Titles
Showing 5,441-5,460 of 17,576 items.
| # | ID | Titlecode | Title Name | Marketing Copy | Instrumentation | |
|---|---|---|---|---|---|---|
| 5441 | 4F069830-0087-423B-8B9E-E717919EEC41 | M261491 | Trombone Concerto | Nikolai Rimsky-Korsakov (1844-1908) wrote his three-movement CONCERTO FOR TROMBONE AND MILITARY BAND in 1877. It premiered on March 16, 1878 at a Russian Naval Base concert with Marine Officer Leonov playing the solo and Rimsky-Korsakov conducting the United Imperial Navy Band. Among only a few early solo works for trombone, it remains a staple in the trombone repertoire. This transcription for trombone and piano has been completed by N.Fedoseiev (N. Fedossejew). | Trombone, Piano | |
| 5442 | 4F0B22B8-8743-46EE-8CD7-C76753D6662C | 10410523 | Canto XIII for Piccolo | A rare piece for solo piccolo, this work may be performed straight, or the player may make dramatic entrances and theatrical gestures. CANTO XIII for Piccolo was commissioned by Jan Gippo and recorded by Albany Records (First Chairs) Troy 306. | Piccolo unaccompanied | |
| 5443 | 4F0F2DEB-46F7-4B7B-9A45-B9E2E8D1C84A | R116 | Sabbath Music | (not set) | Concert Band | |
| 5444 | 4f122758-9e3c-11f0-a418-0022482c9682 | TC701 | Chant, 1930 | Like Ruth Crawford-Seeger's (1901-1953) THREE CHANTS FOR FEMALE CHORUS, also written in 1930, CHANT, 1930 (for SATB mixed chorus and soprano solo, a cappella) uses a construction of syllables created by the composer. The soprano soloist intones her line on the syllables while the chorus hums throughout. | SATB Chorus and Soprano Solo, a cappella | |
| 5445 | 4F159177-9D8B-4905-951E-708FFB2FD128 | D20 | Music for Band Vol 20 | Band | ||
| 5446 | 4F173549-A973-4A02-8563-D47C29D50EA6 | ST681 | Tchaikovsky Suite No. 1 | Trumpet | ||
| 5447 | 4F175B0F-6663-4084-97F7-2C16FBAF8462 | X140005 | May Song | "May Song" for solo bassoon was written and dedicated to arts manager Myra Mayman on the occasion of her retirement. The opening ten note gesture is drawn from the letters of her name. | Bassoon Solo | |
| 5448 | 4F2AE501-6A90-4E0F-A333-FA96E563791E | SS957 | Itene O Miei Sospir (out-of-print) | Brass Quintet | ||
| 5449 | 4F2F8571-1BAF-4144-8C1F-427977DF4B9D | SC402 | Magnificat and Nunc Dimittis | "Mathews bends the conventional tendencies of tonal harmonic progressions in a way that bears some semblance to Herbert Howells. Whereas Howells indulged in the Impressionistic penchant for whole tone scales to blur the lines of key tonality, Mathews finds inventive ways to move from one key area to another. Some of these shifts are sudden and seemingly unprepared for, yet the clarity of architectural organization confirms the confident hand of a skilled composer as it mitigates the jarring effect of abrupt harmonic changes. The vocal lines throughout are fluid and natural, promoting a legato singing that shapes the musical discourse. Mathews also provides an interesting and fulfilling accompaniment with opportunities to show off a variety of solo sounds from the organ." -Jason Overal, Association of Anglican Musicians Journal, March-April 2023 | SATB chorus with organ | |
| 5450 | 4F39404C-FB72-4EF7-9BF6-4ECFF5064919 | S318 | Easy Street (out-of-print) | Marching Band | ||
| 5451 | 4F3C28E8-5B70-489A-A403-5D862EAB6C34 | C102 | Vocal Connections, Music Reading Exercises | Based in part on the “inner hearing,” concepts in Kodaly teaching methods, Vocal Connections is a classroom method designed to teach audiation and music reading in a carefully sequenced approach, and consists of the following components: AUDIO LESSONS-there are 30 brief (35- 75 second) audio lessons which provide AURAL "immersion" in Major and minor tonalities and movable "do" solfege. Available treble voice CD (3770954), and bass voice CD (3770955). TONAL GRIDS (3770929 – 5 pack) - audio lessons 5 - 30 are represented graphically on GRIDS. These grids represent a simple and useful transitional stage from the audio lessons to traditional notation. MUSIC READING EXERCISES (3770930 - 5 pack) - the final step in VOCAL CONNECTIONS is the reading of TRADITIONAL NOTATION. TEACHER’S KIT (3770928) Contains all the above material, with additional instruction regarding methods and lesson planning. | Vocal | |
| 5452 | 4F3E2C64-0F53-4CC2-8EBF-87B663419763 | S503002 | Ignoto Numine | Violin, Viola, Piano | ||
