Titles
Showing 2,301-2,320 of 17,576 items.
| # | ID | Titlecode | Title Name | Marketing Copy | Instrumentation | |
|---|---|---|---|---|---|---|
| 2301 | 207AED4E-1AB6-409D-A87C-22468013D2B0 | ST872 | Allegro from Eine Kleine Nachtmusik | (not set) | Tuba Quartet | |
| 2302 | 2085CB10-BF8F-4C64-816E-909874D75F9A | 52250336 | Wumberling Wombat, The | Written in C Major, the 3rd violin and piano parts are included. With a poem about the nocturnal marsupial from Australia and their habits, this work for beginning to developing strings encourages the students in "helping her wumble back home!" with their music. | String Orchestra | |
| 2303 | 208A2BD1-0F71-49B4-AD17-85808205AF41 | M184391 | Songs, Vol. 2 | (not set) | Violin and Piano | |
| 2304 | 208AAE17-6E61-4333-B06D-21D893DEFAFC | R01382 | Kereshmeh: Calligraphy No. 8 | (not set) | Piccolo, Flute, Oboe, English Horn, Bassoon, Contrabassoon, Percussion (3). (Performers divided into 3 independent groups.) | |
| 2305 | 208BFF23-DEF1-4085-A034-594477D8787F | R00982 | Three Canticos Sagrados, Op. 108: Three Sacred Songs for SATB Chorus and Chamber Ensemble | Three Canticos Sagrados was written in 1995 by Juan Orrego-Salas. It features three sacred songs: De Profundis, Jesu Dulcis, O Vos Omens | SATB Chorus: Flute, Clarinet, Horn, Perc(1), Harp, 2 Violin, Viola, Cello | |
| 2306 | 208EF656-4B81-40C7-B432-2E2EB9923A56 | X053011 | Christ! What Are Patterns For? (Viola, Cello, Double Bass) | Based on a poem by Amy Lowell. Composed for the Trio Basso of Germany. | Viola, Cello, Double Bass | |
| 2307 | 208F8314-C818-42F9-8F84-8D0C93FE9D43 | M393991 | Two Pieces from Op. 35 (Nos. 3 & 4) | Reinhold Glière (1874-1956) wrote the collection of 11 Pieces in 1908, with pieces written for flute, oboe, cello, clarinet, bassoon, or horn, each with piano accompaniment included. Nos. 3 (Chanson) and 4 (Andante), included in this publication, were the two written for oboe and piano. | Oboe And Piano | |
| 2308 | 208F9BA9-C738-4A0C-9E6A-50CFC5011BD5 | R01258 | Please Turn Your Cell Phones On! | (not set) | 2.2.2.2: 4.3.3.1: Timpani.Drum Set.Percussion(1): Strings Cell Phone Rings Audience Participation | |
| 2309 | 2090EA29-6678-405B-9894-D7163A86B910 | ST798 | Inflammatus | Trumpet | ||
| 2310 | 20910C28-4B3B-4408-8205-707EB8EB7088 | SC686 | Sanctus | This piece is from "Four Latin Songs". Titles in the series include: I. Kyrie (TBB), II. Gloria (TBB), III. Sanctus (TBB), and IV. Dona Nobis Pacem (TTB). | Ttb | |
| 2311 | 2091F1A2-49DD-4A86-AA39-850587545F78 | A232502 | Boheme, La (complete, original orchestration) | (not set) | 2+1, 2+1, 2+1, 2 - 4, 3, 4, 0, timp, perc, hp, str (4.4.3.2.2)vocal soli (10 roles, SSTTBBBBBB) chorus, banda | |
| 2312 | 2092F308-ED75-4116-A3B9-EBD29A884D39 | A207202 | Concerto for Viola No. 1 in D, Op. 1 | Carl Philipp Stamitz (1717-1757) composed the CONCERTO FOR VIOLA NO. 1 IN D MAJOR, Op. 1 in 1774, during his last few years in Paris before becoming an itinerant freelance musician. It is one of two viola concertos by the composer, the other being the CONCERTO NO. 2 IN B-FLAT MAJOR. One of his few known works, it has become one of the foremost concertos in the viola repertoire. Filled with dazzling effects and extended technique, the piece appears to have been designed to show off his advanced skill as a virtuosic performer. This Kalmus edition has been edited by Kurt Soldan. Instrumentation: 0.0.2.0: 2.0.0.0: Str (4.4.3.3.3 in set): Solo Va in set. Reprint edition. | 0.0.2.0: 2.0.0.0: Str (4.4.3.3.3 in set): Solo Va in set | |
