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#IDTitlecodeTitle NameMarketing CopyInstrumentation 
  
680163E5F13B-0A83-4A19-B14B-A486094A7C6010100459Circus GalopIn addition to his well known marches, Sousa was also a prominent composer of operettas and musical comedies. This delightful work was originally written as an opening to the first act of an un-produced operetta.Concert Band
680263E758A2-2668-4CE0-BF5F-CA5E2EC0300DSC450Dream SellerSatb
680363E891E8-DB86-4B7F-A725-F7664D4B8CC3SU9PhantasiesAlto Sax
680463E8B2F9-A9CC-414A-BD9E-E61F4DC1DE5ELL110He Leadeth MeSatb
680563E8CD14-FB76-408B-90E2-43883601C8B7ST177SuiteFlute, Harp
680663F7D14D-B98B-4DD0-84A0-5EC35940E740R00497The Plumed SerpentJazz Soloists: Piano, Drums, Soprano Saxophone, Flugelhorn 2(1d Piccolo; 1d Alto Flute).2.2(1d Bass Clarinet).2: 4.3.3.1: Timpani.Percussion(1): Strings    Reduction version:     Jazz Soloists: Piano, Drums, Soprano Saxophone, Flugelhorn (optional)     2
6807640142D3-0196-4D83-BFF9-4F3598C569C0SC230Now, O Now I Needs Must PartSab
6808640831D5-7883-40CA-B484-76184EB8F58CX632717The Mystery of the Rose for Flute, Violin and PianoOriginally written for voice, lute, oud, harp and percussion, this four-movement, instrumental-only version for flute/clave (with optional doubling on Persian ney), violin and piano was written for Iranian flutist Arya Bastaninezhad. Aside from the original, other versions for various instrumentations is available from the publisher.Flute, Violin and Piano
6809640A23CA-6989-450C-AFBA-AB8A85EC55E4A178502Concerto for Flute No. 2 in D, K. 314/285dWolfgang Amadeus Mozart (1756-1791) originally wrote his CONCERTO FOR OBOE in C Major, K. 314/274k, in 1777. One year later, he adapted the work to create his CONCERTO FOR FLUTE No. 2 in D, K. 314/285d for a commission from Dutch amateur flautist Ferdinand Dejean, although Dejean did not pay as the commission called for an original work. To Mozart's credit, however, this flute concerto is not merely a transposition from C to D but rather an honest reworking. To the benefit of the flute repertoire, the work remains a widely studied piece and a showpiece for today's most virtuosic soloists. Instrumentation: 0.2.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Solo Flute.0.2.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Solo Flute
6810640D3B1A-49B3-49D9-B294-025E23398CB3ST848Adagio and TarantellaCavallini, a viruoso clarinetist for whom composers such as Verdi expressly wrote in many of their operas, wrote this most famous work for clarinet and piano using orginal themes instead of borrowing from other composers, as was customary. The Adagio treats the listener to dashing, free-style clarinet virtuosity (which lies neatly under the fingers!), then melts the heart with a gorgeous "cantablie" melody. The Tarantella, an Italian dance used at weddings, starts slowly, then gradually gets faster and faster.Clarinet and Piano
681164188D4A-D965-4FC3-B484-A94A9C867B3C52735001Adagietto from Symphony No. 5Mahler's masterpiece from Symphony No. 5, this arrangement is quite true to the original. Will require at least three advanced players, with skills in tenor and treble clef. Being able to subdivide is a MUST, and counting is crucial!Cello Sextet
6812641AFE9B-3F87-4A70-A42F-553345A0E74DA278002German Requiem, A, Op. 45 (Ein Deutsches Requiem), No. 4: Wie lieblich sind deine Wohungen (How Lovely Thy Dwelling) (Ps. LXXXIV: 2-3, 5) (German)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. The central fourth movement, WIE LIEBLICH SIND DEINE WOHUNGEN (HOW LOVELY THY DWELLING), serves as the spiritual keystone in its seven-part structure and often appears independently in choral concerts. Instrumentation: 2+Picc.2.2.2+CBsn(opt): 4.2.3.1: Timp: Hp(opt).Org(opt): Str (4-4-3-3-3 in set): Soli S.Bar: Mix Chor. German libretto.2.2.2.2: 2.0.0.0: Org (opt): Str (4.4.3.3.3 in set): Mx Chor
