Titles
Showing 10,401-10,420 of 17,576 items.
| # | ID | Titlecode | Title Name | Marketing Copy | Instrumentation | |
|---|---|---|---|---|---|---|
| 10401 | 97995A43-22E3-4E24-B433-BE8BC9B7B4F5 | 52713038 | Violin Quartets Vol. 3 | Volume 3 contains four violin quartet arrangements for grades 3-4 ensembles, superbly adapted by composer, cellist and educator David Levenson. Includes: 1. Athalie March (Mendelssohn); 2. Menuetto from "Jupiter" Symphony (Mozart); 3. Scherzo from Symphony No. 2 (Beethoven); 4. Finale from Piano Sonata (Haydn). | Violin Quartet | |
| 10402 | 97AE5683-AF6E-4FCC-A10E-821571E3CF9B | X652515 | Clarinet Quintet for Clarinet and String Quartet | Commissioned by the Berkshire Quartet. Movement titles: I. Allegretto Grazioso, II. Recitative and Aria, III. Capriccio | Clarinet Solo: String Quartet | |
| 10403 | 97AEA83E-B54E-4C8F-B1D8-F22D3A921A89 | A724390 | Sospiri, Op. 70 (Adagio) | Edward Elgar (1857-1934) composed his adagio for string orchestra, SOSPIRI, Op. 70, just before the onset of World War I. Originally planned to compliment his SALUT D’AMOUR for violin and piano, he decided that its intense nature of expression suited it better as a stand-alone work for strings. He dedicated it to his friend, violinist W. H. “Billy” Reed. The first performance took place on August 15, 1914 at the Queen’s Hall in London under the baton of Sir Henry Wood. Instrumentation: Hp(or Pno).Org (Opt.): Str (8-8-5-5-5 in set). Reprint edition. | Hp(or Pno).Org (Opt.): Str (8-8-5-5-5 in set) | |
| 10404 | 97B3FEDA-E377-443A-A270-A5DCDA05488C | 52730548 | Dead Cello | (not set) | Cello Solo | |
| 10405 | 97B6A93A-152D-431D-9080-17EB165C626E | SC690 | Afternoon on a Hill | To the Jackson Women’s Chorale, Jackson Middle School, San Antonio, Texas. Versions for SA and SSA available from the publisher. Text by Edna St. Vincent Millay. | SA | |
| 10406 | 97B91905-6A73-4451-AE34-80FDD1CAC316 | R01063 | Catching Fireflies | 3(1d Piccolo).3(1d English Horn).3(1d Bass Clarinet).2+ContraBassoon: 4.3.3.1: Timpani.Percussion(4).Harp: Strings | ||
| 10407 | 97C31BE8-BD08-4D45-ABE9-5117A2832887 | EBM0610057 | Songs of Walt Whitman for Chorus and Orchestra | Dedicated to the National Music Camp on the occasion of the Seventh International Conference on the International Society for Music Education, held at Interlochen, Michigan, August 18-26, 1966. Texts by Walt Whitman. Movements: 1. I Sit and Look Out Upon the World, 2. The Dalliance of Eagles, 3. Tears, 4. Take Our Hand, Walt Whitman. Movements are available separately or together. | SATB Chorus, Baritone, 3*3*3*3* 4331 Timp 3Pc Hp Cel Str | |
| 10408 | 97C3A61C-F92F-417A-8946-5FD5B4115F8C | SC693 | Goodbye, My Lover | An Irish Sea Song arranged by Patti DeWitt for TB with optional third part and Harp or Piano accompaniment. | Tb | |
| 10409 | 97c654ce-9e3a-11f0-a418-0022482c9682 | A843002 | Planets, The (Op. 32/H125), No. 2: Venus, the Bringer of Peace | Writing it between 1914 and 1917, Gustav Holst (1874-1934) was initially inspired to compose THE PLANETS based on a conversation he had about astrology while on holiday in Spain with some friends in 1913. Intrigued by the concepts, he sought to write an orchestral suite for seven of these astrological signs based on the planets known to the world at the time and imbue the music with the appropriate astrological meaning. Rather than order the planets as an astronomer would, Holst ordered them in such a way as to attain maximum musical effectiveness. Scored for a large orchestra, fellow composer Ralph Vaughan Williams wrote in 1920, "Holst uses a very large orchestra in THE PLANETS not to make his score look impressive, but because he needs the extra tone color and knows how to use it." This critical edition of the "Venus" movement by Clinton Nieweg and Gregory Vaught is based on the composer's manuscript. Instrumentation: 4.3+EH.3+BCl.3+CBsn: 6.0.0.0: Perc(1): Hp(2).Clst: Str (9-8-7-6-5 in set). | 4.3+EH.3+BCl.3+CBsn: 6.0.0.0: Perc(1): Hp(2).Clst: Str (9-8-7-6-5 in set) | |
| 10410 | 97CCD48B-B0E9-495C-862D-803AEA889FA4 | K3CB | Aniversario (Vals) | (not set) | Mariachi | |
| 10411 | 97CD58DC-1C29-4613-BE08-EF41046FB233 | 20502424 | William Tell Finale | (not set) | Bb Trumpet, F Horn and Trombone (Opt. Baritone) | |
| 10412 | 97CDD145-6FBC-41A0-B902-C48E3364E357 | S510001 | Suite for Unaccompanied Violin | Recorded by Ruggerio Ricci on Laurel Records | Violin Solo | |
