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8081768F1475-381C-45E0-95A9-2FDF6F6EC7D5A158802Zampa: OvertureThe three-act opéra comique Zampa, ou La fiancée de marbre (Zampa, or the Marble Bride) was written in 1831, and is one of Ferdinand Hérold's (1791-1833) most popular works during the 19th century. It premiered on May 3, 1831, at the Opéra-Comique, and over 500 performances were to follow between then and 1877, though its popularity faded going into the 20th century. The plot is another take on the Don Juan story, with Zampa as the treacherous lover turned pirate, while the statue is now a woman named Alice who died of a broken heart after Zampa seduced and deserted her. Zampa forcibly marries the young beauty Camille in exchange for her father's life only to be dragged to Hell by Alice's statue on their wedding night. The overture to this opera is among the best known of Hérold's works and has remained a staple of the Orchestra repertoire. Study score.1+Picc.2.2.2: 4.2.3.1: Timp.Perc(2-3): Str (9-8-7-6-5 in set)
8082769006DC-3AD9-4BD5-8441-AC1420C30194A849002Lohengrin, WWV 75: Act III: Prelude/Introduction (Vorspiel) [Toscanini ending]LOHENGRIN, first performed in 1850, is a Romantic opera in three acts, written by Richard Wagner (1813-1883). Based on the legendary 13th century romance of Lohengrin, a knight of the Holy Grail, who is sent in a boat pulled by swans to rescue the maiden, Elsa, who must never ask his name, the "Bridal Chorus" from the beginning of Act III is now universally recognized as "Here Comes the Bride." But the exciting "Prelude" to Act III is nearly as well-known, and remains a major part of the orchestra repertoire. This edition is written with the concert ending as recorded by the great Arturo Toscanini. Instrumentation in set: 3.3.3.3: 4.3.3.1: Timp.Perc(3): Str (9-8-7-6-5 in set). Newly engraved edition.3.3.3.3: 4.3.3.1: Timp.Perc(3): Str (9-8-7-6-5 in set)
8083769BE823-030B-4C5C-8F3A-4C10A43FE0D8X692501Nonet No. 2 for Reed Quintet and String QuartetCommissioned by and dedicated to Chamber Music Northwest, Schiff's second nonet is in five connected sections. A brief Intro and Outro frame three large movements: Floating (Concert champêtre after Titian), Learning (Mambo fugato), Coming Home (Song without Words)Oboe (doubling English Horn), Clarinet in B flat (doubling E flat Clarinet), Bass Clarinet, Alto Saxophone, Bassoon, 2 Violins, Viola, Cello
8084769F91EE-D252-476A-9392-79EF7406FBCFM200291Cirandinhas, W210Derived from Brazilian folk themes, Cirandinhas is a piece for solo piano by Heitor Villa-Lobos (1887-1959). There are twelve movements: 1. Zangou-se o Cravo com a Rosa; 2. Adeus, Bela Morena!; 3. Vamos, Maninha; 4. Olha aquela manina; 5. Senhora Pastora; 6. Cae, cae, Balao; 7. Todo o mundo passa; 8. Vamos ver a Mulatinha; 9. Carneirinho, Carneirao; 10. A Canoa virou; 11. Nesta rua tem un bosque; 12. Lindos olhos que ella tem. Reprint edition.Piano Solo
808576A530E4-09A4-4E32-A3D6-844AE81EBB7310510119Desert Star(not set)Cornet Solo and Piano
808676A600BD-AA21-4C0D-8F91-51A99A24EA50S599CBEl Gaucho (formerly El Chaparral)Originally published by Southern Music in 1950, El Gaucho (Spanish March) was arranged by Tom C. Rhodes for concert band in 1988.Concert Band
808776A88BA9-ADAB-455A-ABC1-EF08EF492ECASC564The Nymph's Reply(not set)Satb
808876ACF827-C4F7-43A2-A6B8-0A1DBDAC062750250171POP see 50260020 SicilienneSicilienne is in G major in a gently lilting 6/8 and is a wonderful opportunity for your orchestra to work with a soloist (either flute, oboe or violin). This work is a tribute to the masters of the Baroque Period, while the harmonies are lush and romantic. There is no position work involved (except for basses), which allows your students to work on blend, ensemble and tone production. There is a brief cadenza for the soloist (which can be omitted if desired).String Orchestra with Flute, Oboe or Violin Solo
808976B38539-18D2-4250-8F42-D4113AF2130AB326Etudes in Contemporary StyleMallet
