Titles

Showing 1,221-1,240 of 17,576 items.

#	ID	Titlecode	Title Name	Marketing Copy	Instrumentation

1221	109F4C64-CC42-40ED-BE71-49B9A4816B97	50100152	Homeward Bound	You don't need to be drawn a road map to know what you've got here: a tuneful march from Sousa in a scholarly edition. It's a sure winner every way you look at it!	Concert Band
1222	10A0EC6D-0E5A-4995-B3A4-64D67DF102AC	A296802	The Abduction from the Seraglio: O Wie Angstlich (Die Entfuhrung aus dem Serail, Il Seraglio)	(not set)	1, 1, 0, 1 - 2, 0, 0, 0, str, solo T
1223	10A80C65-B6F3-4752-AD3A-AC95702C22BD	SC509	All Hail to Our Flag	Versions for TB and TTB are available from the publisher.	Ttb
1224	10AD02C3-D896-41E6-9AD9-A28B64FD1BAB	S918	Scarlet and Silver Jubilee, Op. 128	This "Vegas" overture for band was commissioned to commemorate the 50th anniversary of the University of Las Vegas. It was performed by the UNLV orchestra, with Thomas G. Leslie conducting.	Concert Band
1225	10B1E414-56A2-43EA-A45D-6BD90D219CF4	B404	Six Suites, Bk. 2 (Suites 4, 5, 6)	The set of six Suites for Violoncello Solo is a monumental masterpiece of the Baroque Period. This edition for trombone, baritone or bassoon presents the Suites in their original keys. Optional notes for the use of the Bass Trombone, or any instrument with an "F" attachment, are noted. Book 1 includes Suites 1, 2, and 3. Book 2 includes Suites 4, 5, and 6.	Trombone Unaccompanied
1226	10B53202-847B-4CCD-AB15-398EFAFEEBCF	M179391	Collected Works, Vol. 2	Spanish Renaissance composer and organist Antonio de Cabezón (1510-1566), blind from childhood, rose to prominence in Spain, employed by the royal family and becoming the first major Iberian keyboard composer. Writing predominantly for the organ, most of his music has been preserved through the efforts of his son, Hernando de Cabezón, who published a collection of his father's works. This present edition of his collected works for organ or other keyboard instruments is available in six volumes from the publisher, edited by Felipe Pedrell, with additional corrections by Higinio Anglés for this well-known collected edition.	Organ or Other Keyboards
1227	10BA1010-1A5B-4859-A663-9A2ED0C3D1FD	SC398	Let My Prayer		Satb
1228	10BCA1DF-AE63-4870-A718-9A83DD611321	B312	Five Studies		Guitar Unaccompanied
1229	10BCF1E5-5DB7-4949-80B1-163471AD954A	X624008	Five Short Pieces for Clarinet and Marimba	This composition is desigend to exhibit the individual characteristics of both the clarinet and marimba. At the same time, by employing the similarities as well as the differences between each instrument, the goal of the work is to explor the possibilities inherent in this unique instrumental combination. Movements: I. Prelude, II. The Far East, III. Meccanico, IV. Hymn, V. Calypso	Clarinet, Marimba
1230	10BD9278-B9D9-4CF7-9254-BB799361A318	MP666801	Fantasia for Brass Quintet and Organ
1231	10BF1515-2CE1-4E5B-88B6-E827B27EA4AD	SU488	Concertino		Trombone, String Quartet
1232	10BF3DD7-F3C4-4A5A-BCDB-96CB3C0C449E	52711050	Hymns of Praise	The word "hymn" comes from the Greek "hymnos", meaning a festive song. To hymnologists (people who study hymns), the HYMN is the poetry, the lyrics, which is then set to a HYMN TUNE. Many wonderful hymn tunes have been used over the centuries with several completely different sets of words. The name of a hymn tune seldom matches the name of its hymn, and most people refer to hymns by their poetic names rather than their tune names. However, some hymn tunes are so powerful, so flexible and so rooted in the collective social consciousness that they transcend whatever poetry is put with them. Several tunes in this set have been used for many poems, most of which are unfamilar. But we know the melody instantly! Written for two violins and piano, both a viola and cello part are include to substitue for the 2nd violin. Hymns (tunes) include: 1. All Glory, Laud and Honor (St. Theodulph), 2. Crown Him With Many Crowns (Diademata), 3. Glorious Things of Thee Are Spoken (Austria), 4. I Love to Tell the Story (Hankey), 5. Immortal, Invisible, God Only Wise (St. Denio), 6. O For a Thousand Tongues to Sing (Axnon), 7. O Worship the King (Lyons), 8. Praise Ye the Lord, the Almighty (Lobe Den Herren)	Violin Duet and Piano with optional Viola and Cello
