Titles
Showing 11,581-11,600 of 17,576 items.
| # | ID | Titlecode | Title Name | Marketing Copy | Instrumentation | |
|---|---|---|---|---|---|---|
| 11581 | A9387363-229E-4BCC-AA2B-8CA9DCFA5E69 | 50404002 | Cruising | (not set) | Woodwind Quintet | |
| 11582 | A93D414D-9717-4DE0-A39C-D64A6C9B144D | J90101 | Amazing Grace for SATB Chorus | Amazing Grace, in Jackson Berkey's setting, seems to have a life of its own ' separate from anything that the composer/arranger had in mind. It has been used in concerts and services too numerous to mention, and invariably elicits a powerful response from its listeners. At once intensely personal and at the same time universal in its appeal, it is unlike any other setting of this familiar hymn. The poetry of Amazing Grace was written by John Newton (1725-1807), a former slave ship captain. After a frightening experience at sea, his conversion occurred through his reading of Thomas Kempis' The Imitation of Christ. | SATB | |
| 11583 | A9431E10-4A11-4473-B7CB-4ED33FA30E92 | MP814035 | Jersey Side, The: An Entertainment (High Voice vers.) | |||
| 11584 | A94412C4-7760-49B0-9CE2-82480BC5A360 | B493 | 20 Progressive Studies | Almost all flutist are familiar with Karg-Elert's Thirty Caprices, Opus 107. However, his study materials for other instruments, which are also valuable, have been ignored. Arthur Ephross has selected these 20 studies from Opus 41 for oboe and Opus 153 for saxophone, and has adapted them for advacing flutists. | Flute | |
| 11585 | A94582E0-EA62-4CB4-AF16-6BC79F6F6FBC | M245491 | Die Fledermaus Overture for Woodwind Quintet | This flashy work will be a challenge, but it will also be an exhilarating accomplishment! Transcribed and arranged for woodwind quintet by Tom Kennedy. | Flute, Oboe, Clarinet, Horn and Bassoon | |
| 11586 | A94A43A8-A7EC-4BEB-B200-D95F89DA22E2 | R00706 | As Imperceptibly as Grief | Composed for the Percussion Group and the Cincinnati Philharmonia Orchestra. | 3 Percussion Soli2(1d Piccolo; 1d Piccolo, Alto Flute).2.2(1d Bass Clarinet).2(1d ContraBassoon): 2.0.0.0: Timpani: Strings | |
| 11587 | A94A84D4-A4D3-4667-A98D-AE6B90CE92CB | MR00450 | Symphony for Strings | |||
| 11588 | A94AAD48-A261-43C7-9267-AF920C3FF6C7 | M338491 | Four Irish Songs (h) | (not set) | High Voice and Piano with Optional Flute | |
| 11589 | A94B0986-9198-487A-A795-33D51AAE28C6 | A721202 | La Clemenza di Tito, K. 621: Overture | La Clemenza di Tito (The Clemency of Titus), K. 621 was written by Wolfgang Amadeus Mozart (1756-1791) in 1791 after he had almost finished Die Zauberflöte (The Magic Flute). Commissioned to celebrate the coronation of Leopold II, Holy Roman Emperor, as King of Bohemia, it was written very quickly and was considered to be a weaker work by the young composer. In the 20th century, a reevaluation of the opera has resulted in its inclusion among the fifty most often staged works in the repertoire. Telling the story of the Roman Emperor Titus, and the mercy he showed to his would-be assassins, the original three-act libretto by Pietro Metastasio was adapted by numerous other composers, although Mozart's two-act version was revised by Caterino Mazzolà. The orchestral overture is frequently performed in concert settings, and this arrangement for wind octet by Graham Sheen offers the work to the chamber stage. Instrumentation: 0.2.2.2: 2.0.0.0. | 0.2.2.2: 2.0.0.0 | |
