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#IDTitlecodeTitle NameMarketing CopyInstrumentation 
  
556150FD9CC2-7BE9-42E4-A713-05B93FB84760SS52Enemy Said, TheTrombone
556250FFE259-4D84-4B23-9060-4E4F7AEDA486EBM0690006Vega for Synthesizer and RecordingSynthesizer, Pre-recorded sound
5563510035F5-8A4A-43F9-9331-5688419E1F91A402202Dream of Gerontius, The, Op. 38In 1898, Edward Elgar (1857-1934) was commissioned to compose a major work for the Birmingham Triennial Music Festival. For his subject, he chose John Henry Newman’s 1865 poem THE DREAM OF GERONTIUS, which follows the soul of a man on its pilgrimage after death, attended by his guardian angel through the stages of judgment and grace. It is constructed in two parts: Gerontius on his deathbed, and his journey into the afterlife. Although it is an unstaged religious piece for vocal soloists, choir, and orchestra, Elgar spurned the term “oratorio” when describing the work. It premiered on October 3, 1900 at Birmingham Town Hall under the direction of Hans Richter. Despite a poor performance, it has since become regarded by many as his magnum opus. Instrumentation: 2+Picc.2+EH.2+BCl.2+CBsn: 4.3.2+BTbn.1: Timp: Perc(5-6): 2Hp(2nd opt).Org: Str (4.4.3.3.3 in set): Mx Chor. Soli MzTB.2+Picc.2+EH.2+BCl.2+CBsn: 4.3.2+BTbn.1: Timp: Perc(5-6): 2Hp(2nd opt).Org: Str (4.4.3.3.3 in set): Mx Chor. Soli MzTB
55645114FFC5-B105-45CB-8BB1-71ECC4EE5F73R152.8Sketches of a Sunday: 8. Fear (Miedo)Fear (Miedo) is excerpted from Jacob Datshkovsky's 14 movement suite entitled Sketches of a Sunday (Bosquejos de un Domingo).2+1.2+1.2+Bcl.2+1: 4.3.3.1: Timp.Perc(2).Hp: Str
5565511BE14B-DFD3-46E6-8E7C-5E956EBED890A546102Swan Lake, Op. 20: Act III, No. 19a: Pas de Deux (White Swan)One of the most popular ballets, Pyotr Ilich Tchaikovsky (1840-1893) composed SWAN LAKE in 1875-76. Tchaikovsky borrowed from the Russian and German folk tales to tell the of story a princess, Odette who was turned into a swan by an evil sorcerer’s curse. SWAN LAKE premiered on March 4, 1877, at the Bolshoi Theatre in Moscow. The prima ballerina (Odette/Odile) for the 1877 performance, Anna Sobeshchanskaya, was dissatisfied with the ballet as a whole, and she had requested that a pas de deux be composed and choreographed to replace the pas de six in the third act. After a false start with a pas de deux by composer Ludwig Minkus, an angry Tchaikovsky agreed to compose a pas de deux himself that would permit the ballerina to retain the choreography she enjoyed and learned from the Minkus, believing that only he should be responsible for the music, whether good or bad. This pas de deux was thought to be lost until a copy of the accompanists score was found in the archives of the Moscow Bolshoi Theatre in 1953, and George Balanchine choreographed the rediscovered and reconstructed pas de deux for a 1960 performance in New York City. Instrumentation: 2+Picc.2.2.2: 4.4.3.1: Timp.Perc(2-3): Hp: Str (4-4-3-3-3 in set). Reprint edition.2+Picc.2.2.2: 4.4.3.1: Timp.Perc(2-3): Hp: Str (4-4-3-3-3 in set)
5566511D5D94-482E-416B-BF13-A43A5B858C0AV80Herr SchmittPiano/vocal
55675120F7B5-F490-478A-B905-577222DA4596M805190Eight German DancesFranz Schubert composed songs, dances, symphonies, anything, in fact, that would enable him to earn a living. His piano music is not widely known by most wind and string performers but the music has much to offer. Here are eight from a collection of dance music in the German style.String Orchestra
556851268AA6-1982-47A5-AE5B-69CD5DB7BAD5SS925Prologue and JubiloWritten for timpani, bells, suspended cymbal, and tom-toms, Jared Spears' "Prologue and Jubilo" will keep both performer and audience on their toes! This piece requires the performer to make rapid shifts between instruments, and even incorporates a section with both timpani and bells being played simultaneously. An exciting piece that shows off the performer's flexibility and capabilities on several instruments.Multiple Percussion Solo
