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986190410EB8-450B-408B-87FE-68E8A86D478CX094023Peace for SATB Chorus, Flute and Organ (score)Written for the First Unitarian Church of Portland, Oregon. A version is also available for Chorus, Flute and String Orchestra.SATB Chorus, Flute and Organ
98629043D60D-5590-4C2C-8319-8AFBF0D215A3X642708Janus Variations for Clarinet and Piano TrioThese 12 variations are based on misterioso theme. Variation titles: I. Improvvisato, II. Alegro gioioso, III. Dolce, IV. Desolato, V. Scorrevole, VI. Con forza, VII. Allegro giocoso, VIII. Andante ("La Corse"), IX. Allegro con moto, X. Grave, XI. Allegro esultante, XII. Allegro marcato e luminoso.Clarinet, Violin, Cello, Piano
986390464D36-D0E1-49B3-AFC8-8BDD8283728FB343002Song of the Bells Waltz (band version)concert band
9864904BE536-89E0-42D4-8705-0C25327F6CF2EBM0670025Model Bride, The: Operetta in Two Acts (1949)The Story (from the 1949 vocal score) Mme. Beaumont, proprietress of a famed Atlantic City Modiste Shop, takes an interest in all her customer. So do her six charming mannikins who are endowed with a fair share of feminine (sic) curiosity. So, when Larry Purcell buys trunk-loads of wedding finery with apparently no particular bride in view, the rumors fly thick and fast. In making all his purchase, Larry has insisted that Dulcie model the luxurious creations. In true Cinderella fashion, she displays the gowns, secretly wishing that she might be the brie. However, her dream are shattered when Mme. Beaumont runs across a newspaper item commenting on Larry’s approaching wedding. A duet in which Larry tells Dulcie that she has been the Model Bride all along sets everything right and the curtain falls with a wedding just around the corner. The Cast Mme. BEAUMONT, a modiste*Mezzo or Contralto DULCIE DU LONG, the MODEL BRIDE*Soprano LARRY PURCELL, a Beau of the Board-Walk*Baritone or Tenor Note: This part may be taken by a girl (sic) in case an “all girl” production is desired. JULIE MARIE HELENE LUCIE CLAIRE ANISE Models at Mme. BEAUMONT’S Dress Shop. Members of the singing ensemble. Marionettes, Dancers, Customers, etc. TIME: The Present (sic 1949)Cast, Piano or pit orchestra
986590551FB6-F68F-4EBF-AE34-ADE65C05AFDBSU810For Tanya for Flute and Piano (opt. Flute 2 and Wind Chimes)For Tanya is a lyrical, romantic work dedicated to the composer's wife. The original version for flute, alto saxophone and piano was premiered in Ukraine. This version features flute duo with piano and optional wind chimes. Southern Music is proud to present this publication as part of the "New Flute Works" series, designed to introduce players of all abilities to noteworthy contemporary works and composers for flute.Flute and Piano with Optional 2nd Flute and Wind Chimes
98669059AD9D-EA8C-4ECD-A05F-92469CD07C1E10160049Three Cardinals, TheTrumpet trio with band. Also available with piano accompaniment at 10512149.Band with Solo (flexible solo part)
9867905C01B1-1BA9-42D5-A476-265D036D830B52250498First Finger PachelbelLike Pachelbel's original, this open-string and first-finger masterpiece written in D major builds in intensity and rhythmic interest throughout. All four strings are used, and technique is very elementary with no slurs and nothing more rhythmically complex than quarters and eighths. Violas are responsible for supplying C sharps with low ones on the C string (prominently marked in their part).String Orchestra
9868905C6C66-8D4A-457F-BFDB-EA00BA2567BAS002301Le Tombeau de Couperin: Suite (composer's transcription)Originally written as a suite for solo piano, Maurice Ravel (1875-1937) later orchestrated four movements from Le Tombeau de Couperin in 1919 (Prélude, Forlane, Menuet, and Rigaudon). This orchestral version was premiered in February of 1920 by conductor Rhené-Baton and the Pasdeloup Orchestra. Each movement of the suite was written in memory of Ravel's friends who had died fighting in World War I. It has remained one of Ravel’s more popular works, with a ballet by the same name choreographed decades later by George Balanchine. Instrumentation: 2(2dPicc).2(2dEH).2.2: 2.1.0.0: Hp: Str (9-8-7-6-5 in set). Study score.2(2dPicc).2(2dEH).2.2: 2.1.0.0: Hp: Str (9-8-7-6-5 in set)
