Titles
Showing 2,801-2,820 of 17,576 items.
| # | ID | Titlecode | Title Name | Marketing Copy | Instrumentation | |
|---|---|---|---|---|---|---|
| 2801 | 2782CB1B-A7DC-4DC2-B200-BE338C8E9BCA | M318991 | Three Browning Songs for High Voice, Op. 44 | Reprint edition of three settings by Amy Beach (1867-1944) of the Robert Browning's poems: 1. The Year's at the Spring; 2. Ah, Love, but a Day!; 3. I send My Heart up to Thee!. Versions for high and low voices are available from the publisher. | High Voice and Piano | |
| 2802 | 2787D312-EDD8-4CB8-A748-A0963C54163E | R00524 | Circuits for Wind Ensemble | 3.2+EH.2+Eb Clar+BCl+ContraBCl.2+Cbsn.SATB Saxes: 4.4.3.Euph.1: Perc(3): DB | ||
| 2803 | 278927FA-B555-42D7-B1ED-A7D21BFA3FF0 | R00741 | Sun - Like | Composed for the California Institute for the Arts | Soprano Solo Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Percussion(1), Piano, Celesta, String Quartet | |
| 2804 | 2790E108-FE78-4697-8867-4AE9FC302808 | S767CB | The Lions of North Bridge | THE LIONS OF NORTH BRIDGE was commissioned by and is dedicated to the United States Army Band and its conductor, Col. Bryan Shelburne. The work was inspired by the first battle of America's War for Independence which took place at the North Bridge in Concord, Massachusetts. The Minutemen, who were the "lions" of that battle, became national icons. The composition is built on one motive and two themes: A Toast to General Washington by Francis Hopkinson and The White Cockade, the melody played by the band at the battle. THE LIONS OF NORTH BRIDGE was premiered in San Antonio, Texas, in July 1999 by the U.S. Army Band and Herald Trumpets under the baton of Col. Shelburne. | Concert Band | |
| 2805 | 279156A9-0768-4D5B-B0CB-65F75A291AC3 | X503002 | Roots II | Each of the five movements--Incantation, Dance in Congo Square, Sorrow Song, Boogie Woogie, and Jubilee--is a stylized portrait of a musical form from the African-American tradition. | Violin, Cello, Piano | |
| 2806 | 2793fc3c-9e3b-11f0-a418-0022482c9682 | M380291 | Pavane Pour une Infante Defunte (Pavane for a Dead Princess), M. 19 | Originally written in 1899 by Maurice Ravel (1875-1937) for solo piano, and later orchestrated by the composer, PAVANE POUR UNE INFANTE DÉFUNTE (PAVANE FOR A DEAD PRINCESS) remains one of the enduringly popular of Ravel's works, though the title can be a curiosity for many. Ravel said of the work, "Do not attach any importance to the title. I chose it only for its euphonious qualities. Do not dramatize it. It is not a funeral lament for a dead child, but rather an evocation of the pavane [a stately, 16th-century Spanish court dance] which could have been danced by such a little princess as painted by Velázquez." This edition, with a new engraving, has been completed by Richard Dowling. | Solo Piano | |
| 2807 | 27945538-2737-4F14-A892-989DB5FBD359 | 50200044 | Let's Do It (Let's Fall in Love) | This lovely Cole Porter tune is of unmatched loveliness. This Mike Lewis arrangement shows the depth of harmonic richness you would expect from these writers. 2.1+EH.1+BCl.2: 2.2.0.0: 1 Jazz Bass. 1 Drum Set. 1 Vib: Str 9.8.7.6.5 | Full Orchestra | |
| 2808 | 279549AA-1C19-4D7C-8A0A-0579A10DA151 | X110016 | Song for Solo Flute | Also called "Folk Song for flute solo"; released on the ABC Classics and Furious Artisans labels. | Flute Solo | |
| 2809 | 279DAB0F-7720-4D86-A05C-32FA774F21BF | B495 | Foundation Studies | Scales, chord and intervals for daily practice patterned after Carl Baermann, Op. 63. | Oboe Method | |
| 2810 | 27a52fe3-9e3b-11f0-a418-0022482c9682 | M380791 | Double Concerto in A minor, Op. 102 | The famous DOUBLE CONCERTO by Brahms is a fantastic showpiece for two brilliant and equally matched soloists. Composed for the cellist Robert Hausmann and Brahms' dear estranged friend, violinist Joseph Joachim, this piece at the time repaired their friendship and won over audiences. | Piano Trio (Piano, Violin, Violoncello) | |
| 2811 | 27AB3439-92D1-4386-8CE7-B919F0CC6112 | TC166 | Veni Domine | (not set) | Three-Part Chorus of Treble Voices with Keyboard | |
| 2812 | 27AD8019-E165-44B5-A041-51F638F48276 | ST740 | Theme and Variations | (not set) | Alto Sax | |
