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#IDTitlecodeTitle NameMarketing CopyInstrumentation 
  
96018C7A7B00-3D42-483E-84CA-C300D27785F2S847CBFanfare and Interlude(not set)Concert Band
96028c7bec0e-9e39-11f0-a418-0022482c9682A126902Leonore (Fidelio) Overture No. 2, Op. 72aThe history of Beethoven's only opera, FIDELIO, is rife with twists and turns, among them that the opera was originally to be called LEONORE. Additionally, the opera is unique in that Beethoven composed four different overtures for the work. No. 1 was quickly suppressed by the composer, whereas No. 2 (1805) better resembled the third one to follow in that it conveys the themes of the opera. LEONORE OVERTURE No. 3, Op. 72b was composed in 1806, and remains the most successful of the three LEONORE overtures. In 1814, Beethoven did finally complete an overture that he found suitable, but this was actually referred to as the overture for FIDELIO given the opera's title change. It satisfied Beethoven's vision of a proper curtain-raiser, although, unlike its LEONORE predecessors, it avoids themes from the opera proper. LEONORE OVERTURE No. 2, Op. 72a, written in 1805 for the premiere, preceded the version most often performed in concerts today, LEONORE OVERTURE No. 3, Op. 72b, by only one year. Instrumentation 2.2.2.2: 4.2.3.0: Timp: Str (9.8.7.6.5 in set). Reprint edition.2.2.2.2: 4.2.3.0: Timp: Str (9.8.7.6.5 in set)
96038C7CCB00-3F15-4A8C-9395-2AE8015B528FS96Hornascope for Horn and BandCb: BandHorn Solo, Concert Band
96048C7F5ED8-6606-40BA-97DF-63B395BC956ASC90Oh, Fair to SeeSatb
96058C81EEAD-1D14-492A-B79B-56E1E2A895CEEBM0610405Maria la O: RomanzaThe Marks orchestration of Ernesto Lecuona's (1892-1934) zarzuela is, at once, the first-ever critical (to the extent that this is possible), and, more importantly, the first-ever performing edition. It utilizes all extant notated and aural materials for Maria la O for its creation. It was edited 2001-2011 by Dr. Evan Hause. The orchestration in this edition is fully computer-engraved. The percussion parts, mostly unnotated in the original materials, were transcribed and edited for this edition, yet they still allow for the freedom to take a traditional, improvisatory approach to the music as per the original. This excerpt is taken from the new edition.Soprano: 2.2.2.1: 2(opt4).3.2.0: Timp.Perc(2-5): Hp: Str
96068C8918B5-BCAE-4148-AF9A-9A762F6B1983A929590Much Ado About Nothing: Three Pieces for Small OrchestraWhen Max Reinhardt was engaged to direct a German language production of Shakespeare’s MUCH ADO ABOUT NOTHING at the Vienna Volksbühne in 1918, he asked Korngold to compose the incidental music. The production, under the German title VIEL LÄRMEN UM NICHTS did not open until May 6, 1920 at the Schönbrunn Palace Theater. In the pit, the composer led members of the Vienna Philharmonic, performing no less than 18 pieces of music. In the meantime, due to the tardy premiere of the play, Korngold had already extracted a five-movement orchestral suite which garnered much praise when performed three months before the play’s opening night. The five movements included: 1. the Overture; 2. Scene in the Bridal Chamber; 3. Holzapfel und Schlehwein (a mock-serious scene); 4. Intermezzo (Garden Scene); and 5. Hornpipe. When the play moved to Vienna’s Burgtheater (more than 80 performances) and later to the Rezidenz Theater in Munich, the music continued to attract much attention. Demand for the music was such that Korngold arranged the suite into versions for violin and piano (four pieces), and for solo piano (three pieces). German composer-arranger Leo Artok (1885-1935) arranged the most popular three items (1. Hornpipe; 2. Garden Scene; and 3. In the Bridal Chamber) for small orchestra, which were then published by Schott in 1926. This newly engraved edition of the Artok arrangement, offered with a new full score for the first time, has been completed by R. Mark Rogers. All editions noted above are available from the publisher. Instrumentation: 1.1.2.1: 2.2.1.0: Timp.Perc(2).Harm: Str (9.8.7.6.5 in set).1.1.2.1: 2.2.1.0: Timp.Perc(2): Harm: Str (9-8-7-6-5 in set)
