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#IDTitlecodeTitle NameMarketing CopyInstrumentation 
  
3581328A5693-6A25-46CE-9554-AB9019FD49F0SU330Reeds AfireClarinet, Bassoon
3582328D047D-889E-49DF-A4BF-39B2C8C26FA5M264491Three RagsThis is a fun, quirky, and challenging ragtime piece sure to impress an audience! Bouncing rhythms, zipping glissandos, and melancholy melodies make this a memorable selection for any concert.Violin and Viola
3583328D76BC-D397-4E19-B2C5-73138A643E00SU787Mozart Fantasy in f minor, KV. 608 for Woodwind QuintetThese two extraordinary works of late Mozart, KV 594 and KV 608, were both composed to fulfill a commission for a memorial exhibit in Vienna, to be played in a “mechanical clock organ. The term “fantasy” or “fantasia” came to be affixed to these works later, and is more descriptive and less cumbersome than the term Mozart listed in his own catalogue, “Ein Stücke für ein Orgelwerk in ein Uhr.” They are also variously titled “Adagio und Allegro in f für ein Orgelwerk” and “Allegro und Andante (Fantasie in f) für eine Orgelwalze.”

The first of these, composed between the monumental String Quintet in D and the Piano Concerto in Bb KV 595, is an A-B-A form, comprised of an f minor Adagio opening and closing, with a contrapuntal Allegro at its heart. KV 608 is more complicated, opening with an f minor section reminiscent of a French Overture, followed by a fugue in f minor, then an Andante aria, followed by a return to the opening and then a more complex version of the fugue.