55695137E52C-2232-46B5-B001-5E838731424FS572CBThe TexansCommissioned by the Lakeview Centennial High School Band in Garland, Texas, George Jones, Conductor, to celebrate the 150th Anniversary of the Great State of Texas (1836 - 1986). With a shouted "Yee Hah!" by the band at the end, this piece for intermediate band celebrates the state well.Concert Band
557051391FC8-FFA6-47BD-9424-D228DDD76EAAM326991Six Pieces, Op. 12Max Bruch (1838-1920) was a German composer and contemporary of Johannes Brahms, with a style very much in the same Romantic classicism camp as that of his better known friend. Best known for his violin concerti and choral works, his chamber works are also revived occasionally. This reprint collection of short Romantic works for piano include the following: I. Andante sostenuto, II. Andante con moto, III. Impromptu. Allegretto, IV. Moderato, V. Walzer. Grazioso, and VI. Andante con larghezza.Solo Piano
5571513b1149-9e3c-11f0-a418-0022482c9682W105391Suite de Trois Morceaux, Op. 116 (Suite of Three Pieces)French composer Benjamin Godard (1849-1895) wrote a great deal of music during his lifetime, with his chamber work SUITE DE TROIS MORCEZAUX (SUITE OF THREE PIECES), Op. 116 remaining his most popular and enduring. The salon piece was written in 1889 for French flutist Paul Taffanel, and it exhibits an elegant tunefulness while also offering virtuosic flutists the opportunity to shine. Reprint edition.Flute and Piano
5572513E1F89-CF01-4A7C-93E7-6AE359CD9686A224302Rheingold, Das: Scene IV: Einzug der Gotter in Walhall (Entry of the Gods into Valhalla; Zumpe arrangement)DAS RHEINGOLD, WWV 86A, is the first of the four music dramas that constitute Richard Wagner's (1813-1883) DER RING DES NIBELUNGEN. It was performed, as a single opera, at the National Theatre Munich on September 22, 1869, and received its first performance as part of the Ring cycle at the Bayreuth Festspielhaus, on August 13, 1876. This excerpt, intended for concert performance with orchestra, is from the end of Scene 4 where the gods march in empty triumph to their doom as they enter Valhalla. Reprint edition of the arrangement by Herman Zumpe. Instrumentation: 2.2.2.2: 4.3.3.1: Timp.Perc(1): Hp: Str (9-8-7-6-5 in set).2.2.2.2: 4.3.3.1: Timp.Perc(1): Hp: Str (9-8-7-6-5 in set)
5573514D3013-9218-46AD-AB42-6FBA853EF5ECSU32Rose and the Nightingale, TheThis lyrical cantabile solo is a delightful intermediate contest or recital work. Published versions available for flute, alto flute, oboe, English horn, clarinet, alto clarinet, alto saxophone, tenor saxophone, violin, viola and cello. This is part of the Andrew Gurwitz Memorial Series of Music for Strings.Viola and Piano
5574515268FB-C316-410D-B111-C31D235CAA50SU75Sounds from the HudsonSounds from Hudson is a "valse brillante" (brilliant waltz) by legendary 20th century cornet virtuoso Herbert Clark.Trumpet and Piano
55755152D5BC-6474-4779-94E1-A5F2F1CA8A24B569Dufrasne RoutineLouis Victor Dufrasne (1878-1941) was a highly praised performer in the first part of the Twentieth century, holding major first horn positions in opera and symphony orchestras in Europe and the United States. He was known for his beauty of tone, artistry and impeccable technique. His biggest legacy is the handful of students he tutored, notably Philip Farkas (who cited Drufrsne's teachings as the biggest single influence in his life), Helen Kotas, Frank Brouk, and Clyde Miller, to name a few, each who in their turn went to teach their own students. One can argue that, today, there is a little bit of Dufrasne in most horn players in the United States, and a multitude of others around the world. So here, published for the first time, are the exercises that Dufrasne went through before every concert, which gave him according to Frank Brouk, "endurance like nobody else." This edition by Thomas Bacon guides players through the routine to achieve the best results.Horn
