I never want to see a polliwog!Verse 1Someone said they saw a polliwogDown at the waterhole chasing a dogIt had no arms and it had no legsA long swishy tail and a great big headCHORUSVerse 2Someone said they saw a polliwogDown at the waterhole chasing a dogIt had two arms and two short legsA short stumpy tail and a great big headCHORUSVerse 3Someone said they saw a polliwogDown at the waterhole chasing a dogIt had a round body and two long legsAnd big bulgy eyes on the top of its head Coda AI began to wonder about the polliwogWhy was it changing, could it chase a dog?Although I was frightenedI must be brave I really want to see a polliwogYes I really want to see a polliwog!Coda BDown at the waterhole with my dogI went looking for the polliwogWaiting by the water sitting on a logUp jumped a little green frog(spoken) And it chased my dog! Woof!© 2013 Glyn Lehmann 

Cello,Instrumental Duet,Violin - Level 2 - Digital Download SKU: A0.1203942 By Keith Terrett. By Yoshiisa Oku and Akimori Hayashi (arranged by Franz Eckert), 1880. Arranged by Keith Terrett. Patriotic. 4 pages. Keith Terrett #802515. Published by Keith Terrett (A0.1203942). The Japanese National Anthem arranged for Violin & Cello.Kimigayo (��代, Japanese pronunciation: [kimiɡajo]; His Imperial Majesty's Reign) is the national anthem of Japan. The lyrics are from a waka poem written by an unnamed author in the Heian period (794–1185), and the current melody was chosen in 1880, replacing an unpopular melody composed by John William Fenton eleven years earlier. While the title Kimigayo is usually translated as His Imperial Majesty's Reign, no official translation of the title or lyrics has been established in law.From 1888 to 1945, Kimigayo served as the national anthem of the Empire of Japan. When the Empire was dissolved following its surrender at the end of World War II, the State of Japan succeeded it in 1945. This successor state was a parliamentary democracy, and the polity therefore changed from a system based on imperial sovereignty to one based on popular sovereignty. However, the U.S. occupation forces allowed Emperor Hirohito to retain the throne and Kimigayo remained the de facto national anthem. The passage of the Act on National Flag and Anthem in 1999 recognized it as the official national and imperial anthem.Original version: John William Fenton, 1869Current version: Yoshiisa Oku and Akimori Hayashi (arranged by Franz Eckert), 1880.

C Instrument - Digital Download SKU: A0.662483 Composed by Edward Elgar. Arranged by Andre Maaker. Classical,Romantic Period,Wedding. Lead Sheet / Fake Book. 2 pages. SheetMusicHub #271549. Published by SheetMusicHub (A0.662483). This is a lead sheet style (melody/chords/form) notation of Salute d'Amour (Liebesgruß) Op. 12 by Edward Elgar. From Wikipedia: Elgar finished the piece in July 1888, when he was romantically involved with Caroline Alice Roberts, and he called it Liebesgruss ('Love's Greeting') because of Miss Roberts' fluency in German. On their engagement she had already presented him with a poem The Wind at Dawn which he set to music and, when he returned home to London on 22 September from a holiday at the house of his friend Dr. Charles Buck in Settle, he gave her Salut d'Amour as an engagement present. The dedication was in French: à Carice. Carice was a combination of his wife's names Caroline Alice, and was the name to be given to their daughter born two years later. It was published a year later by Schott & Co., a German publisher, with offices in Mainz, London, Paris and Brussels. The first published editions were for violin and piano, piano solo, cello and piano, and for small orchestra. Few copies were sold until Schott changed the title to Salut d'Amour with Liebesgruss as a sub-title, and the composer's name as 'Ed. Elgar'. The French title, Elgar realised, would help the work to be sold not only in France but in other European countries. The first public performance was of the orchestral version, at a Crystal Palace concert on 11 November 1889, conducted by August Manns. The first recording of that version was made in 1915 for The Gramophone Company with an orchestra conducted by the composer. As a violin-and-piano piece Salut d'Amour had been recorded for The Gramophone & Typewriter Ltd (predecessor to The Gramophone Company) as early as 1901 by Jacques Jacobs, leader/director of the Trocadero Restaurant orchestra. Auguste van Biene recorded a cello transcription in 1907..