| 2813 | 27BA7DD9-0165-4456-8DAC-9FFF28D0D139 | A709102 | Concerti Armonici: Concertino No. 2 in G (spuriously attributed to Ricciotti) | The six CONCERTI ARMONICI were long thought to be the work of the violinist-impresario Carlo Ricciotti or composer Giovanni Battista Pergolesi, but more recent research has revealed the composer to be Unico Wilhelm van Wassenauer (1692-1766). Born into a wealthy Dutch family, the diplomat and composer founded a Collegium musicum in The Hague under the oversight of Ricciotti. Composed between 1725 and 1740, the six concertos have been falsely attributed to a variety of contemporaries, Ricciotti and Pergolesi amongst them, since its anonymous publication. Wassenauer's aristocratic background was the reason for his secretiveness. The sentiment of the time ordained that musicians belong to the lower classes. This edition of CONCERTINO No. 2 (also CONCERTO ARMONICO in G Major, CONCERTO IV, or just CONCERTINO in G), drawing from the CONCERTO ARMONICO in G Major, was edited by 20th century Baroque expert Johann Philipp Hinnenthal. While Hinnenthal spuriously attributes the work to Ricciotti, he acknowledges that the composer may also be Pergolesi or an unknown third composer. Despite Wassenauer's authorship having since been confirmed, Hinnenthal's original editorial notes have been retained. Instrumentation: Str (4 Vn parts [2.2.2.2].3.2.2): Hpchrd. | Str (4 Vn parts [2.2.2.2].3.2.2): Hpchrd in set | |
| 2814 | 27BDAC7A-EC6E-4E86-BCF5-576620423BB1 | SU51 | Inveni David | This arrangement by Douglas Yeo was created for the New England Trombone Choir. All of the parts are playable on a standard tenor trombone. The choir is divided into two parts of four players each. | Trombone Choir | |
| 2815 | 27BDFE9D-EA43-415F-A44A-B29DEAA03D9E | M193691 | Watercolors | (not set) | Voice and Piano | |
| 2816 | 27C0A3A0-99E1-495C-9900-18EB27606641 | 50432001 | Old English Songs | The first tune: When Love is Kind comes from Ireland, and the second: Flow Gently Sweet Afton comes from Scotland. In political history the Scotch and Irish peoples have spent much time fighting each other, but they both found time to write beautiful love music like these two tunes. The key is Bb major throughout. Low F is the lowest pitch in the 3rd part and high G is called for just twice in the first part. Both songs are lyrical in style and are scored with beautiful harmonic changes. All three parts are scored with independent rhythms to enhance a musical performance. This trio is a must for any band director lucky enough to have three bassoon players, and if this one works well there is one more trio to get: Duke Street Variants. | Bassoon 1, 2 and 3 | |
| 2817 | 27C2FC21-E4BD-4222-992B-ED1C3E5DA4A8 | A106302 | Serenade, Op. 7 | Gabriel Pierné (1863-1937) wrote his SERENADE, Op. 7 either at 12 years old in 1877 or a few years later in 1881. Originally composed for violin and piano, the short, charming piece in the Spanish style was later transcribed for string orchestra by the composer. A string count of 8-8-5-5-5 is included in the set, although Pierné makes clear that the contrabass is optional. Reprint edition. | String Orchestra (8-8-5-5-5 in set) | |
| 2818 | 27C34601-8F0B-4663-9ED3-1F338E9771A4 | EBM0610265 | Cecilia Valdes: Prologo (excerpt) | Opera and Stage, Orchestra, Vocal, Zarzuela | 2 2 2 2 - 4 3 3(B.Tbn.) 1; Timp. 3Perc. Hp. Str. | |
| 2819 | 27CE648F-2B84-4646-9BC2-E5BCFE2FAFE3 | S511031 | Fantasia Krushelnytska | This work was commissioned by violinist Solomiya Ivakhiv to celebrate and commemorate the life of her namesake, Solomiya Krushelnytska. A Ukranian soprano, Solomiya (1872-1952) had left home at the age of 21 to study voice in Italy, where she became a very successful opera performer and became close friends with Puccini. She is often credited with saving Madama Butterfly from obscurity by taking on the role after a failed premiere with a different cast. But upon visiting her family one summer, she was suddently trapped as Ukraine was absorbed by the Soviet Union and all borders were closed. Realizing that she would never be able to return to Italy to resume her solo career, she joined the faculty of the Lviv Conservatory, where she raised a generation of very fine singers. She died in poverty, never being able to access her savings or property in Italy, but she contributed to the growth of the Lviv Conservatory where Solomiya Ivakhiv studied, and became a well-known symbol of hope for young women in Ukraine, where 90% of the population knows her name, and many streets are named after her. | Violin, Piano | |
| 2820 | 27D716EF-BF7D-4258-9172-EAE343AEE0FD | M105091 | Two Interludes | (not set) | Piano Solo |