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#IDTitlecodeTitle NameMarketing CopyInstrumentation 
  
11781AC539D3D-2E3E-40E1-A235-008A1CCCAB0DSU462Past Midnight(not set)10P
11782AC56CB9C-C722-4555-953D-4DDFA11B95B5X146004Divertimento for Contrabassoon and PianoDesigned to be useful as either a teaching work or a short recital piece. Dedicated to Jeanne Coonan.ContraBassoon, Piano
11783AC579389-4049-404D-A6D4-61909728E93560710011Concerto in C, IFK 42Austrian-born American violinist and composer Fritz Kreisler (1875-1962) is considered among the best virtuosic violinists in history. While he did write some operettas, vocal works, and a smattering of pieces for other instruments, it is unsurprising that most of his output was for the violin. In the earlier part of his career, he wrote a number of pastiches in the style of other well-known composers, going so far as to ascribe the work to them rather than to himself. In 1935, Kreisler revealed that he had composed these select works, answering his critics by pointing out that they had deemed to music worthy under the other composers' names, and that "the name changes, the value remains." Among these such works is his CONCERTO in C, IFK 42, which Kreisler falsely attributed to Baroque composer Antonio Vivaldi. In three movements, the work exists with both string orchestra accompaniment and this Master reprint edition for violin and piano.Violin and Piano
11784AC59C827-6448-4AA4-8137-8D63B4467FCFM281491Passcaglia(not set)Solo Piano
11785AC5DF27F-DCC6-47AF-A88D-D892897CAD76R01542Symphony No. 4: RejuvenationThis work was commissioned by the Shanghai Philharmonic Orchestra. It is divided into two parts and fifteen movements. The work is scored for 105 piece orchestra with a total duration of 90 minutes. The title Rejuvenation has a double meaning of both an ethnic rejuvenation and a revival of classical tradition of composition.2+2 Picc.2+2 EH.2 Eb Cl.2+2 Cbsn.Asax: 8.4.4.1: 2 Timp.5 Perc.Pno.Clst.2 Hp: Str(16.14.12.10+1 Solo Cello.8)
11786AC68CE11-31AB-4502-9413-97609D2DA2F3A931990Humoresque No. 6, Op. 89Jean Sibelius (1865-1957) clearly enjoyed writing the six humoresques for violin and orchestra in 1916-1917. They were not performed until 24th November 1919 together with the first performance of the final version of the fifth symphony. The soloist for the Humoresques was Paul Cherkassky. According to the critics, he came close to being drowned out by the orchestra. This publication is the first quality reprint edition of the Humoresque No. 6 in G minor. Vn Solo: 2.0.0.2: 0.0.0.0: Str(8.8.5.5.5 in set).Vn Solo: 2.0.0.2: 0.0.0.0: Str(8.8.5.5.5 in set)
11787AC6F1B93-97C1-44BF-90FD-284BAAEE2634S511045Two Pieces for Violin and Piano: Capriccio-Valse and Variations on an Original ThemeContains: Capriccio-Valse Op.7 (1852) and Variations on an Original Theme Op.15 (1854).
Preface

The Polish-born Henri Wieniawski entered the Paris Conservatory of Music at an unprecedented young age of 8 as double major in violin and composition. He graduated at age 11. His concert career started first in Europe and then the United States. His prodigious repertory included solo works by Mozart, Beethoven Mendelssohn, Tartini, Paganini, and of course his own compositions. Much of his sizeable output has stood the test of time. Written in a romantic style, his works are showpieces of the first order.

His specialties as violin virtuoso are represented in both the Capriccio Valse as well as the Variations on an Original Theme. Sustaining triple and quadruple chords, cantilena in the highest positions, rapid string crossing, playing melody left hand pizzicato while performing bowed accompaniment, rapid on-string and off-string staccato, alternating right hand pizzicato with solid notes and harmonics are all examples of the technical virtuosity displayed.