Piano Solo - Level 4 - Digital Download SKU: A0.752422 Composed by Wolfgang Amadeus Mozart, Mozart. Arranged by Rob Bushnell. Classical,Film/TV. Score. 7 pages. RBMusic #6014617. Published by RBMusic (A0.752422). Famously used in the 1967 film Elvira Madigan, hence the nickname, the Elvira Madigan concerto, Mozart's Piano Concerto No. 21 was completed soon after his 20th in 1785. There are 5 different arrangements for solo piano, each getting progressively harder and trying not to compromise on sound where possible: Level 1: Just over a minute long, this is the easiest version. Both hands are very simple and are very close together, making it easier to see what all the fingers are doing at the same time. No jumps greater than a fifth and no large chords, making it perfect for smaller hands. Level 2: Two version provided: the first just over a minute long; the second the complete length of the movement, minus the orchestra introduction. Again, the melody has been simplified, though harder than level 1, with an increased coverage of the piano. The accompaniment is either static chords (now triads as standard) or broken arpeggios. It now has jumps in the right hand of just over an octave, with the left hand moving relatively little between chords/arpeggios. Level 3: This version has an optional cut, otherwise is the complete second movement, minus the orchestral introduction. Similar to level 2, only one hand tends to be changing pitches/rhythms at any one time, but the right hand is now almost the same as Mozart’s original (with some ornamentation removed or written out in full). The left hand now has the familiar broken-chord pattern (see opening bars) but in simple rather than compound time. On the whole, the left hand moves relatively little between chords, although there are now some larger jumps when the right hand is static. Level 4: Like level 3, but with the broken chord in compound time throughout. Some of the orchestral accompaniment has been integrated into the music, though simplified. Level 5: The hardest version, more difficult than the original solo piano part. Still no orchestral introduction. Includes more of the orchestral accompaniment than level 4. This, in essence, is a piano transcription of the full orchestration for piano and orchestral. Here is a recording on YouTube of Alicia De Larrocha playing the solo with Sir Colin Davis conducting the English Chamber Orchestra: https://www.youtube.com/watch?v=df-eLzao63I.

Piano Solo - Level 2 - Digital Download SKU: A0.752421 Composed by Wolfgang Amadeus Mozart, Mozart. Arranged by Rob Bushnell. Classical,Film/TV. Score. 6 pages. RBMusic #6014595. Published by RBMusic (A0.752421). Famously used in the 1967 film Elvira Madigan, hence the nickname, the Elvira Madigan concerto, Mozart's Piano Concerto No. 21 was completed soon after his 20th in 1785. There are 5 different arrangements for solo piano, each getting progressively harder and trying not to compromise on sound where possible: Level 1: Just over a minute long, this is the easiest version. Both hands are very simple and are very close together, making it easier to see what all the fingers are doing at the same time. No jumps greater than a fifth and no large chords, making it perfect for smaller hands. Level 2: Two version provided: the first just over a minute long; the second the complete length of the movement, minus the orchestra introduction. Again, the melody has been simplified, though harder than level 1, with an increased coverage of the piano. The accompaniment is either static chords (now triads as standard) or broken arpeggios. It now has jumps in the right hand of just over an octave, with the left hand moving relatively little between chords/arpeggios. Level 3: This version has an optional cut, otherwise is the complete second movement, minus the orchestral introduction. Similar to level 2, only one hand tends to be changing pitches/rhythms at any one time, but the right hand is now almost the same as Mozart’s original (with some ornamentation removed or written out in full). The left hand now has the familiar broken-chord pattern (see opening bars) but in simple rather than compound time. On the whole, the left hand moves relatively little between chords, although there are now some larger jumps when the right hand is static. Level 4: Like level 3, but with the broken chord in compound time throughout. Some of the orchestral accompaniment has been integrated into the music, though simplified. Level 5: The hardest version, more difficult than the original solo piano part. Still no orchestral introduction. Includes more of the orchestral accompaniment than level 4. This, in essence, is a piano transcription of the full orchestration for piano and orchestral. Here is a recording on YouTube of Alicia De Larrocha playing the solo with Sir Colin Davis conducting the English Chamber Orchestra: https://www.youtube.com/watch?v=df-eLzao63I.