68136421275A-849D-423C-BC3F-45D1A8206EDESS339Concert RondoHorn
6814642309B0-61B6-44B3-917C-7B1DD9C0F513A929990Violin Concerto No. 1, Op. 19Sergei Prokofiev (1891-1953) began his Violin Concerto No. 1 in D major, Op. 19, as a concertino in 1915 but soon abandoned it to work on his opera The Gambler. He returned to the concerto in the summer of 1917. It premiered on October 18, 1923 at the Paris Opera with Marcel Darrieux playing the violin part and the Paris Opera Orchestra conducted by Serge Koussevitzky. Igor Stravinsky made his debut as conductor at the same concert, conducting the first performance of his own Octet for Wind Instruments. Despite the events leading to the abdication of Tsar Nicholas II of Russia and eventually the October Revolution, 1917 became Prokofiev's most productive year compositionally. Along with this concerto he completed the "Classical" Symphony, the Third and Fourth Piano Sonatas, and the Visions Fugitives for piano. He also began the cantata Seven, They Are Seven, based on Chaldean texts, and worked on the Third Piano Concerto. Nevertheless, Prokofiev continued his habit of incorporating previously composed sections in the violin concerto (something he would also do in the Third Piano Concerto). He composed the concerto's opening melody in 1915, during his love affair with Nina Mescherskaya. The remaining movements were partly inspired by a 1916 Saint Petersburg performance of Karol Szymanowski's Myths by Polish violinist Paul Kochanski. Movements: 1. Andantino, 2. Scherzo: Vivacissimo, 3. Moderato - Allegro moderato Violin Solo: 2(2dPicc).2.2.2: 4.2.0.1. Timp.Perc(2).Hp: Str (9-8-7-6-5 in set).Violin Solo: 2(2dPicc).2.2.2: 4.2.0.1. Timp.Perc(2).Hp: Str (9-8-7-6-5 in set)
68156427A7D1-17B8-4A87-90F7-1C9660CE80CBS928Silver Star(not set)(not set)
6816642B5B7F-D3A9-4D8D-A9BD-9B455CFB41CB18401016Counterpoint No. 1(not set)Mixed Woodwind Duet
6817642C6283-951A-4D8F-869B-A66EB90362E6B398102Lift Every Voice and Sing for Chorus and Band(not set)Concert Band
6818642CB87A-C47E-42D8-9D71-2C2EEC997ACC20100704Palm Harbor MarchA solid march for mid-level bands, perfect as a opening number for concerts or festivals. Tuneful with "foot-tapping" rhythms and expert scoring that will enhance any performance.Band
6819642FA38F-EAA4-4739-91D7-B0F46C2F1066M241791Libro de Tientos: Vol. 8Francisco Correa de Arauxo (1584–1654) was a key figure in helping transition Baroque techniques into Spanish composition. Regarded as the finest Spanish organist of his generation, his works were regrettably long neglected, despite constituting a peak of organ literature in Spain and an exceptional bridge between the Renaissance and the Baroque, although interest continues to grow. His compositions, 69 works all for organ and progressively more difficult to suggest a pedagogical purpose, were published in 1626 in a single volume under the title Libro de tientos y discursos de música practica, y theorica de organo, intitulado Facultad organica. This edition, transcribed and edited by Santiago Kastner, has been released in eight volumes.Organ
6820643B83D1-2D83-4528-9CAC-0D87B6F42D8ES440CBSilver SleighThis spirited holiday piece is the ideal choice for an up-tempo selection similar in feeling to Leroy Anderson's classic "Sleigh Ride".Concert Band