809076B8F474-1794-4CFD-B7A1-8D231C1615A3A529702The Sirens (The Sirens), Op. 33(not set)3+1, 2+1, 3+1, 2+1 - 6, 3, 3, 1, timp, perc, 2hp, cel in set, str
809176B9D971-4A95-41B5-9F1F-0F36012BCAD5B467Contemporary Field DesignsText
809276BBDBD1-5C7C-44FA-83DD-098A43804C7AA016990Fantasie On Xmas CarolsThis medley of two French carols is a creation of exquisite beauty and delicacy. They will provide the shining star that tops your concert! Incorporates Christmas Carol from Anjou and Now Tell Us, Gentle Mary.Full Orchestra
809376C0DC22-D7DF-40F4-BF69-F3D88A6781D610100355EpiphaniesClusters of sound, brilliant brass fanfares, bravura ensemble writing, and a stunning conclusion make this a wonderful, declamatory opener for any concert or celebratory occasion. Extensive percussion, piano, and synthesizer dot this series of musical proclamations, moving from dissonance to an ultimately satisfying and majestic consonance.Concert Band
809476C15552-4852-4705-AFA9-51E57C41A2D2SS952Perpetual MotionThis transcription of Paganini's famous "Moto Perpetuo" for violin and orchestra was created for solo clarinets and piano Nicholas Falcone. A version for two clarinets and band accompaniment is also available from the publisher.Clarinet Duet and Piano
809576C56895-B37A-435D-A3ED-4866BCFB8B6010100030Alpine Holiday(not set)Concert Band
809676C5AA72-EDAE-4E14-9821-2A241D635F1CS596CBWith Sounding TrumpetsThe medodic material of this work is based on the rhythm and spirit (not the notes) of a merry tune by the composer's dear friend, Martin Mailman. This piece was written for the centennial celebration of Ouachita University in Arkadelphia, Arkansas, and was first performed in March of 1986 by the Ouachita Symphonic Band under the direction of the composer. The work is dedicated to Marvin A. Lawson who was Director of Bands at Ouachita University from 1962 to 1984.Concert Band
809776CBCB63-EC68-476C-AF4B-6CFCFCDE8DF2MP814044Night, Make My Day: from Casino Paradise
809876D6DAB3-8D98-43B6-B0B1-76338D3D403FA739702MontageMontage was composed by Donald O. Johnston (b. 1929) in 1989. Divided into two sections, an Introduction presents the materials that are to be developed in the Fugue that follows. Instrumentation: 2.2.2.2: 4.3.3.1: Timp.Perc(2): Hp: Str (9-8-7-6-5 in set).2.2.2.2: 4.3.3.1: Timp.Perc(2): Hp: Str (9-8-7-6-5 in set)
809976DB177C-EA13-45FB-BE82-8FEC5DBEE551A115702Concerto Grosso, Op. 6, No. 8 in C minor, HWV 326George Frideric Handel's (1685-1759) CONCERTI GROSSI, Op. 6 (also TWELVE GRAND CONCERTOS, HWV 319-330), are a collection of twelve concerti grossi for two violins and cello with an accompanying four-part string orchestra and harpsichord continuo, and they are among the best examples of the Baroque concerto grosso. Modeled more on Arcangelo Corelli's concerto da chiesa and concerto da camara than on Antonio Vivaldi's three-movement form adopted by J.S. Bach, these 1739 works were composed to be performed during the intermissions of Handel's oratorios. Among the twelve Concerto Grosso can be found a mixture of original music and music borrowed from other works by the composer. No. 8 in C minor, HWV 326, borrows heavily from other sources, including: in the allemande, a reworking of the first movement of Handel's second harpsichord suite from his third set (No. 16), HWV 452, in G minor; at the beginning, the first measure is a direct transposition of PIÈCES DE CLAVECIN by Johann Mattheson; the 4-note figure in the third movement recalls a quartet from Handel's AGRIPPINA; in the fourth movement, Handel quotes the opening ritornello from Cleopatra's aria "Piangerò la sorte mia" from the third act of his GIULIO CESARE; the fifth movement recycles some discarded material that he had written for SAUL, the aria "Love from such a parent born." Instrumentation: Str Hpchrd: Str (2.2.2.1.1 in set): Soli 2Vn.Vc. This urtext edition has been edited by Wilhelm Weismann. Reprint edition.Hpchrd: Str (2.2.2.1.1 in set): Soli 2Vn.Vc
810076DD0C16-FABF-474F-A1E0-791F37E3670910440166Andante and GavotteClarinet and Piano