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#IDTitlecodeTitle NameMarketing CopyInstrumentation 
  
13321C2BB3BB7-0E85-4251-9F62-72C5C1829C7FS576CBAir for WindsThis piece for concert band is part of the Planned Program Series and is a wonderful contest selection for the beginning-intermediate band.Concert Band
13322C2BC1AE6-1256-4C44-9297-A70C30B08755X111015CanzoneThis short instrumental piece has a song-like character. It is in ABA form with the contrating middle section marked "Grave". The piece features imitative writing and the writing is tonal with some jazz influenced harmonies. In addition, the flute part enhances the mood of the piece by including trills and the colorful affect of the flutter-tongue technique.Flute, Piano
13323C2BC9083-6D3C-4E73-8E2A-D35E5B60D695B177COLLECTION OF FOUR ( 4
13324C2BD6BB6-285C-401B-8181-8C5DA2800671SC70Alleluia(not set)Tbb
13325C2C47436-6703-44B3-A6EC-62DCC088F640S51200124 Diverse Duets
13326C2C91CFE-C864-4537-A0E2-72C199D4E523B557Songs for Sight Singing Vol. 3: HS/ 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
13327C2CD91EF-4FE0-43BC-91F5-D37BFC48BDDELV502SCLuverne Concerts Unlimited(not set)(not set)
13328C2CEAC05-183A-4771-B672-991C89A79C83X301019Concertino for Percussion SoloCommissioned by the St. Paul Chamber Orchestra, this concertino was originally conceived as a part of a complete educational concert program. Four concertini, each featuring a different instrumental family within the chamber orchestra, are played in succession to demonstrate the characteristic sounds of those instruments. The music is thematically related but not identical to the Concertino for Chamber Orchestra (parts available on rental from the publisher), which serves as the program's closer, demonstrating all of the orchestral sections playing together. This program is suggested by the composer for orchestra concerts, however each instrumental concertino can be performed individually and stands quite effectively on its own as a short chamber recital piece.Percussion Solo (4 tom-toms, suspended cym., 2 timpani, marimba)
13329C2D58981-21A1-4440-B937-8112F11C5E08A212602Burleske in D minor for Piano and Orchestra, IRS 11 (TrV 145; AV 85)Richard Strauss (1864-1949) originally wrote this work for solo piano and orchestra under the title Scherzo in D minor in 1886 for conductor and pianist Hans von Bülow, a large influence on Strauss' career. Von Bülow, however, consider the work a "complicated piece of nonsense" and wanted nothing to do it. Discouraged, Strauss set the work aside until 1889, when he met Scottish pianist Eugen d'Albert, who liked it while also suggesting some changes. With a new title, Burleske, and a dedication to d'Albert, the work was premiered on June 21st, 1890 in Eisenach at the Tonkünstlerfest with d'Albert at the piano and Strauss conducting. Despite this, Strauss remained convinced that the work lacked merit and refused to have the work published until 1894, although it eventually became one of his favorite works. Strauss never gave the work an opus number, but many consider it to be Op. 11, which is actually assigned to his Horn Concerto No. 1 in E-flat. Instrumentation: 2+Picc.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano. This is the solo piano and orchestra piano reduction.2+Picc.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano
13330C2D6F113-781D-409A-8298-6B34E1325455W108691Motet No. 3 (BWV 227)(not set)Vocal
13331C2E698DF-704D-4634-BC38-B5D03BCA2FBBLV706CBConcerto AmericanaThis piece for beginning to intermediate band weaves together well-known American anthems including: "Nobody Knows the Trouble I've Seen," "Red River Valley," "Billy Boy," "When Johnny Comes Marching Home," "Streets of Laredo," "Skip to My Lou."Concert Band
13332C2E80EED-49A9-4C37-8143-7D9530FB919BX632706ImpromptuOboe, Cello, Piano