Large Ensemble Bassoon,Clarinet,Double Bass,Horn,Oboe,Piccolo - Level 4 - Digital Download SKU: A0.1038136 Composed by Bela Bartok. Arranged by Ray Thompson. 20th Century,Classical,Folk. Score and parts. 46 pages. RayThompsonMusic #643066. Published by RayThompsonMusic (A0.1038136). The complete set arranged wind dectet and bass Romanian Folk Dances Sz. 56, BB 68 is a suite of six short piano pieces composed by Béla Bartók in 1915. He later orchestrated it for small ensemble in 1917 as Sz. 68, BB 76. It is based on seven Romanian tunes from Transylvania, originally played on fiddle or shepherd's flute. The original name for the piece was titled Romanian Folk Dances from Hungary but was later changed by Bartók when Transylvania became part of Romania in 1920. It is nowadays available in the 1971 edition which is written with key signatures although Bartók rarely ever used key signatures. This set of dances consists of six movements and, according to the composer, it should take four minutes and three seconds to perform, but most professional pianists take up to five minutes. The list of the movements is as follows (with the original Hungarian title listed first, the most commonly known Romanian title second, and the English translation in parentheses): Bot tánc / Jocul cu bâtă (Stick Dance)The melody of the first movement, according to Bartók, came from the Mezőszabad (present-day Voiniceni) village that was part of Mezőcsávás (present-day Ceuașu de Câmpie) commune which was located in the Maros-Tordaadministrative county within Transylvania, and he first heard it when two gypsy violinists were playing it. Brâul (Sash Dance)The second movement is a typical dance from Romania called Brâul, for which traditionally a sash or a waistband was used. This melody came from Egres (present-day Igriș), in the Banat region. Topogó / Pe loc (In One Spot)The third dance comes also from Egres (Igriș), but its theme is much darker and its melody recreates Middle Eastern instruments, such as the flute.[4] Bucsumí tánc / Buciumeana (Dance from Bucsum)The fourth dance came from Bucsony, Alsó-Fehér County (today Bucium, Alba county in Romania) Román polka / Poarga Românească (Romanian Polka)The fifth dance is an old Romanian dance similar to the Polka and comes from Belényes (present-day Beiuş, in Bihor county), near the border between Hungary and Romania. Aprózó / Mărunțel (Fast Dance)The sixth and last dance is formed by two different melodies: the first one comes from Belényes (present-day Beiuș) and the second one comes from the then named Nyagra (present-day Neagra) village within the Palotailva (present-day Lunca Bradului) commune. Both on the orchestral version and on the original piano version, the final two dances are performed attacca-without a break between movements.

