Bach composed the secular cantata Was mir behagt, ist nur die muntre Jagd BWV 208 in 1713. By far, the most famous and most performed movement is the ninth, Schafe k�nnen sicher weiden, more popularly known by its English name, "Sheep May Safely Graze." Bach scored the piece for soprano with two recorders and continuo, but others have since provided arrangements for myriad instrument combinations. Long an instrumental favorite at weddings, now even some churches include ?Sheep May Safely Graze? on their list of recommended music for marriage ceremonies. This arrangement is particularly effective in translating Bach?s music into a beautiful and quiet brass quintet composition. Horn in F and Trumpet 1 take turns with the melody, while Trombone and Tuba provide the basso continuo. Upper accompaniment is given to Trumpet 2 and, at various points, whoever else is not otherwise engaged?Trumpet 1, Horn in F and occasionally even Trombone. This arrangement was completed in 2017, and performance time runs about 4 minutes, 4 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge; contact him directly at lessmith61@bellsouth.net. If you like this arrangement, don?t miss ?Andante Cantabile from String Quartet Op. 11,? ?Arabesque #1,? ?Chorale St. Antoni,? ?Clair de lune? and ?Jesus Bleibet Meine Freude (Jesu, Joy of Man's Desiring).? For more arrangements by Les, enter "Sweetwater Brass Press" (without the quotation marks) in the SheetMusicPlus search box.

?An American Folk Hymn Medley? brings together three 19th-century shape-note tunes in a contemporary setting for brass quintet. HOLY MANNA is popularly known as ?Brethren We Have Met to Worship? from its association with a text by Methodist clergyman George Atkins (1793-1827). It was first published in Columbian Harmony, a shape-note tune book, in 1829, and is attributed to William Moore, the publisher. RESTORATION, first published in William Walker?s 1835 shape-note hymnal, Southern Harmony, was later renamed ARISE from its association with a text by Joseph Hart (1712-1768) in which the chorus begins ?I will arise and go to Jesus?.? PLEADING SAVIOR, published in Joshua Leavitt?s 1830 compilation The Christian Lyre, is today best-known in many churches as the accompaniment to the text ?Sing of Mary, Pure and Lowly.? In this arrangement, the similar tunes HOLY MANNA and PLEADING SAVIOR, both in major tonality and 8.7.8.7 poetic meter, frame the contrasting minor tonality tune, RESTORATION. Contrasting instrument textures, keys, and tempi, and a mix of both traditional and contemporary harmonies breathe a fresh spirit into these venerable tunes.