| 5453 | 4F44AE57-C242-462E-B621-9105F7751059 | SU837 | Ennanga for Harp, String Quartet and Piano | One of America's foremost composers, William Grant Still (1895-1978) had the distinction of becoming a legend in his own lifetime. From a musical family, he studied at Wilberforce University, Oberlin Conservatory, and the New England Conservatory. Mentors included George Chadwick, Edgard Varese and Howard Hanson. During his education, he also entered the world of commercial music, playing in orchestras and orchestrating, working in particular with the violin, violoncello and oboe. His employers included W.C. Handy, Don Voorhees, Sophie Tucker, Paul Whiteman, Willard Robison and Artie Shaw. He also arranged for and conducted the "Deep River Hour" over CBS and WOR. Dr. Still's service to the cause of brotherhood is evidenced by his many firsts for African-Americans in the musical realm: to have a symphony performed by a major U.S. symphony orchestra, to conduct a major symphony orchestra in the U.S. (1936, Los Angeles Philharmonic), to conduct a major symphony orchestra in the Deep South (1955, New Orleans Philharmonic), to conduct a white radio orchestra in New York City, to have an opera produced by a major company in the U.S., and to have an opera televised over a national network. With these "firsts" he was a pioneer, but in a large sene, he pioneered because he was able to create music capable of interesting the greatest conductors of the day: truly serious music, but with a definite American flavor. Versions of "Ennanga" for string orchestra and string quartet are available from the publisher. | Harp Solo, String Quartet, Piano | |
| 5454 | 4F482F9C-E1E9-4F1F-8062-5B996782CD00 | 50100311 | Baile de Fuego | A rhythmic and stirring addition to the band repertoire, Baile de Fuego demands excellence and attention from all players. Percussion adds much spice while utilizing a wide array of instruments. | Concert Band | |
| 5455 | 4F5232CC-D5CA-4E7E-8F66-52497A85201F | B447 | Ten Solos for Concert and Contest for Bass Clarinet and Piano | I. Fantasy, II. Adagio and Allegro, III. Caprice, IV. Tarantella, V. A Minor Tune, VI. Piece in G Minor, VII. Allegretto in C Minor, VIII. Andante and Allegro, IX. Scherzando, X. Nocturne | Bass Clarinet, Piano | |
| 5456 | 4F574207-5AC5-4996-B5FE-3CDBBFA68F51 | M209591 | Fantasia Appassionata, Op. 35 | A fiery concert piece. Movements: Allegro moderato; Andante; Moderato; Largo; Finale. Saltarella. Allegro vivace. Reprint edition. | Violin and Piano | |
| 5457 | 4F5B8F71-B6C2-49A6-B498-39CE77E32014 | X642716 | Divertissement for Clarinet and Piano Trio | Divertissement may be described as a jocoserious, quasi-palindromic collage. With strands from Mozart, Liszt, Claude Gervaise and George Rochberg, it has been characterized as "a frolicsome romp through music history." | B-flat Clarinet, Violin, Cello, Piano | |
| 5458 | 4f61042b-9e3c-11f0-a418-0022482c9682 | TC824 | Ave Verum Corpus | This edition of William Byrd's (1543-1623) setting of the AVE VERUM CORPUS has been transcribed and edited for SATB a cappella chorus by John Morehen. A rehearsal accompaniment part is included. | SATB a cappella (rehearsal keyboard accompaniment included) | |
| 5459 | 4F629370-6BE7-497F-B267-856DAC4D2456 | X511052 | Rhapsody | Full of multiple meter changes and surprising patterns of accents, this rhapsody for violin and piano creates wonderful and frequent periods of tension which are beautifully resolved each time, taking the listener and performer both on a pleasurable musical journey. | Violin and Piano | |
| 5460 | 4F66C06E-704E-44AB-A2BF-D20186323BA7 | EBM0610108 | Symphony No. 5 | The Symphony No. 5 of Roger Sessions was commissioned in 1960 and completed in 1964.[1][2][3] It was commissioned by Eugene Ormandy and the Philadelphia Orchestra, and the first movement only was premiered by them in February 1964,[3] the rest not being completed until that December. It is in three connected movements, with a pause after the first.[2] It is scored for three flutes, three oboes, four clarinets, three bassoons, four horns, two trumpets, three trombones, one tuba, timpani, percussion, piano, harp and strings.[4] Andrea Olmstead describes all of Sessions's symphonies as "serious" and "funereal", with No. 5 being one of four with, "quiet reflective endings." | 3343 4231 Timp Pc Pno/Cel Hp Str |