Guitar - Level 3 - Digital Download SKU: A0.1431102 Composed by H. Ashworth-Hope. Arranged by Derek Hasted. Film/TV. 30 pages. Derek Hasted #1011573. Published by Derek Hasted (A0.1431102). BARNACLE BILL (Blue Peter TV Theme)  - 4 GUITARS/LARGE ENSEMBLEFor Classical or Acoustic Guitar - sometimes it's erroneously listed here as Electric Guitar.Derek Hasted writes This theme, from the UK BBC TV Children’s Programme “Blue Peter” has instant appeal to anyone who has watched that show. It makes a wonderful item for a concert, with a Rondo form and a spirited feel that’s easy to lock together.The TV show has tried different versions over the years, including one by Mike Oldfield, but my arrangement is based the full-length version as played by the Royal Philharmonic Orchestra.I’ve changed the key to D major so that everything fits on the neck of the guitar and uses familiar notes.Guitar 4 is tuned to 6=D to add more depth. An alternative Guitar 4 part in bass clef is also supplied, and here normal tuning is used.The original theme is fast. To be honest, it’s very fast indeed. But it works just fine on guitar when played a little slower.The standard is intermediate when played at a modest speed, but Guitar 1 will need an advanced intermediate player if the tempo is pushed upwards.I hope you enjoy playing this piece!This is one of a large and growing range of accessible ensembles from experienced arranger Derek Hasted, and is supplied as full score and parts. Derek's website at www.derek-hasted.co.uk/smp lists all his arrangements by title and by number of instruments, with links to soundclips and sample score.

Choral Choir,Choral (SSAA) - Level 3 - Digital Download SKU: A0.1290533 Composed by Amelia Wellers. Arranged by Amelia Wellers. 21st Century,Chamber,Contemporary,Folk,New Age. 4 pages. Awelia Music #881249. Published by Awelia Music (A0.1290533). From the arranger: I first came across this traditional English folk ballad on the podcast mini-series “Dolly Parton’s America�. Dolly’s version was fast-based and up-beat, but the melody struck me as distant yet clear, mournful yet timeless. When I could not find a version that let the voice further explore these qualities, I made my own. The first exists on my record (WALLFLOWER by Aerhart), the second as a live solo act accompanied by a Yamaha Reface CS Synth, and the third as a Silver Dagger choral arrangement, made with and for the Young New Yorker's Chorus Treble Ensemble. The original Silver Dagger tune is a haunting memory in its spirit as much as its history (its many possible origins trace back to the early 1800s). To this day, we wonder whether it’s love, fear or both that sway our overprotected heroine’s decision to “sleep alone all of my life.� Despite her careful consideration, the melody never grants the finality of her decision. This arrangement holds this dissonance within a meditative space - a small moment of stillness in which to let all the big thoughts and emotions come and go. We begin with the memory of the melody, gather momentum and clarity in its pulsing visceral storytelling, then release it, unresolved yet somehow changed.

Harp solo - Medium - Digital Download SKU: MQ.6535-E Composed by David Conte. Secular, 21st century. Score & instrument part. 15 pages. E. C. Schirmer Music Company - Digital #6535-E. Published by E. C. Schirmer Music Company - Digital (MQ.6535-E). Marian Variations for harp solo was written for and is dedicated to harpist Ruth Inglefield, Professor of Harp at the Peabody Conservatory. In 1975, I was a student in Dr. Inglefield's Music History class at Bowling Green State University, where I was pursuing a Bachelor's Degree in Composition. Dr. Inglefield arranged for me to study in Paris with Nadia Boulanger, which I did from 1975-78, making me one of her last composition students and utterly changing my life. This piece is written in gratitude for Dr. Inglefield's vision and generosity.The work is based on my own Ave Maria for SATB chorus which was commissioned in 1991 by the San Francisco male vocal ensemble Chanticleer. Each of the four variations is based on the main melody of the Ave Maria and is separated by interludes built of contrasting material, all leading to a literal statement of the motet after the fourth variation. Thus, though the piece is largely intended for use in solo recitals, it could be played as part of a liturgical service where the motet is also sung. I am grateful to Sonja Inglefield for her expert and detailed editing of the score. Harpists Steve Main and Michael Rado also offered valuable suggestions. -David Conte.

