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11961AF10450C-EF92-43D8-B1A3-A37206C8784BSS370La MandolinataSubtitled "Fantasia for Cornet", this version is a set of melodic and rhythmic variations by a writer known for his beautiful solo cornet writing, Bellstedt's piece is available with both piano and band accompaniment.Trombone or Baritone B.C. and Piano
11962AF11E101-69B9-4C43-A175-8611F51182DAA748102Biblical Songs, Op. 99/B. 189 [Nos. 1-5 orch. by Dvorak; Nos. 6-10 orch. by Zemanek, ed. Burghauser and Hanus] (critical edition)BIBLICAL SONGS, Op. 99/B. 185, on texts from the Book of Psalms, were written in March of 1894, during Antonín Dvo?ák's (1841-1904) stay in the United States. The composer turned to the Bible against a personal background of grave and disturbing news: Hans von Bülow, the famous conductor, a close friend and ardent devotee of Dvo?ák, had died a month earlier in Cairo, ad Dvo?ák's 80-year-old father lay gravely ill in distant Bohemia - he died on March 26, two days after the last of the BIBLICAL SONGS was completed. Dvo?ák chose for these songs verses from the Czech version of the Book of Psalms, gradually changing from expressions of despair and supplication to jubilation. The songs were first published (with Czech, English, and German texts) in 1895, and some of the songs premiered on September 26, 1895 at Mladá Boleslav, O. Schellerova singing. Dvo?ák orchestrated the first five songs as Op. 99/B. 189 in 1895, which premiered in Prague on January 4, 1896, by baritione František Šír and the Czech Philharmonic, conducted by the composer. In 1914, conductor Vilém Zemánek orchestrated Nos. 6-10. This edition of all ten songs was edited by Antonín ?ubr, while just Zemánek's orchestration of Nos. 6-10 have been further edited by Jarmil Burghauser and Jan Hanuš. Instrumentation: 2.0.2.0: 2.2.0.0: Timp.Perc(1): Hp: Str(9-8-7-6-5 in set): Solo A or B.2.0.2.0: 2.2.0.0: Timp.Perc(1): Hp: Str(9-8-7-6-5 in set): Solo A or B.
11963af1b7339-9e3c-11f0-a418-0022482c9682X560021Cocktail Music: Song Without WordsGerber's sense of humor is showcased in this cross between show music and French Impressionism, manifesting as a salon ditty searching for its lounge lizard vocalist.Guitar solo
11964AF238847-CFC9-4FE1-9FF4-3C0698FF4B2FS774CBYankee Doodlin'YANKEE DOODLIN' is a set of continuous variations in which the tune itself is left more or less intact but presented with variations in meter, rhythm and harmony. The melody is passed among various soloists and sections, showcasing the instrumental colors of the band and, every now and then,, the interjection of a phrase of "Dixie" by the piccolo.Concert Band
11965AF23A5BC-31DB-4DDF-8BEF-FF6BB443C8A3A880102Le Manoir de Rosemonde (composer's transcription in D minor)(not set)2, 1+1, 2, 2 - 4, 2, 0, 0, timp, str, solo voice
11966AF2CD10D-2809-4AED-A9CC-EE4E449EFCD7SO29CFestival for Fiddlers
11967AF36B7F9-62E6-4407-8CED-27E900F1286E52730607Three Pieces for Cello and Piano, Op. 40Cello, Piano
11968AF455C1E-21CA-4584-9BBE-984B5157077DST79Aubade for Flute, Oboe and ClarinetPaul de Wailly (1854-1933) was French composer and one of the rare pupils of Cesar Franck, who taught him "everything I know." Not an avant-garde composer when that style was fashionable, he received an indifferent reception to his works in the early 20th century. But his music fits into the Romantic era quite well. This aubade (a piece of music appropriate to the dawn or early morning) for flute, oboe and Bb clarinet starts with technical flourishes from the players, then moves to a slower, more lyrical middle section, before returning to the original tempo for a rousing finish. This edition was prepared by Albert Andraud.Woodwind Trio: Flute, Oboe and Clarinet in Bb
11969AF48D17B-D75D-4FAA-9435-DA2AFF7636C6SS348CONCERTINO (OUT-OF-PRI
11970AF4D7A0A-4CEF-428D-8F95-11354B8507BFX944006Missa Solemnis: Music from the Vatican in Honor of Saint PioFrom Musical America, August 23rd, 1913, "A splendid work is a mass in D by Carlo Giorgio Garofalo, for mixed voices and organ, in conformity with the 'motu proprio' (of Pope Pius X). It is an example of pure melodious counterpoint, written with mastery and adundant inspiration."SATB and Organ
