Titles
Showing 12,241-12,260 of 17,576 items.
| # | ID | Titlecode | Title Name | Marketing Copy | Instrumentation | |
|---|---|---|---|---|---|---|
| 12241 | B30446C1-71A5-496E-94A2-B4A54565AA9A | R01107 | Evening Shadows for Flute, Bass Clarinet and Piano | (not set) | Flute, Bass Clarinet, Piano | |
| 12242 | B306E102-6D8B-4C22-BB90-C4D086679AD0 | SS367 | Fantasia No. 1 | Baritone B.c. | ||
| 12243 | B30AB48A-2880-400D-AE3E-B3B823B2B133 | M205491 | Eight Songs, Op. 57 (h) | (not set) | High Voice and Piano | |
| 12244 | B30CB698-5680-4025-BC8C-B46D6EDFB026 | ST964 | Echo Echo | (not set) | Percussion Quartet | |
| 12245 | B30E0C1F-4921-4E2A-BDF6-57EBF950F1A4 | A774390 | Sinfonia No. 3: String Symphony in E minor | This is the third among thirteen string symphonies written between 1821 and 1823, when Mendelssohn was twelve to fourteen years old. Like the other twelve, it was written as a tribute to early Classical symphonies by composers such as Haydn, J.C. Bach, C.P.E. Bach, and Mozart, a feature much more obvious in the first six as they were more imitative. The second grouping, starting with Sinfonia No. 7, show more of the composer's emerging personal style. Mendelssohn composed most of the thirteen works in three movements, and his third string symphony is no exception. String count of 8-8-5-5-5 in set. | String Orchestra (8-8-5-5-5 in set) | |
| 12246 | B3100416-A90C-4683-9B3A-B4DAC39A29BB | ST765 | Adagio and Allegro | This transcription for clarinet and piano is part of the Voxman Solo Series edited by Himie Voxman and R.P. Block. The range of the solo part also makes it suitable for performance on soprano and tenor saxophones. | Clarinet and Piano | |
| 12247 | B31129A9-95E7-4B46-BBB9-A97816CE3950 | RCSS425 | Romance | Flute, Piano | ||
| 12248 | B317F0B9-103C-4963-B51B-BF2CED8641B6 | A932990 | El Amor Brujo (Love, the Sorcerer): Ritual Fire Dance | Revised version from IMSLP: 2(2dPicc).1(dEH).2.1: 2.2.0.0: Timp.Perc(1): Pno: Str (9-8-7-6-5 in set): Contralto Voice | ||
| 12249 | B31F769A-BC02-43A9-ACD6-EBE0C85A9011 | A839502 | Variations on a Rococo Theme, Op. 33 (Original version) | This Mozart-inspired work, completed in January of 1877, was the first composition by Tchaikovsky for cello and orchestra. While for many the years, Variations on a Rococo Theme was only known in a version heavily edited by Wilhelm Fitzenhagen, to whom the work was dedicated, this edition by Paul Tobias and A. Stogorski is reconstructed to the original version. Instrumentation: Solo Cello: 2.2.2.2: 2.0.0.0: Str (9-8-7-6-5 in set). | Solo Cello: 2.2.2.2: 2.0.0.0: Str (9-8-7-6-5 in set) | |
| 12250 | B3200B3E-1CD9-4CA5-B535-D21F754CCC7E | S510016 | L'Ecole Moderne, Op. 10 | Henri Wieniawski, the Polish born violin virtuoso, chamber musician, composer and pedagogue was admitted into Lambert Massart’s violin class at the Paris Conservatoire at age 8. In 1850, he received the Premiere Prix, both as violinist and composer. His pedagogical masterpiece l’Ecole Moderne was published when Wieniawski was barely 19 years old. These 9 concert etudes combine Wieniawski’s passionate romantic style as a composer with his stunning inventiveness as violin virtuoso. It is now standard staple in every conservatory. In 1860, he became the Tsar’s violinist and head of the string department of the newly established St. Petersburg Conservatory. His innovative bowing is the template of the famed Russian Violin School. Wieniawski’s bow hold became known as the “Russian Bow Grip.” | Violin solo | |