Instrumental Solo - Level 3 - Digital Download SKU: A0.1226030 Composed by Howard Goodall. Arranged by Paul Broadhurst. 20th Century,Christian,Film/TV,Praise & Worship,Wedding. Individual part. 4 pages. Molto rubato #822056. Published by Molto rubato (A0.1226030). This hugely popular music makes for a great organ solo in services, weddings and recitals.  It's straighforward to play and so it makes for a convenient organ voluntary.   This arrangement demonstrates a wide range of sounds on even a small organ.  On larger instruments it's a great showcase for charming solo stops through to more meaty sounds for the middle section.  It's a good piece for students to learn the art of changing stops, whilst giving them a piece which is immediately engaging and is always a great hit with audiences!

Organ - Level 3 - Digital Download SKU: A0.1039842 Composed by H.J.K. Holmes, F.A. G. Ouseley, W.B. Gilbert, J.A. Stevenson etc. Arranged by Enoch Kwasi Boahen. Sacred. Score. 93 pages. Enoch Kwasi Boahen #644686. Published by Enoch Kwasi Boahen (A0.1039842). TUNES & APPROPRIATE HYMNS Pater Omnium O God, what offering shall I give, Contemplation When all Thy mercies, O my God, Maidstone Pleasant are Thy court above, Dublin See Israel's gentle Shepherd stand, St Luke O Thou, whom once they flocked to hear, Abridge O for heart to praise my God, Celeste This is the God we adore, Everton They who tread the path of labour, All souls Lead us, O Father, in the paths of peace, Beautitudo Fill Thou my life, O Lord my God, Antwerp Forth in Thy name, O Lord, I go, Something for Thee Saviour, Thy dying love, Dundee(French) I to the hills will lift my eyes, St. Cyril O King of mercy, from Thy throne on high, Ruth Summer sure are glowing, Wiltshire Through all the changing scenes of life, Darwall's 148th Lord of the worlds above, Morecambe O God of our Father, who dost make us one, Vigilate Christian, seek not yet repose, Northampton Hark, my soul! It is the Lord, My Jesus, I love Thee My Jesus, I love Thee, Kensington new Lead us, heavenly Father, lead us, Ramsey Lord, it belongs not my care, Warrington Now that the day light fills the sky, Hopeville Give me the wings of faith to rise, Wonderful love Come let sing of the wonderful love, Prince of peace Come, Holy Ghost, our hearts inspire, Harrow All people that on earth do well, Franconia Our day of praise is done, Aurelia The Church's one foundation, Ellers Saviour, again Thy dear name we raise, Cloisters Lord of our life and God of our salvation Barton Light of the world, Ely Lord, I was blind! I could not see, Gainsworth Just as I am, Misericordia Just as l am, Monks gate Who would true valour see, Old 23rd Where shall my wondering soul begin?, Spetisbury Be gone, unbelief; Stamford Father of everlasting grace.

Piano Solo - Level 2 - Digital Download SKU: A0.1431423 By Murray Gold. By Murray Gold. Arranged by Tom Voysey. 21st Century,Classical,Contemporary,Film/TV. Score. 2 pages. Tom Voysey #1011925. Published by Tom Voysey (A0.1431423). The Life And Death Of Amy Pond comes from the closing minutes of Series 5's 'The Pandorica Opens', scoring the apparent victory of the Doctor's greatest adversaries. With his companions in mortal danger (or worse) the Doctor himself is sealed inside the universe's most perfect prison, and unable to help with the incoming end of the universe. With this the audience is left on one of the show's best cliffhangers, leaving us half-way through the finale of the show's triumphant return.Series 5 allowed Murray Gold to prove his expertise at re-inventing the sound of Dr Who, while still retaining core qualities of adventure, danger, huge emotions and even grander scales. The show has evolved, and the music remains world-class. This piece really hammers home the dire ending our heroes find themselves in, enforcing a feeling of helplessness as the world colapses around them.Instrument: PianoLength: Approx 3 minutesDifficulty: Intermediate.

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