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#IDTitlecodeTitle NameMarketing CopyInstrumentation 
  
6981668B2E27-9B5F-4AA8-BE9C-869622BC44F250760010Two Spanish Dances, Op. 164(not set)Piano
6982668D1493-EFDA-4B68-9982-2E464D762C99X814028Softly, Blow LightlyFormerly titled "Nocturne". Recorded by Patricia Green (mezzo-soprano), George Walker (piano), Albany Records CD Troy 697.Medium Voice, Piano
69836695285A-D93A-43E5-AC65-2CB8B0B16A4D52250448Introduction and ScherzandoThis bright D major original opens as a smooth legato in common time, and transitions to a lilting moderate passage conducted on one. Tutti pizzicato and simple harmonic movement encourage your players to craft this charming classical style. Delightful!String Orchestra
69846696DDE5-9887-4471-B570-A94BB7E28CC4ST219Piece in g MinorThis transcription by Albert Andraud may be performed on oboe and flute.Oboe and Piano (or flute)
6985669B1CBB-9B91-4D41-88B4-587A7ADB605250250119Old Joe ClarkAn authentic old time fiddling version of a traditional American folk tune in D major. Everyone gets the melody and can play with drones and they even get to sing! Melody sheets are included with the parts so students may learn all versions of the melody in unison.String Orchestra
6986669D6BF2-6E67-4465-BA29-FF0C322AD846ST103Andante and PrestoThis andante and presto offers two contrasting movements for the intermediate oboist to perform at either contest or recital.Trumpet and Piano
698766AEBE31-443F-4EB3-BDDD-3CC1B67260A318100039Born To Die(not set)Concert Band
698866B72442-8D0B-49B0-A997-BBFBF53B8852MP531001Variations for Cello and TapeMurdock Donald MacInnis (April 4, 1923 – April 20, 2003) was an American composer and associate professor of music at the University of Virginia. MacInnis attended Princeton University, completing his music degree as an undergraduate in 1948 and a masters in 1950. His studies were interrupted by World War II, during which he served with the 13th Armored Division of the United States Army, seeing combat in Germany. While at Princeton, he was musically active, directing the band and managing the Princeton Glee Club. He studied composition and theory with Milton Babbitt, Edward Cone, Joseph Kerman, Bohuslav Martinu, Roger Sessions and Randall Thompson, and conducting with Leonard Bernstein at Tanglewood. MacInnis was elected as an instructor in the faculty of music of the University of Virginia in 1950. He was granted a leave of absence in 1968 to serve as composer in residence with Robert Shaw and the Atlanta Symphony Orchestra. As an instructor, he conducted the University of Virginia Band; later, he was tapped as acting department head in 1955. As a composer, MacInnis employed early electronic music techniques, including computer-synthesized music and tape loops (winning an award from Bowdoin College for his "Variations for Cello and Two-Channel Tape" in 1973).Cello, Prerecorded Music
698966B91130-BFF4-426F-B52D-1B2317BE193550603001Midnight Ride!An intricate work inspired by the famous ride of Paul Revere, this composition teaches a myriad of skills and techniques important to percussion students and is also ideal for contest or festival performance.Multi-Percussion Quartet: Perc 1 (Sus. Cym, Tri, Tamb); Perc 2 (Snr Drm, Wd Blk); Perc 3 (2 TomToms); Perc 4 (Bs Drm)
699066BAEB1A-4376-4EE8-ABB2-B9ABCD59348CA394602Poeme for Violin and Orchestra, Op. 25Ernest Chausson’s (1855-1899) Poème for Violin and Orchestra was written for the Belgian violinist Eugène Ysaÿe in 1895?1896. The Poème was inspired by a short story by Russian writer Ivan Turgenev, Le chant de l’amour triomphant, a fantasy set in Ferrara in the sixteenth century, in which a melody played on a violin produces a magic spell. The Poème was the second collaboration between the composer and Ysaÿe (the first was the Concert for solo violin, string quartet and piano in 1892). Chausson was grateful for Ysaÿe’s participation — certain passages were influenced and/or revised by Ysaÿe, notably the long cadenza at the beginning and the passages of doublestopping. Debussy was quite fond of the Poème, and wrote of it in 1913: “The freedom of its form never goes against its harmonious proportion. The sense of dreamy gentleness is at its most touching at the end when, leaving aside all trace of description and anecdote, the music becomes that very feeling which inspires its emotion. Such moments in the work of an artist are very rare.” Instrumentation: 2.2.2.2: 4.2.3.1: Timp: Hp: Str (9-8-7-6-5 in set): Solo Violin.2.2.2.2: 4.2.3.1: Timp: Hp: Str (9-8-7-6-5 in set): Solo Violin
