Titles

Showing 41-60 of 17,576 items.

#	ID	Titlecode	Title Name	Marketing Copy	Instrumentation

41	0073e9de-9e3a-11f0-a418-0022482c9682	A733002	Maurerische Trauermusik, K. 477/479a (Masonic Funeral Music; critical ed.)	The MAURERISCHE TRAUERMUSIK (MASONIC FUNERAL MUSIC) in C minor, K. 477/K. 479a by Wolfgang Amadeus Mozart (1756 – 1791) was composed in 1785 as a member of the Freemasons. It was performed during a Masonic Funeral service on November 17, 1785 in memory of Duke Georg August of Mecklenburg-Strelitz and Count Franz Esterházy von Galántha, members of the Viennese aristocracy. This piece makes use of 3 basset horns that Mozart specifically wrote for fellow Freemasons, Anton David and Vincent Springer. Instrumentation: 0.2.1+3bssthn.0+CBsn: 2.0.0.0: Str (4.4.3.3.3 in set). This reprint of this critical edition is by H.C. Robbins Landon and Wolfgang Plath, and it is part of the Neue Mozart Ausgabe.	0.2.1+3bssthn.0+CBsn: 2.0.0.0: Str (4.4.3.3.3 in set)
42	00750D64-8A0B-4B5B-BF63-B6D0F2AC2953	SC258	Wind, The		Sab
43	007710EE-7A3F-425E-A4F9-2C403D4E8D90	50100324	Interstate 90	In the late 1960s, Alan Shulman composed 4 works for symphonic winds. INTERSTATE 90 dates from a 1962 sketch depicting a drive heading west on the Massachusetts Turnpike and New York State Thruway. It was completed in August, 1968 and received its first performance in 1969 by the Gloria Concert Band conducted by Don Butterfield.	Concert Band
44	007D207E-FBC6-4659-B777-B8E10DE86C07	A889802	Nutcracker (med)		2d1, 2, 2, 2 - 2, 2, 2, 0, timp, perc, toy drum, toy tpt, hp, cel, str (2.2.1.1.1)
45	007F0D7E-D538-4C34-BD97-41683BB67F01	S765	Prism	PRISM was written originally as a theater composition. The three sections within the piece capture three distinct moods as a prism captures light, with the first motive reappearing in a different form at the end, bringing PRISM full circle. The composition expresses many emotions within any given section, representing what we as individuals experience in everyday life.	Concert Band
46	0084E2DA-02D4-4C6F-9D6B-CC7F3DCFF394	SC670	By the Sea	Texas University Interscholastic League Sightreading for 2A and 1A Non-Varsity Treble (SSA) Choirs and 2B, 3C and 2C Varsity Treble (SSA) Choirs. Version for SA and SSA are available from the publisher.	Ssa
47	0085BA53-9D4E-4D35-BFA1-7ED4772B36EA	X816403	Four Persian Mystic Poems for Soprano or Mezzo Soprano, Guitar, Percussion, Harp, and Piano	Originally written for voice, lute, oud, harp and percussion, this settings of Four Persian Mystic Poems by Reza Vali are for solo voice (mezzo soprano or soprano), guitar, harp, piano, and percussion: vibraphone Persian daf (or tom-toms), crotales, large claves, large suspended cymbal, and tom-toms. The original was commissioned by the Alba Consort Ensemble, and this version was written for the NAT 28 Ensemble in Pittsburgh. Aside from the original, one (titled THE MYSTERY OF THE ROSE) more instrumental-only version for flute, violin and piano is available from the publisher. Poems/Movements: I. The Morning Discourse (Hafez), II. Do Not Sorrow (Hafez), III. The Mystery of the Rose (Sepehri), IV. When I Think of the Creator (Rumi)	Soprano/Mezzo Soprano, Guitar, Percussion, Harp, and Piano
48	00890F62-DFBB-471F-B86C-3911840B0414	M912702	Prince Igor: Polvetsian March		Concert Band
49	008E2462-7DC8-44F5-8B4C-BBF90C282BFE	B496	Foundation Studies	Based on the well-known studies of Carl Baermann (Opus 63), this collection incorporates daily practice studies of scales, chords and intervals.	Sax
50	00902445-A99F-4D7F-8051-CB08365E83E4	X130001	Per Mariolina: 5 Pieces for Clarinet Solo		B-flat Clarinet Solo
51	00947719-EF88-4FFD-A8E9-F8B034FFC75E	R01165	Primavera Doubles	(not set)	Violin, Cello, Piano Reduction from: Violin, Cello Soli: 2+Picc.2.2+Bcl.2. Asax: 4.3.3.1: Perc(4).Pno: Str
52	00949F0E-38DA-4F59-88E3-F21102E7FD31	R00159	Seven Dramatic Episodes		Narrator (may be one of the players) Flute, Cello, Piano
53	0096A6FD-6223-4A00-97D5-4469FC4A7C14	50260026	Lambert Concerto for Violin and String Orchestra	The LAMBERT CONCERTO is an original work by Brian Krinke, perfect for young violin students ready to tackle their first concerto. It was written for one of Krinke’s talented violin students whose father was a composer as well. It has been performed successfully by a number of violin students, and this new string orchestra accompaniment has allowed the composer the opportunity to expand some of the harmonies, as well as for the student to perform the work with their peers.	Solo Violin and String Orchestra