Despite the frustration that Mozart expressed (in a letter to Constanze) with the sound world of these mechanical devices, KV 594 and KV 608 are remarkable works which stand at an intersection, incorporating what he learned about counterpoint studying at the foot of Bach, while looking ahead to the emotional and harmonic poignancy of Schubert.		Woodwind Quintet
3584329237F0-277F-451C-BD23-C6131817F613R01440Worship: A Concert OvertureRecently brought back into print after many years with this newly-engraved edition.3(3dPicc).2.2.2: 4.3.3.1: Timp.Perc(2).Congas: Str
3585329994F5-D01F-4F52-8EAB-F17398A5EC17V49Papalito (the Love Bandito)Piano/vocal
358632A61633-EAF5-4123-99CE-FB6D72714D7952733387Suite HispaniolaPerfect for reception music or a high school cello quartet, this suite exudes latin flavor. Movements: 1. Cancion de Suenos, 2. Noche Tranquila, 3. Nocturne, 4. Tango.Cello Quartet
358732A958AF-D414-4A55-8D47-4CB711740C04A832690I Te Vurria Vasa2+1, 2+1, 2+1, 2 - 4, 3, 3, 1, timp, perc, hp, str, solo T
358832AA0EE5-EC36-4C6C-A91A-CCCA8D665643R00253Bren(not set)4 Horn, 4 Trumpet, 4 Trombone, Tuba
358932AB718C-6FF6-4331-B967-2547E091746EA134502Concerto for Piano No. 1 in D minor, Op. 15Johannes Brahms (1833-1897) composed his Piano Concerto No. 1 in 1858 and performed the work’s debut in Hanover, Germany, in 1859, to mixed reviews. The work initially began as a sonata for two pianos, then a four-movement symphony. Under the counsel of friends Julius Otto Grimm and violinist Joseph Joachim, Brahms landed on a three-movement piano concerto. After its fifth performance in December 1861, with Clara Schumann as piano soloist, the work still received mixed audience reception. It has since grown in popularity and has been recognized as a masterpiece. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano.2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano
359032B2B8A0-37C9-4BFA-A636-EED59D0BB175SU010Ave MariaThis arrangement by Douglas Yeo was written for and dedicated to the MIT Brass Ensemble. Scored for three trumpets in Bb, two horns in F, two trombones plus bass trombone, and tuba.Brass Choir
359132B7E99B-0C66-4731-9669-B0F9CBBEAB2050160011Cascading Trumpets for Trumpet Quartet with BandFor trumpet (or flute) quartet and band, Cascading Trumpets is a bright, shimmering cascade of excitement. Scored to allow either ensemble to be heard well, both band and ensemble parts are accessible and interesting. Flute quartet parts available for digital purchase.Trumpet Quartet Soli, Concert Band
359232BDBA2C-D7E6-4E95-BBFE-BC5B64442B7FA884402Messiah, HWV 56: Part II, Chorus: Hallelujah (urtext)George Frideric Handel (1685-1759) composed THE MESSIAH in 1741 – it is widely regarded as his most popular work. This urtext edition of the HALLELUJAH CHORUS was edited by Arnold Schering with continuo realization by Kurt Soldan.0.2.0.2: 0.2.0.0: Timp: Hpchd.Org: Str (4-4-3-3-3 in set): Chorus
359332BE845E-CEF7-488F-8E33-EDFCD64B91F8X530019Dark WindFor Maskim VelichkinCello Solo
359432BE85F8-0341-4F5A-BE33-BFB97C81627ES648CBLegendThis longer work for the advancing band is an ideal selection for contest.Concert Band
359532BEA978-108B-44E3-9493-B23BD095EEDDST808Lullaby for AlexandraAlso known by the title "Cancion de cuna de Alejandra:. This short and lyrical contest piece is a contest favorite. Available from the publisher include solo flute, alto flute, horn, oboe, saxophone, cello and several other combinations including a woodwind quartet arrangement.Flute, piano
359632C03B48-DCD0-466C-AA50-C7A048A3C7DEST330COHomage to FelliniWinner James Madison University Composition Contest, 1980.Flute Choir: Piccolo, 6 Flutes, and Alto Flute (alt. Standard Flute)
359732CB6774-59B4-4C1F-AA7D-D68ED629181010510159The Rosary for Solo Trumpet/Cornet and PianoEthelbert Nevin (1862-1901) wrote the Rosary for voice and piano in 1898, and it is one of the pieces for which he is best known. Floyd Harris has arranged the work here for a trombone trio with piano accompaniment. The work is a perfect selection for beginning brass players to take to contest or play at a recital. Versions exist for trumpet/cornet solo, duo, or trio, trombone solo, duo, or trio, and baritone solo or duo. Each version has piano accompaniment.Cornet Solo and Piano
359832CDF48F-BC87-4E19-BF35-452664F07EEA10250073A Bark GigueBased on the Austalian folk song, The Old Bark Hut, this energetic 6/8 tune will be a hit with students and audience alike!String Orchestra
359932D66C35-9AE1-4B27-8074-08AA0C176B13X530031We Were the MusicWE WERE THE MUSIC is dedicated to Holocaust survivor Anita Lasker-Wallfisch, a cellist who was arrested and deported by the Nazis to Auschwitz at the age of 18, where she became a member of the Women's Orchestra led by Alma Rose. After liberation by the British in April of 1945, Lasker-Wallfisch eventually made her way to England, where she founded the English Chamber Orchestra. In 1996, she published her memoir "Inherit the Truth, 1939-1945." In an interview, Lasker-Wallfisch described what it was like to be a musician at Auschwitz, how the music saved them, with the words, "We were the music." Bruce Adolphe included a musical reference to the shape and rhythmic inflection of the Jewish prayer the Sherma, which is considered by observant Jews to be the most important prayer, and it is traditional for Jews to say the Sherma as their last words. The prayer was often recited in concentration camps. Toward the end of WE WERE THE MUSIC, the melodic shape and rhythm of the prayer is repeated several times, growing in intensity, range, and volume, as a refrain of defiance and an affirmation of humanity and dignity in the face of unspeakable horror. Commissioned by ROCO (River Oaks Chamber Orchestra).Cello
360032D78C0B-0019-4F40-8F44-5B564E4A99B6RCST26Ballade: Also in 24 Short Concert PiecesFlute, Piano