The great pedagogue Leopold Auer stated that the greatest violinist he ever heard was Henri Wieniawski, even considering his own students, Jascha Heifetz and Nathan Milstein.		Violin, Piano
11788AC6F91D1-1B35-41EC-B098-E9FB9F531EAEBSMO102Concerto for Guitar and Chamber OrchestraInstrumentation: Solo Guitar: 1.1.1.1: 1.0.0.0: Perc: Pno: Str.Solo Guitar: 1.1.1.1: 1.0.0.0: Perc: Pno: Str
11789AC71B6DA-696D-40FE-96F2-FFD3BE124BDCR01181Janus Variations for Orchestra2+Piccolo.2+English Horn.2+Bass Clarinet.3(1d ContraBassoon): 4.3.2+Bass Trombone.1: Timpani.Percussion(3).Piano.Harp(2): Strings
11790AC72CC80-5625-42EF-B519-155E8BE12898SC596Always SingingThe text to DeWitt's setting for SSA choirs is by Ralph Waldo Emerson.SSA
11791AC73088C-D695-4D8F-9BD0-428597FB756DST383COCanon and Gigue(not set)4 Guitars
11792AC743FF8-4662-4D3A-B152-A097098BE1B4S470CBSymphonic Episode(not set)Concert Band
11793AC7692D4-4671-4395-8A77-08460594277C51250714Fanfare and FripperyString Orchestra
11794AC7AA9BA-AD20-47D9-8D1E-08848B204FFCA551690Suite (Overture) No. 3 in D, BWV 1068: Aria (Air on the G String)During the first half of the eighteenth century, the French dance suite achieved great popularity throughout northern Europe. From 1724 to 1731, JOHANN SEBASTIAN BACH (1685-1750) modelled his four orchestral suites, designated by the composer as ouvertures, on this much-loved musical form. SUITE NO. 3 IN D, BWV 1068, written around the year 1730, contains six movements in the style of French dances of varying meter and temperament. The ARIA in the second movement, frequently known as AIR ON THE G STRING, was arranged by Leopold Stokowski in 1923. Bringing this music into the twentieth century, he creatively chose to pass the melody between the cello and first violin parts.String Orchestra (8-8-5-5-5 in set)
11795AC7F98A9-991D-4BDF-B4C0-666F4748687D52703307Tangos and More: Six Dances for String QuartetAt first glance, this collection of Tangos, Rhumbas, and even a gypsy Csardas looks tricky; but when you play them you find that they're all very playable and very exciting. This will liven up any performance!Violin 1, Violin 2, Viola, Cello
11796AC801D52-07B6-4290-BF9F-995A5431F4E1M403791Ballade, Op. 19(not set)Solo Piano
11797AC8528B1-241B-45F8-BAC4-817C6C58E12DX622507Spirituals Book II for Flute and CelloDedicated to Eveline Kuhn and Arash Amini, this work follows in the fashion of Gerber's earlier work "Spirituals" for strings, with or without clarinet solo. Rather than being simple arrangements, this is a collection of short but strikingly original and stylized fantasias based on well-known spirituals. Movement titles:I. Simple Variations ("My Lord, What a Morning")
II. Octatonic Scherzo ("Joshua Fit the Battle of Jericho")
III. Three Choruses ("John Henry")
IV. Sequences I ("Swing Low, Seet Chariot")
V. Major/Minor ("Roll, Jordan, Roll")
VI. Sequences II ("Do Lord")
VII. Kinda Bluesish ("When the Saints Go Marching In")
VIII. Crescendi and Diminuendi ("It's Me, Lord")
IX. Recitatives and Arias ("Follow the Drinking Gourd")		Flute, Cello
11798AC8C1630-B603-4F76-A8C6-16DC8AD1DF8CM409891Twelve Easy Duets, Op. 50French horn player Jacques-François Gallay (1795-1864) composed many works for his instrument during his career as performer and horn professor at the Paris Conservatoire. This collection of Twelve Easy Duets, Op. 50 for horns has been edited by J. L. Rydelius.Horn Duo
11799AC8E9ACD-058E-4FA7-9D57-CC80803C84E6A015490And The GloryA triumphant and joyful arrangement for full orchestra, this excerpt from Messiah will need no words, partially because the work is so well known and partially because the arrangement so captures the spirit and verve of the original choral version.Full Orchestra
11800AC9173AA-C479-4227-BC3E-CEAB3497D3AAA149902Orfeo ed Euridice, No. 19: Dance of the Blessed Spirits (from Wq. 41)A radical innovation when it first appeared in 1762, Christoph Willibald Gluck’s (1714-1787) dramatic opera based on the Greek myth of Orpheus resurfaced in a variety of later editions at the hand of its composer and later, during the Romantic period, advanced by musical figures such as Berlioz and Liszt. Set to an Italian libretto by Ranieri de’ Calzabigi, ORFEO ED EURIDICE (ORPHEUS AND EURYDICE) premiered at the Burgtheater in Vienna on October 5, 1762 with Empress Maria Theresa in attendance. Gluck constructed a second version (Wq. 41, retitled as ORPHÉE ET EURYDICE) twelve years later for the Académie Royale de Musique in Paris with a French libretto translated by Pierre-Louis Moline. The ballet in the second scene of Act II, expanded for the 1774 version, became the celebrated DANCE OF THE BLESSED SPIRITS, a pastoral evocation of Elysium, as Orfeo ventures there in search of his beloved. An arrangement for orchestra by Felix Mottl is presented in this Kalmus edition. Instrumentation: 2.0+EH.0.0: 2.0.0.0: Str (4.4.3.3.3 in set). Reprint edition.2.0+EH.0.0: 2.0.0.0: Str (4.4.3.3.3 in set)