1233	10C0B513-023E-4BF5-AD94-2B2E81D8876B	A888902	La Bayadere: Pas de Deux	The ballet La Bayadère (“The Temple Dancer” or “The Temple Maiden”) was created in 1877 for famed French choreographer Marius Petipa to music by Ludwig Minkus (1826-1917). In four act and seven tableaux, the ballet tells the story of the bayadère Nikiya and the warrior Solor, lovers who are beset by jealous rivals, arranged marriages beyond their control, murder, an opium-fueled hallucination of the afterlife, and a vengeful god that destroys the temple and everybody in it as revenge for Nikiya’s murder. It was first performed on February 4, 1877, by the Imperial Ballet in St. Petersburg, Russia. It was hailed as a success and masterpiece immediately after the premiere, particularly The Kingdom of the Shades scene in Act II, an excerpt which remains a major standalone work for the ballet repertoire. Modern performances of La Bayadère are almost always derived from a 1941 version sated for the Kirov/Mariinsky Ballet by Vladimir Ponomarev and Vakhtang Chabukiani, which incorporates additional music by Minkus, Drigo, and Pugni. Act II takes place after Nikiya is killed by a concealed venomous snake. A depressed Solor smokes opium, resulting in a vision of Nikiya’s spirit dwelling in the Kingdom of the Shades, a nirvana in the Himalayas. The two lovers reconcile among the shades of other bayadères in this Pas de deux, then Solor is awakened just in time for his arranged marriage to another woman. This orchestration of the Pas de Deux from Act II has been completed by William McDermott. Instrumentation: 2.2.2.2: 4.2.3.0: Timp.Perc(2): Harp: Str (4-4-3-3-3 in set).	2.2.2.2: 4.2.3.0: Timp.Perc(2): Harp: Str (4-4-3-3-3 in set)
1234	10C346F4-8552-4A55-9B4E-3A92CCA99C0F	10250117	Fugue In G Minor, The Little	Gerald Doan has skillfully arranged Bach's Fugue in G Minor, one of the monuments of music, for strings. This work will provide a challenge for all sections, but the time and effort will pay dividends in musical and technical growth.	String Orchestra
1235	10C39102-E8CB-42C5-B5D7-BB3A8CF09387	WM12880	Lazy Afternoon for Saxophone Quartet	You'll love this timeless arrangement for SATB saxophone quartet by Dana Perna of Lazy Afternoon. This tune was made famous as part of the Broadway Musical "The Golden Apple" and is suitable for intermediate players and above.	Saxophone Quartet
1236	10C52F26-124B-4DDA-81FA-B82435C3D191	M181191	Four Poems By Li-Po	(not set)	Voice & Kbd
1237	10C68215-475B-4806-9B2B-90670B40D072	20502423	Rondeau	(not set)	Bb Trumpet, F Horn and Trombone (Euphonium)
1238	10C9CDC6-3E7C-4199-88B1-697906AFE8ED	LL119	At Length There Dawns the Glorious Day		Satb
1239	10D64A08-C607-413D-A2FB-AF02E359847A	R00086	Concertpiece for Viola and Orchestra	(not set)	Viola Solo: 3.3.3.3: 4.3.3.1: Timp.Perc(2).Hp: Str
1240	10D892A0-259E-45EB-8D04-36D951662FC8	A134702	Concerto for Violin in D Major, Op. 77	Johannes Brahms (1833-1897) wrote his Violin Concerto in D major, Op. 77, in 1878. He composed the work for his longtime friend, famed violinist Joseph Joachim, who premiered it in Leipzig with the Gewandhaussaal on January 1, 1879, Brahms himself conducting. The program also included, at Joachim's insistence, Beethoven's Violin Concerto in D major, Op. 61, on which Brahms modeled his own concerto. While the critical reception of the time was mixed, the audiences at the various early performances received the work well. Most complaints directed at the concerto addressed the role of the solo violin, noting that the soloist does not offer much of the melodic material or include much in the way virtuosic passages, a consequence of looking more towards Beethoven's serious aesthetic rather than Paganini's flashy one. Joachim himself, before a falling out with the composer over personal reasons, included Brahms' concerto among the best German offered, saying: "The Germans have four violin concertos. The greatest, most uncompromising is Beethoven's. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart's jewel, is Mendelssohn's." Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin in set.	2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin in set