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1026195dc4578-9e3a-11f0-a418-0022482c9682A836290Joy to the World [orchestration for high voice, D]JOY TO THE WORLD is the most-published Christmas carol in North America, despite the work not being written for Christmas. The text was written by English minister and hymnist Isaac Watts in 1719. The melody to which the text is set is by American composer Lowell Mason (1792-1872), who saw it published in The Modern Psalmist in 1839, but it seems likely that much of the melodic material was borrowed from G.F. Handel's MESSIAH, but there is still much speculation about the extent. This beloved Christmas carol has been orchestrated and arranged for high voice and orchestra (key of D) by Steven Rosenhaus. The score/parts (A836290) and vocal score (M306091) are available separately. Instrumentation: 2.1.2.2: 2.2.2.0: Timp.Perc(2): Str (9-8-7-6-5 in set): Solo High Voice. A version for low voice and orchestra (A836190/M305991) in the key of B-flat is also available from the publisher.2.1.2.2: 2.2.2.0: Timp.Perc(2): Str (9-8-7-6-5 in set): Solo High Voice
1026295E10D2B-F6AD-4199-AF49-1AF91AD276BDS934001Gloria in Memoriam(not set)SSA Chorus, Organ
1026395E3016A-DE2B-478E-AADB-733559759A07X816402Four Persian Mystic Poems for Soprano or Mezzo Soprano, Lute, Guitar, Percussion, and HarpThese settings of Four Persian Mystic Poems by Reza Vali are for solo voice (mezzo soprano or soprano), a Renaissance or Baroque lute (also claves), guitar/arbat (oud), harp, and percussion: Persian or Kurdish daf (or large frame drum), crotales (or glockenspiel or a bell), large claves, large cymbal, and tom-tom. It was commissioned by the Alba Consort Ensemble. Two other versions are available from the publisher: one for guitar, percussion, piano, harp and voice and one (titled THE MYSTERY OF THE ROSE) for flute, violin and piano. Poems/Movements: I. The Morning Discourse (Hafez), II. Do Not Sorrow (Hafez), III. The Mystery of the Rose (Sepehri), IV. When I Think of the Creator (Rumi)Soprano/Mezzo Soprano, Lute, Guitar (Oud), Percussion, and Harp
1026495E68FDF-9F1F-49A9-AC1F-62F83FB3FED4M140891Two Pieces, Op.10(not set)Chromatic Harp or Piano
1026595E7AA4A-BC3C-40AC-9A89-F3EFC05E7B37A769102Sonata for Piano 4-Hands, K. 381/123a: SinfoniettaWolfgang Amadeus Mozart (1756-1791) composed the SONATA FOR PIANO 4-HANDS IN D MAJOR, K. 381/123a in 1772. The absence of dynamic markings has led scholars to conclude that the piece was likely written for harpsichord. Due to its contrasts, which hint at the dialogue that takes place among the sections of an orchestra, it has been suggested to resemble a three-movement Italian symphony. Lorinc Kesztler arranged the work as a SINFONIETTA for string orchestra, presented in this Kalmus edition. Instrumentation: String Orchestra (8-8-3/5-5-5) (Vn3 sub. fFor Va). Reprint edition.String Orchestra (8-8-3/5-5-5) (Vn3 sub. for Va)
1026695F37BB6-9009-466B-BC7C-C3DD9ABC9994S567CBNOP - Syntonos
1026795F74349-49B4-4AAB-B02B-D81E726BD502M176591Collected Works, Vol. 1Spanish 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
1026895F888C4-5C21-429B-8520-BE88C2341FEFR00895Fanfare From Fanfare, Interlude, And FinaleThe FANFARE was commissioned and premiered by the Washington Festival Orchestra in 1978. Other orchestras which performed the FANFARE requested additional movements, resulting in the addition of the INTERLUDE and FINALE a few years later, premiered by the Twin Cities Symphony in 1983. This short FANFARE has a lively theme in mixed meters (often juxtaposing 2/2 and 3/8) with a slow middle section which leads back to a return of the theme. FANFARE, INTERLUDE AND FINALE was the first orchestral work composed by Gwyneth Walker after her years of conservatory training, and a spirit of freshness and enthusiasm of a composer starting her professional career can be heard in her approach.2.1.1.1: 2.2.0.0: Timp: Str
1026995F894FB-8E7A-407B-84DC-0E4CE74E4489R00094Parallel PlanesAlto saxophone concerto commissioned by the Cleveland Chamber Symphony. Composed 1992; duration ca. 20'Alto Saxophone Solo:(d SSax): 1.1.1.1: 1.1.1.0: Timp.Perc(2).Pno: Str