11971AF4DCC38-60FE-4364-B141-3B36DB396F39X410031HammersteinSchelle characterizes Hammerstein as "a brief, schizophrenic etude." The work draws it's aesthetic inspiration from the classic challenge etudes of Chopin, but more directly from two specific Beethoven sources, including brief fragments and references to Waldstein and Hammerklavier. The motifs fuse in development and extension of the work's original materials, notwithstanding a miniaturized quote from Rogers and Hammerstein's This Nearly Was Mine, as if a personalized autobiographical touch from each performer.Solo Piano
11972AF50BA5C-F228-4073-896C-1D8B74E23007A839702Tombeau de Couperin, Le, M. 68: 6. Toccata (transcription)Le Tombeau de Couperin is a suite for solo piano by Maurice Ravel, composed between 1914 and 1917. The piece is in six movements, based on those of a traditional Baroque suite. Each movement is dedicated to the memory of a friend of the composer who had died fighting in World War I. Ravel also produced an orchestral version of the work in 1919, although this omitted the Fugue and Toccata movements. Pianist Michael Round created this orchestration, which was recorded by Vladimir Ashkenazy (Exton, 2003). This edition omits percussion parts so as to exactly match the orchestration of Ravel's scoring of the rest of the suite, but these parts are available separately, directly from the orchestrator. Instrumentation: 2.2(2d.EH).2.2: 2.1.0.0: Hp: Str (9-8-7-6-5 in set). Round's orchestration of both the Fugue and Toccata in Ravel's original instrumentation, as well as Ravel's orchestration of the original four movements (Clinton Nieweg edition) are available from the publisher.2.2(2d.EH).2.2: 2.1.0.0: Hp: Str (9-8-7-6-5 in set)
11973AF50E92F-61A2-46AF-B149-204123FBF8CCM384291Sonates En Trio3 Flutes
11974AF53EC98-C755-4747-B8F3-3C61E6BC99F8A810202Songs to Poems by Rueckert; No. 1: Blicke mir nicht in die Lieder, medium voice (F, original key)Gustav Mahler (1860-1911) composed SONGS TO POEMS BY RUECKERT (SONGS AFTER RÜCKERT; RÜCKERT-LIEDER) between 1901 and 1902. They were not conceived of as a cycle, with each song only connected by the poet Friedrich Rückert and the themes. But they were published together, first as SIEBEN LIEDER AUS LETZTER ZEIT (SEVEN SONGS OF LATTER DAYS) with two additional Mahler songs, then with only the five songs. They have simply come to be known as Rückert-Lieder and are now most frequently performed together, although Mahler did set other Rückert poems aside from these five. The first song, BLICKE MIR NICHT IN DIE LIEDER (DO NOT LOOK AT MY SONGS), presented in the original key of F in this version for medium voice, portrays a poet who conceals his poems from his lover but promises her that when they emerge into the sunlight, she will be the first to read them. Instrumentation: 1.1.1.1: 1.0.0.0: Hp: Str (4.4.3.3.0 in set): Solo Voice.1.1.1.1: 1.0.0.0: Hp: Str (4.4.3.3.0 in set): Solo Voice
11975AF5933A1-D16D-45C8-89A6-6554BC0CEB7BST12Four FrescoesComposed for Robert Levy and the Iowa Brass Quintet. Includes trumpet parts for both Bb and C instruments.Brass Quintet
11976AF5B586E-3F31-4C4E-8717-AE3B7587E56DR00420Three Pieces for Bassoon and Concert BandBassoon Solo 1+Piccolo.1.3+Alto Clarinet+Bass Clarinet.1.AATB Saxophone Ensemble: 4.3.3.Euphonium.1: Timpani.Percussion(3): Double Bass
11977AF610248-25E6-4408-BB54-55B560E5E61CST16In MemoriamOboe
11978AF68056D-D66C-43C2-B57A-7FFBDA7E7ED3R00888Bicycle WaltzCelebrates the bicycle in a musical adventure based on the 1890s song ÒDaisy BellÓ (Bicycle Built for Two).2+Piccolo.2.2.2: 4.3.3.1: Percussion(3): Strings
11979AF69240C-0241-4D1E-8B9F-A15EFA43807720412193Two Dances(not set)Flute Trio
11980AF69E12A-B7B4-421F-8AE6-1840C14D5897SF2102Chant and Jubilo (flexible ensemble - digital only)New flex band arrangement by Clarence Barber, playable on any SSATB combination of woodwind, brass, or string players with optional percussion. This title has been recognized as one of the most outstanding of the composer's works and is justly regarded as one of the classics of the band repertoire. In anticipation of the composer's 35th Anniversary with Southern Music, the editors reexamined this masterwork in 1996 in order to prepare a new edition embodying the composer's experience in conducting this work for many years.Flexible Instrumentation (SSATB) Minimum of 5 players, any combination of winds, brass and strings with optional percussion.