96078C89F00A-8D8D-4ADE-A36A-6FE131E70A44M185391Collected Works, Vol. 4Spanish Renaissance composer and organist Antonio de Cabezón (1510-1566), blind from childhood, rose to prominence in Spain, employed by the royal family and becoming the first major Iberian keyboard composer. Writing predominantly for the organ, most of his music has been preserved through the efforts of his son, Hernando de Cabezón, who published a collection of his father's works. This present edition of his collected works for organ or other keyboard instruments is available in six volumes from the publisher, edited by Felipe Pedrell, with additional corrections by Higinio Anglés for this well-known collected edition.Organ or Other Keyboards
96088C8E2653-F575-4715-A1C0-0533C446298150100309America MarchingWhen you need a grade 1 or 2 march that absolutely must work, you naturally turn to Andrew Balent, one of the best writers for young players of all time. Everyone knows the tune to America and this will make an ideal opener for that young band program.Concert Band
96098C934B20-EA5F-4AAE-A626-BA322607CC36R00824Dualities Part 2Parts 1 and 2 may be performed separately.Soprano, Guitar Soli: Flute, Oboe, Clarinet, Bassoon, Perc(2), Banjo, Piano, Harp, 2 Viola, 2 Cello, Double Bass
96108C9ADC51-EDCD-48E9-894E-A32D3E6B5CD6R00365Maltese Cat Blues1987 Louisville Orchestra Prize2(1d Picc)+Picc.2+EH.2+Eb Cl.3: 4.3.3.1: Perc(4): Str
96118C9F97D8-3C93-4523-991E-A31D74EA7F26X510031ChameleonFive minute solo for unaccompanied violin, dedicated to Ines Voglar.Solo Violin
96128CAAF819-C8F7-4FC5-B47F-B4CB3948343760770001SarabandePOUR LE PIANO, considered the earliest mature composition by Claude Debussy (1862-1918) for the piano, was published in 1901. He composed the middle movement SARABANDE much earlier, in the winter of 1894, as a part of the collection IMAGES OUBLIÉES. Revised for the latter work, it was first heard in the initial performance of this piece by Ricardo Viñes on January 11, 1902 at the Salle Érard in Paris for Société Nationale de Musique. Debussy once said that it should sound "like an old portrait in the Louvre". It was orchestrated by Ravel in 1923. This LudwigMasters reprint edition features an organ transcription by Alexandre Chellier.Solo Organ
96138CAF6F42-7BD7-4A2A-8D7B-4D7CCCD3F225A910690Alma Mater2+1, 2, 2, 2, (2sax) - 4, 3, 3, 1, perc, (pf), str
96148CB318A8-716C-4A2E-BFD9-05C34DC650B6SS917Gavotte (out-of-print)Alto Sax
96158CBA032B-ACC8-400A-A32D-32DF957D1313SC399Prayer of St. Francis, A(not set)Satb
96168CBA6035-8F9C-4105-A0BA-BEDC3E4C9A66X411006Three Little Duets for PianoContains three very easy pieces that can be performed by either one or two pianists: 1. Moderato 2 & 3. Con motoPiano Duo
96178CBD9FAF-A6B1-4DCB-AD34-911863032F9FST93The Big Horn(not set)Bass Trombone, Piano
96188CBE8AFA-A791-44C8-B910-DABC5D71EC9118800007Rest in the Lord(not set)SATB and Organ
96198CC1911A-9622-49AF-864B-52930094A40ESU416Fantasy and Dance"Fantasy and Dance" may be performed with either the composer's original wind ensemble accompaniment or in a later version for string orchestra and harp. The performance materials to both versions are available on a rental basis from the publisher. "Fantasy and Dance" for solo Alto Saxophone and Wind Ensemble was composed for Mr. Miller Sigmon on the occasion of the Fourth World Saxophone Congress in France.Alto Saxophone, Piano
96208CC445A4-ADDB-4228-AABD-5402353E7FAAC53Chorale Fantasy