The first song of Frank Wildhorn's musical based on the manga and anime series Death Note, a strong and catchy opening number, is now available for purchase in its English version in a faithful piano-vocal-chords arrangement by Samuel Labrecque. This version of the song is that of the original Japanese stage version, only with the full English lyrics from the script. It is slightly different from the version released in the English concept album.

The third song of Frank Wildhorn's musical based on the manga and anime series Death Note, a strong and catchy solo number for the character of Light Yagami, is now available for purchase in its English version in a faithful piano-vocal-chords arrangement by Samuel Labrecque. This version of the song is that of the original Japanese stage version in the key in which Han Ji-sang sings it (Bb minor), only with the full English lyrics from the script. It is slightly different (as well as being one semitone higher) from the version released in the English concept album.

The third song of Frank Wildhorn's musical based on the manga and anime series Death Note, a strong and catchy solo number for the character of Light Yagami, is now available for purchase in its English version in a faithful piano-vocal-chords arrangement by Samuel Labrecque. This version of the song is that of the original Japanese stage version in the key in which Jeremy Jordan and Hong Kwang-ho sing it (A minor), only with the full English lyrics from the script. It is slightly different from the version released in the English concept album.

The third song of Frank Wildhorn's musical based on the manga and anime series Death Note, a strong and catchy solo number for the character of Light Yagami, is now available for purchase in its English version in a faithful piano-vocal-chords arrangement by Samuel Labrecque. This version of the song is that of the original Japanese stage version in the key in which Kenji Urai sings it (G minor), only with the full English lyrics from the script. It is slightly different (as well as being one full tone lower) from the version released in the English concept album.

Written for and first performed at the composer's great-grandmother's funeral, Samuel Labrecque's Méditation funèbre (Funeral Meditation) is a pensive short piece for organ where the true challenge is to give each voice its own character. Perfect as a short interlude or postlude for a funeral service.

The majestic national anthem of Canada, in a brand new fullyorchestrated arrangement for orchestra and SATB chorus by Samuel Labrecquebased on George Alfred Grant-Shaefer's version for SATB and piano. Thisorchestration was done to be performable both with and without the choir. It'sa simple yet powerful arrangement that's within reach of every ensemble and iscertain to reach the patriotic Canadian within you!

Note: This item contains only the conductor's full score, for study purposes. The vocal score (piano reduction) and the full performance package (full score and parts) can each be purchased on theirown as well.

Your choir can now sing the joyful and well-known Radetzky March by Johann Strauss Sr. in a brand new arrangement for SATB mixed chorus a cappella by Samuel Labrecque. Perfect as a repertoire piece or as an encore, it is sure to leave your audience humming and singing along!

The majestic national anthem of Canada, in a brand new fullyorchestrated arrangement for orchestra and SATB chorus by Samuel Labrecquebased on George Alfred Grant-Shaefer's version for SATB and piano. Thisorchestration was done to be performable both with and without the choir. It'sa simple yet powerful arrangement that's within reach of every ensemble and iscertain to reach the patriotic Canadian within you!

Note:This item contains only the vocal score (piano reduction). The full performance package(full score and parts) as well as the full score alone can each be purchased on their own as well.

One of the main melodies from the 2004 French film "Les Choristes" (English title "The Chorus", German title "Die Kinder des Monsieur Mathieu"), 'Vois sur ton chemin' is a song that is sure to leave an impression on your audience. It is arranged here for four-part choir a cappella by Samuel Labrecque with additional lyrics in German in such a way as to make it accessible for ensembles of all levels.

Arranged for E-flat alto saxophone and piano, according to the published full band score. This arrangement was made in 2009 and was performed by Samuel Labrecque (piano) and Naomie Bleau (alto saxophone) in May 2009 at the Capital's Art Night in Quebec, Canada.
The PDF includes the piano score and the saxophone part.

The majestic national anthem of Canada, in a brand new fully orchestrated arrangement for orchestra and SATB chorus by Samuel Labrecque based on George Alfred Grant-Shaefer's version for SATB and piano. This orchestration was done to be performable both with and without the choir. It's a simple yet powerful arrangement that's within reach of every ensemble and is certain to reach the patriotic Canadian within you!

Note: This is the full performance package containing both the conductor's full score and the complete set of parts. The full score and the vocal score can each be purchased on their own as well.

A word of caution: The full score is in A3 format while the parts are in A4. Make sure to rescale the full score if you don't want to print it in A3.

Finally, you can also play and sing the hauntingly beautiful song Don't Try so Hard from Queen's album Innuendo. The piano part in this piano/vocal/chords arrangement by Samuel Labrecque plays exactly what the band plays in the original version for a truly authentic performance.

This arrangement is the first in what is intended to be a complete Queen edition of such arrangements. Stay tuned for more!

A short meditative piece for mixed choir a cappella, this Ave Maria by Samuel Labrecque is particularly aimed at amateur and school choirs, especially those whose soprano section cannot achieve high notes

Here is an engaging postlude for organ composed by Samuel Labrecque based on the opening melody fragment of the old French Christmas carol "Il est né le divin enfant" (He is born, the divine child). Perfect to close your Christmas mass celebrations, with its limited pedal part it is well suited for organists of all levels.

Thalberg (1812-1871) was a renowned piano virtuoso and composer. His technical specialty, since widely imitated, was to play a central melody with the thumb of either hand and surrounding it with brilliant arpeggios and arabesques.

Sigismond Thalberg was one of the most famous and most successful piano composers of the 19th century. During the 1830s and the 1840s his style was a major force in European piano-playing. He was greatly in fashion and was imitated by others. In 1852, Wilhelm von Lenz wrote:

'The piano playing of the present day, to tell the truth, consists only of Thalberg simple, Thalberg amended, and Thalberg exaggerated; scratch what is written for the piano, and you will find Thalberg.'

Ten years later, in 1862, a London correspondent of the Revue et gazette musicale wrote:

'Nobody in fact has been so much imitated; his manner has been parodied, exaggerated, twisted, tortured, and it may have happened more than once to all of us to curse this Thalbergian school'.
Expressions like "exaggerated", "twisted" and "tortured" indicate that some contemporaries were starting to feel jaded of his style. It was at this time when Thalberg's career as composer and as virtuoso came to an end.

In the late 19th century, Thalberg's fame had come to depend on his association with a single piano technique, the 'three-hand effect'. Carl Friedrich Weitzmann, in his Geschichte des Klavierspiels (1879), wrote about this.

'His bravura pieces, fantasies on melodies from Rossini's Mosè and La donna del lago, on motifs from Bellini's Norma and on Russian folk-songs, became extraordinarily popular through his own, brilliant execution; however, they treat their subjects always in one and the same way, [namely] ... to let the tones of a melody be played in the medium octave of the keyboard now by the thumb of the right, now of the left hand, while the rest of the fingers are executing arpeggios filling the whole range of the keyboard'.