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13201c0f3d7a5-9e39-11f0-a418-0022482c9682A210002Queen's Lace Handkerchief, The (Das Spitzentuch der Koenigin): OvertureTHE QUEEN’S LACE HANDKERCHIEF (DAS SPITZENTUCH DER KÖNIGIN) is an operetta by Johann Strauss II (1825-1899). The libretto by Heinrich Bohrmann-Riegen and Richard Genée is based on a fictional story about the Spanish writer Cervantes. Mocking the affluent count Villalobos, Cervantes finds himself in prison, but the king of Portugal frees him because the queen is fond of his literary work. When the count finds a handkerchief from the writer’s pocket embossed with an amorous message from the queen, a scandal ensues, but Cervantes finds a clever way to reunite the royal couple. The premiere took place on October 1, 1880 at the Theater an der Wien in Vienna under the baton of the composer. This Kalmus edition of the Overture is arranged by Max Schönherr. Instrumentation: 2(2nd d. Picc).2.2.2: 4.2.3.0: Timp.Perc(2-3): Accord.Hp: Str (9.8.7.6.5 in set): Pno Cond Sc in set.2(2nd d. Picc).2.2.2: 4.2.3.0: Timp.Perc(2-3): Accord.Hp: Str (9.8.7.6.5 in set): Pno Cond Sc in set
13202C0F408C7-1B40-4D1A-B3DA-CC1E44ABDFDEM329991Three Compositions, Op. 40Published by Amy Beach in 1898, this compilation of three original compositions includes La Captive, Berceuse, and Mazurka (Op. 40, Nos. 1-3). Reprint edition.Violin and Piano
13203C0F51592-2A36-4E64-A03E-AE3284227AF9A269802Three Songs (Drei Lieder) [collection]This arrangement for orchestra for Three Songs (Drei Lieder) by Johannes Brahms (1833-1897) has been completed by Willy Weide (1880-1910). Songs included: 1. Liebestreu (True Love), Op. 3, No. 1; 2. Wiegenlied (Lullaby), Op. 49, No. 4; 3. Feldeinsamkeit (In Summer Fields), Op. 86, No. 2. A vocalist may be brought in to sing the solo along with the orchestra, though the solo vocal lines are also written into the instruments should a purely instrumental performance be preferred. Instrumentation: 2.2.2.2+CBsn: 4.2.3.0: Timp: Str (9-8-7-6-5 in set): Solo Voice (opt.). Reprint edition.2.2.2.2+CBsn: 4.2.3.0: Timp: Str (9-8-7-6-5 in set): Solo Voice (opt.)
13204C0FA4141-33DB-4F1B-81B5-4B26CB574199ST592RondoClarinet
13205C102DA1A-CCDB-41DD-8C43-7F56E0FCB488SS270Friendship (out-of-print)English Horn
13206C103732F-D077-400E-A0F0-B5443C840851R00183The Melting VoiceThe Melting Voice is an arrangement for large chamber ensemble of the third movement of Crockett's orchestra work, Melting Voices, which takes poetic fragments as points of departure. "The Melting Voice" comes from John Milton: "The melting voice through mazes running, untwisting all chains that tie the hidden soul of harmony."Flute, Oboe, B-flat Clarinet, Bassoon, 2 Horn, Trumpet, Trombone, Percussion(2), Piano, Harp, 2 Violin, Viola, Cello, Double Bass
13207C1071414-32C9-4B9B-8087-FA0251AF636AS57Comin' Round The Mountain (out-of-print)Marching Band
13208C1083B05-1799-413E-86E8-08A37DB4B6DDSC122New Prince, New PompSatb
13209C10C1F09-E5A0-4B57-91EC-A758B8E76017M126291Nine Preludes, Op. 1(not set)Piano Solo
13210C10C6428-580D-4D5D-9088-EAAF08BD52E6B453Fantasies I-XII (1 - 12)The "Twelve Fantasies" are a faithful reflection of the "gallant style" of the age. They were written about 1732, during the height of Telemann's career and faithfully depict his movement away from the Baroque into freer forms, giving an improvisatory and somewhat spontaneous feeling to these works. These solo fantasies of Telemann have been beloved late Baroque works by flutists for centuries. Their beauty and incredible interpretive opportunities are offered to oboists in this wonderful transcription by Sidney Forrest.Oboe Unaccompanied
13211C1134E94-5F50-4752-820C-D5183917F51120505192Two Civil War Songs"Aura Lee" and "Dixie" are well-known tunes from the 19th century that still have popular appeal. Legato playing is necessary for the proper interpretation of "Aura Lee," and "Dixie" should be played in a light but energetic staccato-marcato. An excellent piece for concert of contest!Multiple Brass Sextet and opt. Percussion