| 10413 | 97D08789-0EFE-4532-96CE-045614BC16B0 | B354302 | La Gazza Ladra (The Thieving Magpie) Overture | La Gazza Ladra, an opera buffa in two acts by Gioachino Rossini (1792-1868), was given its premier performance at La Scala, Milan, on May 31, 1817; about fourteen months after the debut of his The Barber of Seville. Even though the plot is complicated in the manner of the period, Rossini and his librettist, Gherardini, had fashioned a ‘book’ with many fresh touches. The lecherous old mayor; the falsely accused maiden in the clutches of despair - these and many other characterizations were to become stock figures in comic operas of a later period. The main novelty, however, was the inclusion of a pet magpie who was the real culprit and, through whose mischievous thievery of household effects, placed others in jeopardy. One revealing historical sidelight is the fact that Mozart’s librettist, Lorenzo da Ponte, used La Gazza Ladra to inaugurate the first theatre in New York devoted only to the presentation of opera. The opera remained popular in New York until the 1890’s, at which time the Bel Canto school yielded to the new ‘Verismo’ school. The overture has remained a staple of the symphonic orchestra repertory since the time it was composed. | Concert Band | |
| 10414 | 97d8a682-9e3a-11f0-a418-0022482c9682 | A843102 | Planets, The (Op. 32/H125), No. 3: Mercury, the Winged Messenger | Writing it between 1914 and 1917, Gustav Holst (1874-1934) was initially inspired to compose THE PLANETS based on a conversation he had about astrology while on holiday in Spain with some friends in 1913. Intrigued by the concepts, he sought to write an orchestral suite for seven of these astrological signs based on the planets known to the world at the time and imbue the music with the appropriate astrological meaning. Rather than order the planets as an astronomer would, Holst ordered them in such a way as to attain maximum musical effectiveness. Scored for a large orchestra, fellow composer Ralph Vaughan Williams wrote in 1920, "Holst uses a very large orchestra in THE PLANETS not to make his score look impressive, but because he needs the extra tone color and knows how to use it." This critical edition of the "Mercury" movement by Clinton Nieweg is based on the composer's manuscript. Instrumentation: 2+2Picc.2+EH+BsOb.3+BCl.3+CBsn: 4.2.0.0: Timp.Perc(1): Hp(2).Clst: Str (9-8-7-6-5 in set). | 2+2Picc.2+EH+BsOb.3+BCl.3+CBsn: 4.2.0.0: Timp.Perc(1): Hp(2).Clst: Str (9-8-7-6-5 in set) | |
| 10415 | 97D9FCA9-D8C0-43B0-A5BC-6914369A56C7 | 10441339 | Gavotte for Clarinet Duo and Piano | This duet for two solo instruments and piano accompaniment is perfect for a pair of beginning students' contest or recital and is available for several instruments, including two flutes, two clarinets, a combination of two alto/baritone saxophones, and two cornets/trumpets. Solo versions for instrument solo and piano are also available from the publisher. | Clarinet Duo and Piano | |
| 10416 | 97DBC2A8-36A8-4E93-A69B-FBF0D7AD0996 | ST551 | Dialogues | Bassoon | ||
| 10417 | 97E1C9FE-3F2A-4A43-902E-8671E3572870 | 50702001 | Five Pieces for String Trio | To be performed with a light touch, these Five Pieces are transparent and classical in nature with delicate counterpoint between the parts. Originally scored for oboe, clarinet and bassoon, keep in mind the importance of tone color, speed of vibrato and p | Violin 1, 2 (sub. Viola) and Violoncelllo | |
| 10418 | 97E6083C-2B8A-408C-9FE4-5CE262CCBA00 | M13 | Victor Instructions Manual (out-of-print) | Concert Band | ||
| 10419 | 97E796AC-F64E-477A-9060-BA831A04DBB5 | 50100078 | Rifle Rangers (March) | It just seems a concert isn’t complete without a rousing march. Rifle Rangers is just the ticket. Gene Milford has adapted the instrumentation to the modern concert band and Karl King has provided the perfect march, playable by bands of all levels. | Concert Band | |
| 10420 | 97E9F1AE-FE76-402C-8D25-5C3425F19EC9 | SU538 | Romance No. 1: Tone and Performance Studies No. 16 | Julius Weissenborn was an esteemed 19th century bassoon player and pedogogue, whose compositions and studies are still a major part of a young bassoonists education today. This piece is part of his "Tone and Performance Studies", of which the publisher offers several other titles including: "Arioso", "Song Without Words", "Elegie", "Humoresque", "Adagio", "Notturno", "Scherzo", "Ballade", "Romance No.1", "Capriccio", and "Romance No. 2". | Bsn/Pno |