| 11590 | A94E189E-5105-42C5-8BB4-BA1C8C195BDC | A178602 | Concerto for Flute and Harp, K. 299/297c | Wolfgang Amadeus Mozart (1756-1791) was disdainful of the flute, and instrument of which he wrote at the time he "cannot bear," and he was indifferent to the harp. Despite this, during his seven-month sojourn in Paris, he was commissioned by the Duke of Guînes and flutist, Adrien-Louis de Bonnières to compose the double concerto for himself and his harp-playing daughter Marie-Louise-Philippine, to whom Mozart had been giving composition lessons. While he found each of their playing to be very good, and he likely wrote the piece with the father's and daughter's abilities in mind, he came to despise the duke as he refused to pay Mozart the commission fee and only half of what he was owed for his daughter's composition lessons. The utterly charming work, one of only two true double concertos that Mozart wrote, is among the most popular such concertos in the repertoire, and it is the only time Mozart employed the harp in his music. The work is often performed by chamber ensembles, for which its small forces make it very suitable) or orchestras seeking to display their own flutists and harpists. Instrumentation: 0.2.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Soli Flute & Harp. | 0.2.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Soli Flute & Harp | |
| 11591 | A951CC9F-7013-441D-91C5-228408881251 | M201991 | Fantasie in F | While Philippe Gaubert (1879-1941) is best known as a distinguished performer and composer for the flute, his compositions for all woodwinds put him at the forefront of all instruments in that family. An attractive and riveting clarinet solo by the renowned French composer, FANTAISIE for clarinet and piano includes many technical features, making the work a stirring selection for the advancing clarinetist. Reprint edition. | Clarinet and Piano | |
| 11592 | A951CDC0-2467-4BE6-B86D-6B057551EA92 | S129 | March Of Christianity, The (out-of-print) | Concert Band | ||
| 11593 | A95C9974-BE02-4A3A-81E9-EFB243A8D0CB | W717791 | Six String Trios | (not set) | 2 Violins and Violoncello | |
| 11594 | A95CEFBD-071C-4499-8CD4-5BFCA4A5A294 | 10730451 | Canto X for Cello | This work for solo cello is a superb selection for the advancing cellist to explore music written in a freer form, without the clear barlines common to much music, but still maintaining a regular sense of pulse. Part of the Samuel Adler Canto Series. | Cello Solo | |
| 11595 | A95D0E12-8F65-448B-B9B5-1523E24F6AF3 | ST451 | Pizzicato Polka | This Strauss favorite has been transcribed for mallet quartet consisting of xylophone and three marimbas by William Schinstine. | 4M: Xylophone and 3 Marimbas | |
| 11596 | A967CD81-577A-436A-B2BE-741EFBF96B9D | SU386 | Concerto for Tuba or Bass Trombone (Sonata) | Originally titled "Sonata for Tuba or Bass Trombone and Piano", an orchestra arrangement written for The Juilliard School followed the sonata's premiere a year later. A subsequent arrangement for band was created in 2000, after which the original sonata was renamed "Concerto" and has become a contest and recital favorite. | Tuba or Bass Trombone, Piano | |
| 11597 | A96A6243-856A-4F3E-BFBF-DA7B6E1223AE | M279591 | Viola Sonata, IMG 52 | In writing about his Viola Sonata, Mikhail Glinka (1804-1857) said that it was the best work he composed prior to his 1830 trip to Italy. Finished in 1828, it consists of only two movements as the final rondo never saw completion. It was finally published in 1932 and contains both Viola and Violin solo parts. | Viola (or Violin) and Piano | |
| 11598 | A96A7772-AD28-4FA6-9D9F-8E3222CA2502 | MR00468 | Recuerdo for Oboe and English Horn and Wind Ensemble | Commissioned and Premiered by the Ithaca High School Band, Frank Battisti, conductor, Don Jaeger, soloist, May 11, 1966, Ithaca, New York. Versions for wind ensemble (rental) and piano accompaniment are available. Movements: 1. Sarabande, 2. Soliloquio, 3. Cancion de las Posadas | Solo Ob/EH: 2, pc 2.3,EB,ac,bc,cbc.2.ss,as,ts,bs,bsx/4.3.3.1,eu/db/tp:Perc(3) | |
| 11599 | A96BE100-C91E-4857-B927-EA002852F972 | M127691 | Songs, Vol. 4 | (not set) | Voice and Piano | |
| 11600 | A96FCE3F-AD2E-4C0F-88E7-5E2ABC532157 | P25 | POP piano sheet: Brooke's Triumphal | Piano |