13333c2effb48-9e39-11f0-a418-0022482c9682A217202Mozartiana, Op. 61 (Suite No. 4 in G)MOZARTIANA, Op. 61, is the fourth orchestral suite by Peter Ilyitch Tchaikovsky's (1840-1893), written in 1887 to celebrate Mozart on the 100th anniversary of Mozart's opera DON GIOVANNI, which Tchaikovsky regarded as divine. In four movements, Tchaikovsky intended MOZARTIANA to recreate "the past in a contemporary world" by orchestrating three lesser-known Mozart piano works (and a fourth by Franz Liszt, based on a Mozart work). The final movement remains the most popular from the suite. While Tchaikovsky himself did not number it as the fourth orchestral suite, preferring the title MOZARTIANA, it is frequently today referred to also as ORCHESTRAL SUITE No. 4. It premiered on November 11, 1887, in Moscow by the Russian Musical Society, the composer conducting. Movements: I. Gigue. (G Major. After Mozart's LITTLE GIGUE for piano, K. 574); II. Menuet. (D Major. After Mozart's MINUET for piano, K. 355); III. Preghiera. (B-flat Major. After Franz Liszt's 1862 piano transcription of Mozart's AVE VERUM CORPUS, K. 618); IV. Thème et variations. (G Major. After Mozart's PIANO VARIATIONS ON A THEME BY GLUCK, K. 455). Instrumentation: 2.2.2.2: 4.2.0.0; Timp.Perc(1-2): Hp: Str (9-8-7-6-5 in set): Solo Violin in set. The solo violin only plays in Variations VIII and IX of the final movement.2.2.2.2: 4.2.0.0; Timp.Perc(1-2): Hp: Str (9-8-7-6-5 in set): Solo Violin in set
13334C2F5F70F-01D1-4D39-ADEF-BCC222D1E88CST107InterplayBassoon
13335C309396E-9C6C-417A-A778-BC3BBFB4E9FCST657Two Arias from The Magic Flute(not set)Baritone B.c.
13336C30CA00F-3235-4FB3-B68C-EF3533229489R00209PlurielsOrchestra 1: 2(d Piccolos).1+English Horn.2(1d Bass Clarinet).1+ContraBassoon: 3.2.2.1: Strings (9.8.7.6.5) Orchestra 2: 2(d Piccolos).1+English Horn.2(1d Bass Clarinet).1+ContraBassoon: 3.2.2.1: Strings (9.8.7.6.5)   also: Percussion(5).Piano.Celesta.2 H
13337C31C7CD5-09EC-4EB7-B93D-F44D72F402A1SS16JET AGE 6/8 (OUT-OF-PR
13338C31F2613-9C58-49AC-8029-9B3D9A5C3F85M292991Chanson D'eve Op.95(not set)Voice and Piano
13339C320F865-68E0-41A4-87DA-85318CC87090R01470Concerto for Two Pianos and OrchestraComposed for Anthony and Joseph Paratore.2 Piano Soli: 2+Picc.2.2.2: 4.2.2.1: Timp.Perc(3).Hp: Str
13340C3257FFB-5D03-47A8-88CC-DFD69D30DF65A247002Wesendonck Lieder, WWV 91: No. 5, Traume [composer's transcription in A-flat] (Fuenf Gedichte fuer eine Frauenstimme)Richard Wagner's (1813-1883) collection of five songs titled Fünf Gedichte für eine Frauenstimme (Five Poems for a Female Voice), WWV 91, is more commonly known as Wesendonck Lieder after the source of the poems, Mathilde Wesendonck. Mathilde was the wife of Wagner's patron Otto Wesendonck, and there is some speculation that Wagner and Mathilde had a love affair that inspired the opera Tristan und Isolde (which are referenced in two of the songs, calling them "studies" for Tristan und Isolde), but the idea that these songs were also inspired by the same possible affair is given less attention. They were written originally for female voice and piano between 1857 and 1858, though Wagner did orchestrate No. 5, Träume, for chamber orchestra to be played at Mathilde's window for her birthday on December 23, 1857. The remaining songs were orchestrated in 1893 by the Wagner conductor Felix Mottl. While originally written for the female voice, tenors have also contributed their own interpretations starting in the 20th century. The five songs are: 1. Der Engel (The Angel); 2. Stehe still! (Be still!); 3. Im Treibhaus - Studie zu Tristan und Isolde (In the Greenhouse); 4. Schmerzen (Sorrows); 5. Träume - Studie zu Tristan und Isolde (Dreams). This edition of No. 5: Träume (Traeume) is in A-flat and is transcribed by the composer for chamber accompaniment and solo voice, though the solo may also be just played by violin or flute. Instrumentation: 0.1.2.2: 2.0.0.0: Str (9-8-7-6-5 in set: Solo [voice, violin, or flute]. Reprint edition.0.1.2.2: 2.0.0.0: Str (9-8-7-6-5 in set): Solo [voice, violin, or flute]