| 2313 | 209837A6-B73A-4CD2-B499-2CB337B12E10 | A138090 | Andante Spianato and Grande Polonaise Brillante, Op. 22 | Frédéric Chopin (1810-1849) composed the Andante Spianto and Grande Polonaise Brillante in E-flat Major, Op. 22, between 1830 and 1834. The polonaise, originally composed for solo piano and later scored for piano and orchestra, was completed first. Three years later, in preparation for a benefit concert at the Conservatoire de Paris, he added the Andante spianto as an introduction to the work. Dedicating it to one of his pupils, the Baroness d’Este, he performed the solo part under the direction of François-Antoine Habeneck on April 26, 1835. Instrumentation: 2.2.2.2: 2.0.1.0: Timp: Str (9.8.7.6.5 in set): Solo Piano. | 2.2.2.2: 2.0.1.0: Timp: Str (9.8.7.6.5 in set): Solo Piano | |
| 2314 | 209B0A54-A838-4238-BC53-3E16DC3E6956 | ST2 | Nina (out-of-print) | Alto Sax | ||
| 2315 | 209BE563-9A3D-4DB4-8466-6817118BD265 | M235091 | Fugue In G Minor, The Little for Saxophone Quartet | This famous Bach piece, The Little Fugue in G Minor, BWV 578, is very delicately set for medium to advanced players. Very effective voicing! | Four Saxaphones (SATB) | |
| 2316 | 209D0660-0ED9-462E-9C84-D2D3897B4EAF | SS50 | Endure, Endure | Solo part available in both bass and tenor clefs. | Trombone | |
| 2317 | 209F90DF-87E7-4B79-92B6-86560C14E932 | S511046 | Two Ave Marias for Violin and Piano | This one of a kind album pairs two of the most performed Ave Maria's for violin and piano, meticulously edited by Jascha Heifetz' protege, Endre Granat. The first of these is Schubert's melody, which was originally composed as a setting of a song from Walter Scott's popular narrative poem The Lady of the Lake, titled, "Ellen's Third Song" (Ellens dritter Gesang). The opening words and refrain of Ellen's song, namely "Ave Maria" (Latin for "Hail Mary"), may have led to the idea of adapting Schubert's melody as a setting for the full text of the traditional Roman Catholic prayer. The Latin version of the song is now so frequently used with Schubert's melody that it has led to the misconception that he originally wrote the melody as a setting for the "Ave Maria." The second Ave Maria in this collection was created when Gounod famously improvised the melody over the background of J.S. Bach's Prelude No. 1 in C major, BWV 846, from The Well-Tempered Clavier. Gounod's beatiful improvisation was transcribed by his future father-in-law Pierre-Joseph-Guillaume Zimmermann, which was published with the Bach keyboard accompaniment in 1835 under the title "Méditation sur le Premier Prélude de Piano de S. Bach." Alongside Schubert's version, the Bach/Gounod Ave Maria has become a fixture at funerals, wedding Masses, and quinceañeras and both works have been recorded hundreds of times during the twentieth century. | Violin, Piano | |
| 2318 | 20A15DF7-B79B-4F7F-A3FB-BE52A5C703E2 | SC208 | Beacon, a Door, A | Ttb | ||
| 2319 | 20A34E76-C747-4EEE-8081-E01DDBFD28D9 | 50100183 | Wheels | "Wheels" captures the incessant motion and ever moving character of the wheel. It is a vibrant, pulsating portrayal of an invention that changed mankind forever. | Concert Band | |
| 2320 | 20A8EF45-AB9B-465A-9765-25F7197213DF | SO48C | Folk Song Variations | (not set) | String Orchestra |