This Oscar Hammerstein/Sigmund Romberg marching song from the stage production of The New Moon has been skillfully arranged for TTBB Choir with Piano accompaniment. This provides a wonderful showcase of the rich sound produced by four-part male voice choirs.

Par LAURINDO ALMEIDA. This collection of 16 guitar duets offers professionals, teachers or students a wide variety of styles from the Baroque to the Post-Romantic periods. Some of this music is unique to the guitar repertoire. For example, the six Serenades introduce some of the most popular music of the late 19th century by Georges Bizet, Franz Drdla, Enrico Toselli, Moritz Moszkowski, Ricardo Drigo and Sigmund Romberg. The collection ends with selected works by Tchaikovsky and Brahms. These arrangements are skillfully crafted and will delight the intermediate student. / Niveau : Intermédiaire à Avancé / Classic - Duets / Recueil / Guitare Classique

Romberg's adaptation of melodies by Franz Schubert for Lilac Time (1921) and started him on the path to greatness. He subsequently wrote his best-known operettas, The Student Prince (1924), The Desert Song (1926) and The New Moon (1928), which were in a style similar to the Viennese operettas of Franz Lehar. He also wrote Rosalie (1928) together with George Gershwin. His later works, such as Up in Central Park (1945), are closer to the American musical in style, but they were less successful. Deep In My Heart, Dear; Drinking Song; Faithfully Yours; French Military Marching Song; Golden Days; I Bring A Love Song; Just We Two; Lover, Come Back To Me; Marianne; One Alone; One Flower Grows Alone In Your Garden; One Kiss; Road To Paradise; Romance; Serenade; Silver Moon ; Softly, As In A Morning Sunrise; Song Of Love; Stout Hearted Men; Student's Marching Song; The Desert Song; The Girl On The Prow; The Riff Song; Wanting You; When Hearts Are Young; When I Grow Too Old Dream; Will You Remember; You Will Remember Vienna; Your Land And My Land.

Solo Alto Sax Feature-From the rarely remembered 1928 operetta The New Moon this lovely tune has gone on to become a standard favored by many jazz artists. Set in a light samba groove here is a terrific arrangement featuring solo alto sax. Thesolo is contrastedbeautifully with ensemble interludes and backgrounds plus a short unison tutti feature.

Vocal Solo or Tenor Sax Feature-This familiar standard first popular in the '20s and '30s has been revisited over the years in a variety of styles. Here is an attractive smooth samba version for vocal solo (opt. tenor sax) that includes a feature spot for the saxes accompanied by the vocalist in a vocalese style. A marvelous change of pace for festival or concert use.