557651547D3F-4B74-42C0-9EE2-47E06B70DCD7A553702Per Questa Bella Mano K. 612: Concert Aria for Bass Voice and Solo Contrabass with OrchestraIn March of 1791, Wolfgang Amadeus Mozart (1756-1791) composed the concert aria PER QUESTA BELLA MANO, K. 612, shortly before beginning work on THE MAGIC FLUTE. It is known for its double bass part, notorious for the fact that basses were tuned differently than in modern-day practice. Scholarship has suggested the libretto, sung by a bass, was adapted from the 1784 comic opera Le vicende d’amore, written by Giambattista Neri. The vocal and double bass solos were originally performed by Franz Xaver Gerl and Friederich Pischelberger. Instrumentation: 1.2.0.2: 2.0.0.0: Str (4.4.3.3.3 in set): Solo CB in set: Solo B.1.2.0.2: 2.0.0.0: Str (4.4.3.3.3 in set): Solo CB in set: Solo B
5577516539B8-35AA-47D9-86A2-DD93656DD9BA52713321Ensembles for One World: Traditional Folk Songs Vol. 1 - Latin America (violin quartet)This collection of folk songs from Latin America (Mexico, Costa Rica and Guatemala) are meant to expand young player’s knowledge of music from other cultures or give them pride in the music of their own heritage. The music is mostly in 1st position with only Violin 1 wandering briefly into 3rd position. Players will use pizzicato and a variety of bowing styles.

Program Notes:
Cielito Lindo (Lovely Sweet One) was popularized in 1882 by Mexican author Quirino Mendoza y Cortés. It is one of the most widely recognized tunes throughout the Spanish-speaking world as a symbol of Mexico.
Naci en la Cumbre (I was Born on the Mountain) is a traditional Guatemalan folk song.
Vuela, suspiro (Fly, My Sighs) is a traditional Costa Rican folk song.
Ay! Tituy is a traditional folk song from Costa Rica.
La Cucaracha (The Cockroach) is a traditional Spanish song, also trendy in Latin America. It is about a cockroach who can’t walk. The song came to symbolize the Mexican Revolution (1910-20) and Pancho Villa.		Violin Quartet
557851663748-9e3c-11f0-a418-0022482c9682W108491Motet No. 1: Singet dem Herrn ein neues Lied, BWV 225Johann Sebastian Bach (1685-1750) composed his MOTET No. 1: SINGET DEM HERRN EIN NEUES LIED (Sing unto the Lord a new song), BWV 225 around 1727, and it was likely performed also in that year. In three movements, it sets the text of Psalm 149:1-3, the third stanza of "Nun lob, mein Seel, den Herren," and Psalm 150:2 & 6 to music using a double choir and a small orchestra. Instrumentation: 0.2.0.1: 0.0.0.0: Str (2-2-2-1-1 in set): Mixed Chorus. Reprint of the urtext edition by Gottfried Wolters and Konrad Ameln. Vocal score.Mixed Chorus and Keyboard
55795170502C-21F4-4C24-889F-15B0F45A6D92EBM0620066Concerto for Clarinet and BandThe original work was commissioned by the New York Philharmonic for clarinetist Stanley Drucker. The version for band was commissioned by Dr. J. Blake Arrington. The band version was premiered by J. Blake Arrington, clarinet, with Troy University Wind Ensemble under Mark Walker on March 20, 2015. Both the orchestra and band versions are available for rent. Movements: I. Allegro, II. Cantabile, III. Scherzo - Finale.Concert Band: Solo Cl.: Picc.(dblFl).2Fl.2Ob.EH.EbCl.4Cl(8 players).BCl.CACl.CBCl.SSax.ASax.TSax.BSax: 2Crnt.3Tpt.4Hn.3Tbn.BTbn.2Euph.Tu: Timp.3Perc.(4players): Hp.Pno(dblCel.).Cb(2 players)
558051787425-D9CA-4CD0-AA50-7ABE440627BAO15JBBlues for Dr. Cranberry(not set)Jazz Band