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#IDTitlecodeTitle NameMarketing CopyInstrumentation 
  
9101857333C9-6766-44AD-8044-6E58F389DD62S603CBTrailridge SagaCommissioned by the Family and Friends of Wendell Hodges in recognition of his retirement after 41 years of teaching.Concert Band
91028573D2D5-91DF-4C6E-8238-C58A11D32375A665890Pizzicato PolkaThe result of a collaboration between Johann Strauss II and his brother Josef Strauss, the PIZZICATO POLKA, IJS 335, was composed for a trip to Russia in 1869. His Italian audiences particularly loved it, and as a result, he included it in every performance he conducted there. Scored for plucked strings, the three-minute work often appears on the concert programs of New Year Galas. Instrumentation: String Orchestra (8.8.5.5.5 in set).String Orchestra (8.8.5.5.5 in set)
910385784BB7-3674-48E6-92EE-BD2259268E15A259302Stabat Mater, Op. 58/B. 71Antonín Dvo?ák (1841-1904) began composition of his setting of the Stabat Mater text in 1876 and finally finishing the orchestral version in late 1877, though it was not published until 1881 as Op. 58 (B. 71). It is traditionally thought that Dvo?ák decided to compose it following the death of his two-day old daughter Josefa on August 21, 1875, finishing it after the death of two more children (11-month-old Ruzena on August 13, 1877, and his firstborn son Otakar a month later), but some doubts have been raised about this motivation. Regardless, this ten-movement sacred cantata remains a profound testament to human sorrow and hope, an appropriate setting of a text that describes Mary's suffering as she watches her son die on the Cross. The work was the primary vehicle to Dvo?ák's international fame following the premiere in Prague on December 23, 1880, by the Provisional Theatre Orchestra and Choir under Adolf Cech, and it remains one of his most popular and frequently performed works, and among the most famous settings of the medieval Stabat mater. This piano reduction is by Josef Zubaty.Soli SATB, SATB Chorus, and Piano
9104857EED22-8E53-4B5E-8A7E-E3CE1A308DBA50250080Fiddle Faddle HoedownYour first-years will fiddle their hearts out during this foot-stomper. This selection focuses on repeated 16th note patterns at a quick tempo, building confidence through lots of unison playing. Get out your cowboy boots and hat - get ready for a hoedown!String Orchestra
91058582AD95-6391-4C52-937C-B58172F30631R106Intrigues for Clarinet and Orchestra(not set)Clarinet/Orchestra
9106858475CC-9AC4-4694-B16A-FB5951AECE5FJ91101Angels We Have Heard on High (Anniversary Carols)Angels We Have Heard on High is one of America's most beloved carols. It comes to us from the French countryside where it emerged anonymously as a macaronic carol (that is, with a text a melange of Latin and vernacular French,) probably in the 1700s, called Les angel dans nos campagnes. Jackson Berkey's arrangement is strikingly individual, with its particular non-strophic handling of the text.SATB
9107858620E6-965D-4088-9053-EB285FA3870DEBM0610092Within the Quota for Two Pianos and Orchestra(not set)2 Piano Soli: 2(Pi)222 4221 2Pc Pno/Cel Str
91088588CA69-DD96-4599-A27B-BACDE936B4F6A927390The Man I LoveThe Man I Love is a classic American standard with music by George Gershwin and lyrics by his brother Ira. It was originally part of the 1924 score for the Gershwin musical comedy Oh, Lady, Be Good!. The song was deleted from that show and put into the Gershwins' 1927 government satire Strike Up the Band, where it appears as both The Man I Love and The Girl I Love. Popular recordings in 1920s were by Marion Harris; Sophie Tucker; Paul Whiteman & His Orchestra (vocal by Vaughn De Leath); and by Fred Rich and His Orchestra (vocal also by Vaughn De Leath). As with many standards from that era, it has become far more famous as a stand-alone popular song than as one from a Broadway musical. This symphonic arrangement of The Man I Love by Tom Myron is based on George Gershwin's original piano-vocal and solo piano versions of the song. The style of orchestration is meant to strongly evoke the symphonic world of pre-War Broadway and Golden Age Hollywood.2+1.2.2+Bcl.2: 4.3.3.1: Timp.Perc(2).Pno(dClst).Hp: Str
9109858cf572-9e39-11f0-a418-0022482c9682A113702Concerto Grosso, Op. 6, No. 6 in FThe present edition of Arcangelo Corelli's (1653-1713) CONCERTO GROSSO in F, Op. 6, No. 6 is based on the edition by Roger of Antwerp, printed in 1714. At that time, 12 concerti grossi - namely 8 church concerti (concerti da chiesa) and 4 chamber concerti (concerti da camera) were published posthumously in 1714 under opus number 6, having been commissioned by Cardinal Pietro Ottoboni. Likely composed sometime around 1690, the concerto is scored for an ensemble of two concertino violins and a cello, plus the ripieno strings and continuo. The harpsichord or organ continuo was realized by Waldemar Woehl. Instrumentation: Str (2-2-2-1-1 in set): Vn(2) concertante: Vc concertante: Hpchd in set. Reprint edition.Str (2-2-2-1-1 in set): Vn(2) concertante: Vc concertate: Hpchd in set.