1027095FD2C81-AF91-46AD-B79D-409BF3540A0BS73MBFiesta Flambeau(not set)Marching Band
102719600445B-6EDA-4685-BEE9-820CC3F3DAD3SC311Lord Reigneth, the (Psalm 99)Satb
102729604801F-F29C-4AA7-A9A3-E3891363C59CA883090Sandpaper Ballet for OrchestraWritten as a tribute to the soft-shoe style of dancing common in vaudeville acts of the early 20th century, Leroy Anderson’s "Sandpaper Ballet" was not intended to be an actual ballet, though it certainly has been choreographed numerous times. Using several types of sandpaper to emulate the soft-shoe sound, this delightful gem fits well among the other humorous works written by the master of the light classics genre. An American Pops classic in it's original scoring, this work is part of the Anderson Classics Series by E.F. Kalmus. Instrumentation: 2+Picc.2.2.2: 2ASax.Tsax: 4.3.3.1: Perc(3): Str (9-8-7-6-5 in set).2+Picc.2.2.2: 2ASax.Tsax: 4.3.3.1: Perc(3): Str (9-8-7-6-5 in set)
10273960B00C7-03BC-48F2-ADAB-632AA0DF1E14A152502Sigurd Jorsalfar, Op. 56: Suite (Three Pieces from Sigurd Jorsalfar)SIGURD JORSALFAR, OP. 22, was composed by Edvard Grieg (1843-1907) for a play by Bjørnstjerne Bjørnson in honor of King Sigurd I. First performed in Christiania on April 10, 1872, the incidental music is constructed in nine parts, three of which were chosen by Grieg for an orchestral suite published as OP. 56. The suite premiered on November 5, 1892 in Oslo. The first movement contrasts the personalities of two royal brothers, Sigurd and Eystejn. The Intermezzo has its origins in an 1867 gavotte for violin and piano. The final movement, a march, tells of the brothers’ reconciliation after their separation due to a grievous quarrel. Instrumentation: 2(both d. Picc).2.2.2: 4.3.3.1: Timp.Perc(3-4): Hp: Str (9.8.7.6.5 in set).2(both d. Picc).2.2.2: 4.3.3.1: Timp.Perc(3-4): Hp: Str (9.8.7.6.5 in set)
1027496130E41-43D4-4AA3-96E1-9CC41295B942S312CAPTAIN W. J. STANNARD
10275961574BF-B86D-4391-8E8E-A589D253BA0CX530024Lamentations Black/Folk Song SuiteRecorded by Tahirah Whittington, Cedille CDR 90000087. Movements: I. Fuguing Tune II. Song Form III. Calvary Ostinato IV. Perpetual MotionSolo Cello
1027696182659-225B-427C-AC4E-D7057F1BDB88SC8Patriot Look to the FlagSatb
1027796194FD0-988C-4B2F-B852-21F2942DA608X502019Hoodoo Duo for Viola and BassThis duo evokes “Hoodoos,” or “person-shaped” rock formations found in the Southwestern U.S. The music is infused with jazz lines and shifting meters. A separate and musically distinct Hoodoo Duo for Violin and Cello is also available.Viola, Bass
10278961AC197-F5A4-4761-B818-6B9C7B51F67DX503036Three Folksong TransformationsAs suggested by the title, this three movement work utilizes motifs from well known folksongs transformed through canonic treatment, modal alterations, and other techniques, recasting each in jewel-like miniature. Movements: I. Song Without Words ("Careless Love"), II. Canons and Riffs ("The Peat-Bog Soldiers"), III. Variations ("What Shall We Do With the Drunken Sailor")Piano Trio
102799620c709-9e3a-11f0-a418-0022482c9682A836590O Little Town of Bethlehem [orchestration for low voice, E-flat]The text to the well-known Christmas carol O LITTLE TOWN OF BETHLEHEM comes from an 1868 text written by Episcopal priest Phillips Brooks. It is popular in the United States, United Kingdom, Canada, and Ireland, although the text is set to different tune. The version most popular in the United States happens to have been written by Brooks' organist, Lewis H. Redner (1831-1908), who titled the tune "St. Louis" after rushing to set the newly written text to music in time for the Christmas mass. This beloved Christmas carol has been orchestrated and arranged for low voice and orchestra (key of E-flat) by William Ryden. Instrumentation: 2.2.2.2: 2.2.3.0: Timp.Perc(1): Str (9-8-7-6-5 in set): Solo Low Voice. A version for high voice and orchestra (A836690) in the key of G is also available from the publisher.2.2.2.2: 2.2.3.0: Timp.Perc(1): Str (9-8-7-6-5 in set): Solo Low Voice
102809621E4BD-A542-4535-98CF-C3AD8E3FDF07S502001Open Secrets