9869905FCC05-90C1-45EC-A7B5-A73790EB00D9A125302Symphony No. 1 in C, Op. 21Honoring Mozart and Haydn, Beethoven’s First Symphony is a relatively conservative work from an otherwise bold composer. Despite its classical scoring and form, the symphony is uniquely Beethoven, with characteristic sforzandi, sudden shifts in tonal centers, and a prominent use of winds. Beethoven began his first sketches for a symphony in C Major in 1795, but soon thereafter turned his attention to composing works for piano. Sketches for the finale were found in the counterpoint exercises Beethoven wrote while studying with Georg Albrechtsberger in 1797, but it was not until 1799, a year after completing the Pathétique Sonata, that Beethoven fully turned his attention to composing his First Symphony. He completed the work in early 1800 and conducted the first performance on April 2nd of that year at the Burgtheater in Vienna. Also included in the program was an unidentified Mozart symphony and selections from Haydn’s The Creation, Beethoven’s Septet, Op. 20, and an unidentified piano concerto performed and composed by Beethoven. The Allegemeine Musikalische Zeitung reported “this was the most interesting concert in a very long time.” Instrumentation in set: 2.2.2.2: 2.2.0.0: Timp: Str(9.8.7.6.5).2.2.2.2: 2.2.0.0: Timp: Str(9.8.7.6.5 in set)
987090639799-E9B7-4F5F-BBDA-7CD00074B55ER89Introduction, Theme and Variations for Clarinet and OrchestraThe work is based on two of Rossini’s most moving dramatic arias and remains one of the most popular virtuosic works for clarinet to this day. This title is available from Southern Music for rental, with score and parts for orchetsra (original) and transcriptions for band and clarinet choir, while a retail version is available for clarinet and piano. All editions have been edited by David Hite.Clarinet Solo: 1.2.0.1: 2.0.0.0: Str
987190663FBC-6391-488C-8189-27C279D682B2X814051An Adventure at Grannie's: A Fable for Narrator and PianoAn adaptation of "Little Red Riding Hood," this new version for piano and narrator of Gwyneth Walker's "An Adventure at Granny's" is a charming delight for young audiences. Also available for Clarinet or Violin with Cello and Narrator.Narrator, Piano
9872906765F2-749D-4C9E-9CFC-4139717E006350341007Duets For Christmas, Flute/ OboeDuets for Christmas is a collection of 26 holiday favorites, tastefully arranged in traditional style and playable by performers with intermeidate ability. The duets can enhance any music program, ceremony, or family get-together devoted to the celebration of Christmas, or they can be played simply for the pleasure of playing duets with a friend.Flute or Oboe Duo
98739069C2F1-5D53-4D83-96D4-181A321682C3B329902Vienna Festival Overture(not set)Concert Band
9874906d59a1-9e3a-11f0-a418-0022482c9682A808302Macbeth: Act II, Sc. 1 Aria: La luce langue (No. 8)Written for the Teatro della Pergola in Florence, and premiering on March 14 1847, MACBETH was Verdi's tenth opera and the first genuine masterpiece of his career. Adamant about creating an opera "unlike any other," it met with immediate success, though it struck Italian audiences as an oddity due to its lack of a great love affair as part of the plot. Seeking to do something musically different, Verdi wrote to librettist Francesco Piave, "If we cannot make it a masterpiece, let us at least do something out of the ordinary." The opera breaks many of the rules common in the framework of Italian opera, favoring a more fluid, cohesively unfolding music drama in, as Verdi later admitted, his own attempt at the Wagnerian "fusion of music and drama." Almost twenty years after the premiere, interest in a French version for a Paris premiere drove Verdi to revise and expand the opera. This version, with substantial changes and additions to the music and libretto both, premiered in Paris on April 19 1865, and the Italian translation of this remains the preferred version for modern performances, although often MacBeth's death scene from the first version replaces the revised last act. Truly a great opera, and a favorite of Verdi himself, the opera has not shared the success of the composer's other works, but this is not due to any deficiency in the music, which captivates the listener from the beginning to the end. For the Paris premiere, he added an aria in Act II, Scene 1 for Lady Macbeth. In “La luce langue,” she elaborates on her lust for power and murderous intent to spill blood in the secrecy of night. Instrumentation: 1+1(Picc).2.2.2: 4.2.4.0: Timp. Str (4.4.3.3.3 in set): Sop. Solo. Reprint edition.1+1(Picc).2.2.2: 4.2.4.0: Timp. Str (4.4.3.3.3 in set): Sop. Solo
