Titles
Showing 5,601-5,620 of 17,576 items.
| # | ID | Titlecode | Title Name | Marketing Copy | Instrumentation | |
|---|---|---|---|---|---|---|
| 5601 | 51BFDC8A-5D9A-47AE-B1D0-51AF7F81E33A | A697802 | Pastorale Varie in Olden Style, Op. 30 | Gabriel Pierné (1863-1937) wrote Pastorale Varie in Olden Style, Op. 30 (Pastorale variée dans le style ancien) for piano originally in 1893. It is a collection of seven short movements in older dance styles. I. Andantino; II. Tema in canone; III. 1er Double. Scherzosamente; IV. 2me Double. Tourbillon; V. 3me Double. Tempo di Menuetto; VI. 4me Double. Alla siciliana; VII. 5me Double. Allegro maestoso. In 1898, an arrangement for wind septet was published. Although the arranger is uncertain, it is thought to be Pierné. Instrumentation: 1.1.1.2: 1.1.0.0. | 1.1.1.2: 1.1.0.0 | |
| 5602 | 51C26B5D-A776-4179-9D2F-EB4A5E185FB6 | S511009 | Icarus | |||
| 5603 | 51C57B6F-0816-4153-AE58-A574ACF09790 | 52733072 | Dances with Cellos v. 2 | (not set) | Cello Quartet | |
| 5604 | 51CACF79-030C-4DF1-8FC6-4B381C704164 | X513002 | Angel Fanfire | For Ida Kavafian in celebration of 20 years of Music at Angel Fire. | 3 Violins | |
| 5605 | 51CB1513-73F6-4CE2-9D7B-DC68F29A7D9A | A931590 | Symphony No. 7, Op. 105 | Symphony No. 7 in C Major, Op. 105, was Jean Sibelius' (1865-1957) final published symphony. Completed in 1924, the work is notable for being comprised of a single movement, in contrast to the standard symphonic formula of four movements. It has been described as "completely original in form, subtle in its handling of tempi, individual in its treatment of key and wholly organic in growth" and "Sibelius's most remarkable compositional achievement." Premiered on March 24th, 1924 in Stockholm by the Konsertföreningen, Sibelius conducting. This edition was originally revised by Julia Burt in 1946, with further edits and fixes to the errata by Clinton Nieweg and Nancy Bradburd. Instrumentation: 2.2.2.2: 4.3.3.0: Timp: Str (9-8-7-6-5 in set). | 2.2.2.2: 4.3.3.0: Timp: Str (9-8-7-6-5 in set) | |
| 5606 | 51CE4AF1-4496-4ADD-8E41-08778BEB7C67 | R218FO | Texas, Our Texas for Symphony Orchestra | This full symphonic orchestration of "Texas, Our Texas" was created by David Mairs for advanced and professional orchestra performances. | 2+Picc.2.2.2: 4.3.3.1: Timp.Perc(2): Str | |
| 5607 | 51D195D4-6789-4BD7-A63C-DBBA352397D0 | R01303 | June 29, 1999 for Narrator and Chamber Ensemble | Based on the book by David Wiesner. | Narrator Flute (d Piccolo), Oboe, B-flat Clarinet (d Bass Clarinet), Bassoon (d ContraBassoon), Horn, Trumpet, Trombone, Percussion (1), Harp, Drum Set, 2 Violins, Viola, Cello, Double Bass | |
| 5608 | 51D3D725-CDE7-4C15-8926-4B2FF4C3EA6F | M915002 | Song for Lyndsay | Provide a marvelous repose on your next concert program with this lyrical ballad. Written with the beauty only a mature writer can bring to the table, Song for Lyndsay is in essence a simple love song. Solos for French horn, flute and an integral piano part contribute to the timeless beauty and lyricism of this moving piece. While extremely accessible to bands at medium levels, it retains the sophistication of a much more difficult work. | Concert Band | |
| 5609 | 51D4EEA1-E77E-4AB3-9FD8-FE811BFB3ABD | A597302 | Sinfonia for Strings [String Quartet No. 2] | Alexander Borodin's (1834-1887) STRING QUARTET No. 2 was composed during the summer of 1881, possibly at the country home of his composer friend, Nikolay Lodizhensky, and was dedicated to Borodin's wife, Katharina. The third movement is the popular "Nocturne". The integrity of the phrasing and articulation of the urtext edition has been respected in this string orchestra version, arranged by Lucas Drew. | String Orchestra (8.8.5.5.5) | |
| 5610 | 51D57EDE-75CB-4DDF-9D43-3A5CBAA56E89 | 20250020 | Fiddle-Skippin' | This one captures all the exuberance of an American square dance! Set out simply in phrases of 4 bars, this will be easy to learn and fun to perform. | String Orchestra | |
| 5611 | 51DD4A29-603F-448F-83E9-2AE2FE7CC6F5 | ST223 | Fantaisie: On Themes from Der Freischutz by C.M. von Weber | This solo for flute and piano is an arrangement of the Paul Taffanel's original Fantaisie on "Der Freischutz" by Carl Maria von Weber. | Flute, Piano | |
| 5612 | 51DF418F-E8AF-48E9-9222-82029F96A186 | SC759 | Seasons | Texas UIL Sightreading for 1B and 1C Varsity Treble (SA) Choirs and 3B, 2B, 1B, 3C, 2C, and 1C Non-Varsity Treble (SA) Choirs. It was adapted from "Tempus Fugit" by Christina Rossetti (1830-1894). Versions for SA and SSA voicings are available from the publisher. | SA | |