699166C8E64E-DF8A-4BDC-9A7A-00FE55B03C39A119102Serenade No. 1 in D, Op. 11One of two orchestral serenades composed by Johannes Brahms (1833-1897) that served as early efforts to write orchestral music, this SERENADE No. 1 in D is the composer's first published orchestral work. Originally written for wind and string nonet, then later for chamber orchestra (both are now lost), Brahms completed his version for full orchestra in 1858 while wintering in Detmold, Germany, teaching part-time in the court of Prince Paul Friedrich Emil Leopold. While reminiscent in some ways of earlier small-orchestra works by Mozart, Haydn, Beethoven, and Schubert, Brahms' own voice and Romantic sensibilities are discernable. In six movements, the work is notable for offering particularly prominent horn parts. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set).2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set)
699266CB5182-4AFD-4795-ACAB-819CF56316B0A940790Three Pieces from the Lyric Suite (3 Stücke aus der Lyrischen suite)The six-movement LYRIC SUITE (IAB 6) for string quartet is among the first of Alban Berg's (1885-1935) works to utilize the 12-tone system developed by his mentor Arnold Schoenberg. Written between 1925 and 1926, the work is dedicated to conductor and composer Alexander Zemlinsky, who composed a work titled LYRIC SYMPHONY, which Berg quotes. And the work gained great popularity for two generations with only that program to reference until a chance discovery in 1977 revealed a much deeper intention. During Berg's trip to see Zemlinsky in 1925, he stayed at the home of a Herbert Fuchs-Robettin and his wife Hanna. Berg developed an intense infatuation and love affair with Hanna, and his LYRIC SUITE is a documentation of that relationship, evident in the mood of each movement, his spelling of both of their initials together in the music, and the inclusion of Wagner's Tristan chord in the final movement as a clear reference to an illicit love. In 1928 Berg arranged the “romantic” movements, Nos. 2-4 for string orchestra under the title 3 STÜCKE AUS DER LYRISCHEN SUITE (THREE PIECES FROM THE LYRIC SUITE). Instrumentation: String Orchestra (8-8-5-5-5 in set). Reprint edition.String Orchestra (8-8-5-5-5 in set)
699366D5E1EC-9A46-40E7-A5F2-E0C581D553F1SO158CLargo and Allegro AssaiThese two movements from a trio sonata exemplify the best of the English baroque, with their delightful quirky chromatic twists. Violin 1 is independent, while Violin 2 and Viola support each other as do the Cello and Bass parts. Violin 1, Cello and Bass sections will shift, although nothing too taxing. The Largo will help develop a full, resonant sound from your orchestra, while the fugal Allegro will develop independence of parts and a light Baroque brushed bow stroke.String Orchestra
699466D7358E-244D-466F-A3E4-3AE432A4158F10803553CrystalsSATB
699566D74E91-A325-41FF-8722-7925B7A8C7E4RCB426Melodious and Progressive Studies Bk3Flute, Piano
699666E0E473-05D3-40FB-BAC1-81E78FB00C2F50100346AEF MarchWritten for the American Expeditionary Forces in World War I and dedicated to General John J. Pershing gives this march a special place in the history of the concert band. It is a patriotic salute of timeless honor and gratitude.Concert Band
699766E12815-3D65-426A-897C-BD3C613A39AARCB21124 CapricesFlute
699866E73ADD-FB5A-4BBA-A9F4-377325CF2077ST682Tchaikovsky Suite No. 2This suite for Bb trumpet and piano was arranged by Sergey Balasanian. Movement titles: I. Sweet Reverie
II. Old French Air
III. Mazurka		Trumpet and piano
699966E797E7-3B76-4CE3-9033-307D8253B4A7BSMIS119Affirmation(not set)Organ Solo
700066E838B3-3A51-4546-A81C-A0C6CFB52934W18Three Intermezzi for PianoPiano Solo