13212C11719ED-9798-4672-8290-743F838C3A70B519Songs for Sight Singing Vol. 2: JH/ SATBSONGS FOR SIGHT SINGING provides a collection of literature for use in the choral classroom. Each selection was composed according to the criteria designed by Texas choral directors and commissioned by the Texas University Interscholastic League for use in its annual sight singing contest. These graded materials were created specifically for young musicians by recognized composers and comprise a valuable resource as they contain many of the problems encountered in sight singing. This collection can be used effectively as a supplement to the daily instructional sight singing program after an approved system (movable “do”, fixed “do” or numbers) and a rhythm system are established within the choral curriculum.SATB
13213C11A754F-EB09-4038-870B-CC862B3453CF20100549Patriot March, The(not set)Band
13214C121BBEC-A8D3-452E-9C8B-CD26065970D650100069Basque Folk SongsThis first-rate arrangement offers your band a rare opportunity to hear and play music from the Basque people of western Europe. The delightful melody will charm young and old alike.Concert Band
13215c125b008-9e39-11f0-a418-0022482c9682A210802Wiener Blut Waltzer, Op. 354 (Vienna Blood)Johann Strauss Jr. (1825-1899), The Waltz King of Vienna, was beginning to focus more on composing staged operettas over concert works when he was asked to write a dedication waltz to celebrate the wedding of the Emperor Franz Joseph I's daughter Archduchess Gisela Louise Maria to Prince Leopold of Bavaria. The waltz, titled WIENER BLUT (VIENNESE BLOOD), Op. 354, was first performed on April 22, 1873, and is notable as being the first work by Strauss performed by the Vienna Philharmonic Orchestra, which had rejected his works previously in an effort to avoid association with "light" music. A mature waltz, it showcases Strauss' move towards the symphonic concert style, with extended melodies and more varied development. Instrumentation: 2(2nd dPicc).2.2.2: 4.2.3.0: Timp.Perc(2): Str (9-8-7-6-5 in set). Reprint edition.2(2nd dPicc).2.2.2: 4.2.3.0: Timp.Perc(2): Str (9-8-7-6-5 in set)
13216C127AE0D-BA94-4822-B000-B42D4D8B1272ST180FantasyThis piece was commissioned by the International Trombone Association.Trombone and Piano
13217C12A5F95-8840-47F7-8200-C5C55BA9C5B7R01453Headcase for Baritone and 7 Players(not set)Baritone, Flute, Clarinet, Percussion, Piano, Violin, Cello, Bass
13218C12BB2AB-B5C1-423C-A222-AB24F58BC986X105012SavannahPremiered 1991 by Quintessence.Woodwind Quintet
13219C13B68DC-3AB9-4D09-9DA2-372F625EC4FE20220308Fantasy on America: My Country, 'Tis of TheeIn this arrangement of the popular tune (AMERICA or GOD SAVE THE QUEEN), Nelhybel begins with fragments of the melody and gradually coalesces them to the final unison strain. The work includes a solo violin feature and also a full section of youth soloists in the violin section. FANTASY ON AMERICA was written to be used as a Festival work, allowing students of many different grade levels to participate. The part labeled "Youth Soloists" is easily accessible to first and second year students.Youth Soloists
13220C1417CAF-8EEA-45E9-80EC-AEE5F54BF166A205102Kuolema, Op. 44: No. 1, Valse TristeKuolema ("Death" in Finnish) is a play by Arvid Järnefelt. Jean Sibelius (1865-1957) happened to be Järnefelt's brother-in-law, and he composed incidental music to the play under the same title (Kuolema, JS 113) in 1903. The incidental music originally included six numbers, and Sibelius himself conducted the premiere performance on December 2, 1903, with the Finnish National Theatre in Helsinki. The standout movement was the first one (Tempo di valse lente - Poco risoluto). In 1904, Sibelius revised this movement and titled it Valse triste, Op. 44 (Sad Waltz), which premiered on April 25, 1904, in Helsinki. In 1906, Sibelius also combined Nos. 3 and 4 from the original incidental music to create Scen med tranor (Scene with Cranes), and this was set as the second movement of Op. 44. But Valse triste was truly the breakout work, and for some time, it was the only work by Sieblius known outside of Finland. In the plot of the play, Paavali waits next to his mother in her deathbed, his mother dreaming of having gone to the ball. Paavali himself falls asleep, then Death comes to take his mother, but she believes Death to be her already dead husband, and she proceeds to dance the Valse triste with him. When Paavali awakes, his mother has passed. The melancholic work, as Sibelius' breakout work, remains a regular part of concert performances. Instrumentation: 1.0.1.0: 2.0.0.0: Timp: Str (9-8-7-6-5 in set). Reprint edition.1.0.1.0: 2.0.0.0: Timp: Str (9-8-7-6-5 in set)