| 5613 | 51E25332-7694-4B48-8A75-A71F444D5EFA | SU20 | Whirlwind | (not set) | Flute and Piano | |
| 5614 | 51E89D76-78FD-42C2-B74A-E83C0B90FEB6 | A012190 | Marche Militaire Francaise, Op. 60 for Orchestra | French Marches Transcriptions Youth/Community Orchestra, Concertmasters | 2+1, 2, 2, 2 - 4, 3, 3, 1, timp, perc, str | |
| 5615 | 51F3AB62-A74D-466F-ABFF-957A773906F4 | EBM0610677 | Concerto Grosso for Sax Quartet and Orchestra | Premiered by the PRISM Quartet with the Detroit Symphony Orchestra under Jahja Ling on October 20, 1999. Movements: I. Lively, II. Song Without Words, III. Valse, IV. Badinerie. Versions with band and orchestra accompaniment are available for rent. | Saxophone Quartet, 2(Pi).2.2.2: 4.2.2.1: Timp.3Pc: Str | |
| 5616 | 51f64273-9e3c-11f0-a418-0022482c9682 | W118691 | German Requiem, A, Op. 45 (Ein Deutsches Requiem) | Written between 1865-1868, EIN DEUTSCHES REQUIEM (A GERMAN REQUIEM), Op. 45 was Johannes Brahms (1833-1897) longest work. The seven movement mass sets Martin Luther's translation of Biblical text to music, with the libretto having been completed by the composer. The work premiered on February 18, 1869, at the Gewandhaus in Leipzig, Carl Reinecke conducting the Gewandhaus chorus and orchestra, with the solos sung by Emilie Bellingrath-Wagner (soprano) and Dr. Kückl (baritone). The work remains a regular part of the repertoire. Movements: 1. Selig sind, die da Leid tragen. (Matthew 5:4, Psalm CXXVI, verses 5–6); 2. Denn alles Fleisch es ist wie Gras. (1 Peter 1:24; James 5:7; 1 Peter 1:25; Isaiah 35:10); 3. Herr, lehre doch mich. (Psalm XXXIX, verses 5–8 [English verses 4–7]; Wisdom of Solomon 3:1); 4. Wie lieblich sind deine Wohnungen. (Psalm LXXXIV, verses 2,3,5 [English verses 1,2,4]); 5. Ihr habt nun Traurigkeit. (John 16:22; Ecclesiasticus 51:35 [English verse 27]; Isaiah 66:13); 6. Denn wir haben hie keine bleibende Statt. (Hebrews 13:14; 1 Corinthians 15:51–52,54–55; Revelation 4:11); 7. Selig sind die Toten. (Revelation 14:13). | Soli S.Bar: Mix Chor: Pno | |
| 5617 | 5204D742-651A-47AF-B24D-A567D142B8D8 | 50135006 | The Avenger March (flex band) | One of King's earliest works, THE AVENGER MARCH was likely written when he was only 16 or 17 years old. It has now been arranged for smaller bands or bands with incomplete instrumentation. This flexible edition will sound great with as few as six wind players. | Versa-band (flexible instrumentation) | |
| 5618 | 52084f77-9e3c-11f0-a418-0022482c9682 | W118991 | Five Mystical Songs | Ralph Vaughan Williams (1872-1958) set four poems from George Herbert's (1593-1633) collection The Temple: Sacred Poems in 1911 to music for solo baritone in a work titled Five Mystical Songs. The solo vocalist has several accompaniment choices: piano; piano and string quintet; wind ensemble; and orchestra with optional SATB chorus. It is the last option that Vaughan Williams selected for the work's premiere which took place on September 14, 1911, at the Three Choirs Festival in Worcester, with the composer conducting. The five movements are: 1. Easter (from Herbert's Easter); 2. I Got Me Flowers (from Herbert's Easter); 3. Love Bade Me Welcome (from Herbert's Love [III]); 4. The Call (from Herbert's The Call); and 5. Antiphon (from Herbert's Antiphon [I]). The final movement can be performed by chorus alone or by the soloist alone, with two version in the score and parts to accommodate the preferred approach. | Baritone Solo, optional Chorus, and Piano | |
| 5619 | 5209FA71-7199-40A0-ABE9-69BB2642D435 | A798102 | Symphony in E minor, Op. 32 'Gaelic' | GAELIC SYMPHONY or SYMPHONY IN E MINOR, Op. 32 was written by Amy Beach (1867-1944) in 1894, and it holds the distinction of being the first symphony composed by a female American composer. Premiering on October 30, 1896, by the Boston Symphony Orchestra under the direction of Emil Paur, the work received "public and journalistic acclaim." Although heavily influenced by contemporary Antonín Dvo?ák, who was very willing to incorporate Native American and African American themes into his music, Beach instead turned to Celtic music (specifically "Dark is the Night") for her symphony, resulting in the "Gaelic" title. Instrumentation: 2+Picc.2+EH.2.2: 4.2.3.1: Timp.Perc: Str (9-8-7-6-5 in set). Study score. | 2+Picc.2+EH.2.2: 4.2.3.1: Timp.Perc: Str (9-8-7-6-5 in set) | |
| 5620 | 520C32BD-8029-4378-8830-B0F3162C16B3 | A257902 | Song of the Fates, Op.89 (Gesang der Parzen) | (not set) | 2d1, 2, 2, 2+1 - 4, 2, 3, 1, timp, str, mx chor |