9110858D1E2E-2168-4DDF-B1C5-AB87413C9F67A181502Symphony No. 40 in G minor, K. 550Sometimes referred to as the "Great G minor symphony" to distinguish it from the the "Little G minor symphony" (No. 25), SYMPHONY NO. 40 in G minor, K. 550 was completed on July 25, 1788, though the actual date of premiere is less certain. Regardless of when the premiere took place, Mozart did determine that revisions were necessary, adding two clarinets to the orchestra where there had been none previously, with changes made to the oboe parts to accommodate the new instrumentation. This edition includes both the original oboe parts and the revised oboe parts in addition to the clarinet parts that only exist in the revision. The score also includes a system for the original oboe parts and two additional systems for the revised oboe parts and clarinets. Orchestras have the flexibility to perform this work in either versions. Instrumentation in set: 1.2.2.2: 2.0.0.0: Str (4.4.3.3.3).1.2.2.2: 2.0.0.0: Str (4.4.3.3.3 in set)
9111858F52DD-B419-488D-A42C-B4F963A92765EBM0610650Overture To Henry V for Violin and OrchestraPremiere Slovak Radio Orchestra, June 30, 1992, Bratislava, Slovakia, Robert Black, conductor; Lydia Forbes, violin. Henry V is an overture, but with a violin protagonist. This is a concerto, but the density of interaction between soloist and orchestra is far more intense than in any previous work, whether classical or modern. Its form is somewhat analogous to sonata, but it middle section breaks away completely from what has come before into an exhilarating 5-8 ostinato. There is a joy in dissonance here, an embracing of pain, and all the sorrow of existence, as part a Gita-like vision of the horrible, terrifying beauty of men throwing themselves into the slaughter, straining their utmost in a joyous ‘dance’ of mud and death. As such, the energy of the piece is compact, and on first listen, potentially overwhelming. Metaphors of the individual coming out of a society, being influenced by and then interacting with that society, and then finally leading it are strongly evoked by this work in a non-specific, archetypal way. Winner of Marin Symphony (CA) Composers Symposium Competition (1993).Solo Violin: 3(3dPicc).3(3dEH).3(3dBCl).3(3dCBsn): 4.2.2.0: Timp.Perc(3): Cel/Pno.Hp: Str
911285936700-638E-4B57-948B-339F53D22373R00742Three Hymns to ApolloComposed for Joel KrosnickCello Solo    Flute, Oboe, B-flat Clarinet, Percussion(1), Harp, Violin, Viola
911385998319-D713-481F-8AAA-D6E0F05206B8SS189Exploring the UnknownSnare Drum Unaccompanied
9114859A42D9-6B06-4419-AE80-62BEB0DFEE2F53250110LuminocityFeatured on Mark Wood's album TURBOW, LuminoCity is an emotional ride from the calm and mysterious opening to the searing and electrifying ending. Combined with the included accompaniment track, this will get your string orchestra fully charged!String Orchestra
9115859F4CC2-F77F-4967-A0B5-6A5ECF663E0EA914002Taylor Petite Suite
911685A1489D-15DE-4437-AB1F-39DDAC476589SF2110PWe the People (flexible ensemble)Commissioned by the Kansas Commission for the Celebration of the Bicentennial of the United States Constitution. This new version for flexible ensemble is playable on any SSATB combination of winds, brass and strings with optional percussion, 5 players up to large ensembles.flex
911785A20529-B803-4552-B068-A9903D03E85ASS539Metrax (out-of-print)Tenor Sax
911885AF7C15-05F4-41D9-A1C9-91BFF14CE72210160394Worried Drummer for Percussion and BandTHE WORRIED DRUMMER is presented as a part of the Ludwig Classic Band Library, a series of significant publications in new arrangements scores for contemporary bands. Eric Osterling, the arranger of the original publication, has simplified the band parts to make the work accessible to more ensembles. An opportunity to feature an outstanding student or guest percussionist, DER PAUKER IM AENGSTEN showcases the percussionist in his or her role as performer on a variety of instruments. Good humor will result as the performer "struggles" to move from instrument to instrument.Solo Multiple Percussion, Concert Band
911985AF87A9-CCC3-422F-BEC3-8265360A7360R00915Dialogus for Cello and OrchestraCommissioned by The Cleveland Orchestra. "A technically brilliant showcase for a virtuoso cellist" -Cleveland Plain Dealer. Recorded by Dmitri Kouzov, cello; Sinfonia Varsovia/ Ian Hobson, Albany Troy 1334.Cello Solo: 2+Picc+AFl.2+EH.2+BCl.2+Cbsn: 4.4.3.1: Timp.Perc(5).Pno.Clst.Hp: Str
912085BD8B02-8D91-4492-A6FE-0D63454330AAX131020DialoguesA seven-minute work which, as the tile suggests, is a conversation between the two instruments, who only rarely even attack a note at the same time. Like an 18th- or 19th-century fantasy, it is in many different sections, with widely varying moods.Clarinet, Piano