| 12251 | B32633F0-800B-476F-BF3C-8FD24BC03EF1 | R01613 | Caminantes: Tune of Atonement to Honor Venezuelan Refugees | Since 2015, approximately 1.9 million Venezuelans have fled their collapsing nation, with the most desparate escaping on foot as they cannot afford a bus or plane ticket. CAMINANTES, meaning "hikers" or "walkers" in Spanish, explores the different emotional stages undergone by any one of the hundreds of thousands of Venezuelans who decide to walk to the border between Venezuela and Colombia in the hope of finding a hospitable place that offers basic human rights and opportunities. This work was commissioned by the Wind Ensembles at Vanderbilt University, Thomas Verrier, Director, and 31 other co-commissioners with the assistance of the College Band Directors National Association. | 2+Picc.2.3+BsCl.2: 2ASax.1TSax.1BSax: 4.3.3.1Euph.2: Pno: Timp.Perc(3) | |
| 12252 | B32C64D9-BC84-4621-8859-EAAED594E6E3 | B567 | Art Songs By Contemporary Texas Composers, Volume 2 | This collection of songs is the 2nd in the series "Art Songs by Contemporary Texas Composers." Like the first volume, this collection was created in response to requests from many teachers for new repertoire which suits the abilities of the young singer. In addition to writing or selecting suitable texts, the composers created these songs within a modest vocal range, including tonal melodies, and traditional forms, so that the students' musical and vocal abilities would not be burdened while concentrating on correct vocal technique. All of the songs in this series have been placed on the Texas University Interscholastic League prescribed music list. It is the editors' desire to provide this collection for all persons having an interest in the American Art Song. | Voice, Piano | |
| 12253 | B32DC90A-A33B-41BB-AFBD-EB9DDA0ED4B3 | R176 | BACH meets EsCHeR: Essay No. 1 - "Polyphony" from Four Symphonic Essays | This piece is the first in a series of orchestral essays (Entitled "Four Symphonic Essays") which explore differents aspects of musical texture: monophony, homophony, cacophony, and in this work polyphony. This piece combines the influence of J.S. Bach's music with the graphic designs of M.C. Escher. | 2+1.3(3dEH).3(3dBCl).2+1: 4.3.2+Btbn.1: Timp.Perc(3).Pno: Str | |
| 12254 | B33316DC-2A62-4588-B856-50CB331C7FDB | M984790 | Homage March from Sigurd Jorsalfar | Full Orchestra | ||
| 12255 | B3338305-C7F7-4EAD-AC9D-66CC66DBCDE2 | M153191 | La Capriciuse, Op. 17 | (not set) | Violin and Keyboard | |
| 12256 | B335A1B6-04D4-4DF9-AD35-2C565926CE5E | SU317 | Sonata, Op. 4, No. 11 | Originally written for flute and continuo, this sonata showcases both lyrical and technical ability - perfect for juries or recitals. Movements: I. Largo II. Allegro III. Sarabande IV. Allegro | Soprano Sax | |
| 12257 | B335F96E-8149-4C35-8309-DD52B48C0960 | SC272 | Sanctus and Hosanna | (not set) | Satb | |
| 12258 | B33A4EE7-D3FC-43D6-8061-8418F5758FD0 | A922290 | Non Ti Scordar (g) | |||
| 12259 | B33A76BF-B4F7-41D5-988C-CF281D47B693 | B347 | Songs By John Duke, Vol. 1 | This four volume collection of songs was created with the avowed purpose of offering a substantial group of John Duke's previously unpublished songs. It is published in collaboration with The Society of the Friends of John Duke. Volume I Contents: 1. When the Rose Is Brightest (Nathaniel Parker Willis) 2. Stopping by Woods on ? Snowy Evening (Robert Frost) 3. The Puritan's Ballad (Elinor Wylie) 4. Midcentury Love Letter (Phyllis McGinley) 5. All Beauty Calls You to Me (Sara Teasdale) 6. Listen, I Love You (Sara Teasdale) 7. I am so weak ? Thing (Sara Teasdale) 8. All Things in the World Can Rest, But I (Sara Teasdale) 9. Oh, My Love (Sara Teasdale) 10. Renouncement (Alice Meynell) 11. Noonday (Traditional Chinese) 12. Through Your Window (Traditional Chinese) 13. The Shoreless Sea (Traditional Chinese) 14. New Feet within My Garden Go (Emily Dickinson) 15. The Rose did Caper on Her Cheek (Emily Dickinson) 16. Have You Got ? Brook in Your Little Heart? (Emily Dickinson) 17. I Taste ? Liquor Never Brewed (Emily Dickinson) 18. The Better Part (George Santayana) | Vocal | |
| 12260 | B3406FCD-9E39-4E1C-86E9-4609DCD26BC8 | LV140CB | Liza Jane | (not set) | Concert Band |