54	0098a353-9e3b-11f0-a418-0022482c9682	M113691	Lied et Scherzo, Op. 54 for Solo Horn and Piano	French composer Florent Schmitt (1870-1958) wrote the first version of Lied et Scherzo, Op. 54 for solo horn and wind nonet in 1910. It was composed to be the horn examination piece for the Conservatoire de Paris that year, and it was premiered by the context winner on July 11, 1910. It is a unique work, full of the mixture of late-German Romanticism and the harmonies of French impressionism that makes Schmitt difficult to classify. As was common for Schmitt's works, he created alternate versions featuring different instruments. Aside from the solo horn and wind nonet version, versions for horn and piano, cello and piano, and piano four-hands are also available.	Horn & Keyboard
55	009C0EED-3778-4E52-846E-456FA08CB7AB	EBM0610200	Grandeur of God, The - for Children's Chorus and Orchestra	The Grandeur of God for Children's Chorus and Orchestra (2001) by Robert Jager, text by Gerard Manly Hopkins. Duration ca. 18'	SATB Chorus, Children's Chorus, 3(Pi)23(BsCl)3(Cbn) 4441 Timp 4Pc Hp Pno/Cel
56	009D613D-9B6C-40A7-A5C0-BE2106E858B9	M807790	Here's That Rainy Day	Chromatic harmonies, much rubato, and a couple of key changes will require rehearsal time but the results will be worth every moment of preparation. This is Mike Lewis at his absolute finest.	String Orchestra
57	00A4E850-94BB-4DE9-8C42-1083A27B883B	R01090	Love Discovered
58	00AB2991-564D-434F-832A-C20B5C62FE66	R00496	Music for Strings		Harp, String Orchestra
59	00AC4F26-8C42-4D62-A872-734357B38904	A219202	Symphony No. 6 in B minor, Op. 74 'Pathetique' (German Edition)	The final symphony by Peter Ilyitch Tchaikovsky, and the final premiere he attended before his death, SYMPHONY NO. 6 "PATHETIQUE" is a bit enigmatic. In the original Russian, the title would translate to "The Passionate Symphony," or perhaps "The Emotional Symphony." When translated to French, it was called "pathetique," which more narrowly suggests that the passion or emotion is solemnity, though this is not necessarily the composer's intention. Tchaikovsky himself asserted when asked by Nikolai Rimsky-Korsakov that the symphony was programmatic, but he refused to divulge the program. And the quiet, fading end of the final movement, so unlike the more rousing finish common to symphonies at the time, plus the brief quotation from the Russian Orthodox requiem at the end of the first movement, piqued interest and speculation about the intent of the music. That Tchaikovsky died (generally ascribed to cholera) so soon after the premiere, with unique features of the music and unnamed program mentioned above, has led to numerous theories over the years regarding any hidden intent or message in this beautiful work. Instrumentation in set: 3(3dPicc).2.2.2: 4.2.3.1: Timp.Perc(2). Str (9-8-7-6-5 in set). (Note: It has become tradition, though it is not mentioned in the score, to emply a bass clarinet doubled by the 2nd clarinetist to replace the solo bassoon for the four notes immediately preceding the Allegro vivo section of the first movement due to the near impossibility for a bassoonist to execute the passage at the indicated dynamic of pppppp.	3(3dPicc).2.2.2: 4.2.3.1: Timp.Perc(2). Str (9-8-7-6-5 in set)
60	00b0d6f7-9e3b-11f0-a418-0022482c9682	M113991	Canto Serioso for Horn and Piano	In 1913, Carl Nielsen (1865-1931) was engaged by the Royal Danish Orchestra, which he also conducted at the time, to write an original work to be used in the audition of a new hornist. The result was Canto Serioso (CNW 67/ FS 132), although that title likely was not given in 1913. This original version was written in F, although Nielsen re-arranged the work in 1916 for cello and piano and moved the key to E major. A short work of only 4 minutes, it is perfect to include on recital of other short songs, or it can serve as an ideal encore piece. Reprint edition. Both the original horn and cello transcription are available from the publisher.	Horn and Piano