987590749A1F-AAA9-433B-8D7A-B7B5EF6F8E94A899802Summer Nights, Op. 7 (Les nuits d'ete): 4. Absence (transposed in Db)The song cycle LES NUITS D’ETE (SUMMER NIGHTS) is a setting of six poems by composer Hector Berlioz' (1803-1869) neighbor and friend, Théophile Gautier. The text deals in themes of love in all its facets, progressing from youthful innocence to loss and renewal. Originally composed in 1841 for solo vocalist and piano, Berlioz completed orchestration of each of the six songs in 1856. While regrettably neglected for many years, this song cycle was rediscovered in the 20th century and has become one of the composer's most popular works. The songs in the original keys (1. A; 2. B; 3. F minor; 4. F-sharp; 5. D; 6. F) are available from the publisher both as a complete set (A2573) and individually. Robert Sutherland has edited five of the songs in the cycle and has transposed each in multiple keys to expand the work to more vocalists. Songs completed by Robert Sutherland: 1. Villanelle (E, F, and G), 4. Absence (Db, D, Eb, and E), 5. Au Cimetie?re, Clair de lune (Bb, B, and C), and 6. L'lle inconnue (D, Eb, and E). A transposition of 2. Le Spectre de la rose to D and a transposition of 3. Sur les Lagunes to g minor is also available from the publisher. In Absence, the lover pleads for the beloved to return. Instrumentation: 2.1.2.0: 2.0.0.0: Str (9-8-7-6-5 in set): Solo Voice (medium voice). Newly engraved edition.2.1.2.0: 2.0.0.0: Str (9-8-7-6-5 in set): Solo Voice (medium voice)
98769075262C-9E3E-4CE7-B9B0-93B109CB946A50504001Hoken Poppy's Gang(not set)Bb Trumpet 1 and 2, Trombone 1 and 2 and Tuba
987790782C06-5323-434F-947A-C2C31906C59AST609Fantasie, Op. 13Though little was known about C.D. Lorenz, he composed quite a few pieces for horn and piano. This piece is an opera fantasie based on "I Puritani" (The Puritans) by Bellini. Some of the opera's intricate coloratura vocal writing has been given over to the horn in this delightful fantasie. This edition has been recorded by Thomas Bacon with pianist Phillip Moll on Crystal S379.Horn; Piano
987890808c5d-9e3a-11f0-a418-0022482c9682A808402Macbeth: Ballet Music (No. 13)Written for the Teatro della Pergola in Florence, and premiering on March 14 1847, MACBETH was Verdi's tenth opera and the first genuine masterpiece of his career. Adamant about creating an opera "unlike any other," it met with immediate success, though it struck Italian audiences as an oddity due to its lack of a great love affair as part of the plot. Seeking to do something musically different, Verdi wrote to librettist Francesco Piave, "If we cannot make it a masterpiece, let us at least do something out of the ordinary." The opera breaks many of the rules common in the framework of Italian opera, favoring a more fluid, cohesively unfolding music drama in, as Verdi later admitted, his own attempt at the Wagnerian "fusion of music and drama." Almost twenty years after the premiere, interest in a French version for a Paris premiere drove Verdi to revise and expand the opera. This version, with substantial changes and additions to the music and libretto both, premiered in Paris on April 19 1865, and the Italian translation of this remains the preferred version for modern performances, although often MacBeth's death scene from the first version replaces the revised last act. The BALLET MUSIC (No. 13) which Verdi wrote for the beginning of Act III for his revised version did not impress the Parisian audiences at the 1865 premiere, largely because it did not suit their tastes which then lent itself towards more lightweight, virtuosic diversion. Verdi, however, was convinced by his more dramatic ballet concept, and the the 1874 Milan production met with great success. The BALLET MUSIC is now also frequently performed in concert setting. Instrumentation: 1+Picc.2.2 (1st d. BCl).2: 4.2.3+BTbn.0: Timp.Perc(1-2): Str (9.8.7.6.5 in set). Reprint edition.1+Picc.2.2 (1st d. BCl).2: 4.2.3+BTbn.0: Timp.Perc(1-2): Str (9.8.7.6.5 in set)
98799080C615-030C-4C3F-91BA-E6BA22223B2AM201591Easy Baroque Pieces in First PositionArranged and edited by Ferenc Brodsky, this collection of Easy Baroque Pieces in First Position is perfect for the developing cellist taking a first step into the baroque style. It includes twelve pieces of varying mood and character: 1. Ballet (Besard); 2. Bouree (Losy); 3. Minuet (Clark); 4. Ariette; 5. Flon-Flon; 6. Menuet (Handel); 7. Cotillon (Hotteterre); 8. Lied (C.P.E. Bach); 9. Schwabisch (J.C. Bach); 10. Allemande (Haydn); 11. Scherzando (Turk); 12. Tema (Beethoven). Reprint edition.Violoncello and Piano
988090861A4D-DD85-4372-A827-28A815C73CBAA286802In Native Worth(not set)2, 2, 0, 2 - 2, 2, 0, 0, timp, str (2.2.1.1.1), solo T