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#IDTitlecodeTitle NameMarketing CopyInstrumentation 
  
13921CBFE1D57-5CAD-4798-A715-D157769D645DM162391Maerchenbilder Op. 3(not set)Piano Solo
13922CBFF8FEF-CC80-4CA5-B5CD-5C9B99F77FCERCSS437Orientale: only in 24 Short Concert PiecesFlute, Piano
13923CC022FA5-454A-4B5F-B80E-8863FB2353ECD511042Vogel als ProphetViolin, Piano
13924CC0CED15-57A1-47E8-9B6F-B4BA7871CF7BEBM0670018Love's Roundelay: Act I Finale from Waltz DreamThis work is also commonly referred to as "Waltz Duet." It is the eighth musical number and Finale to Act 1 of Straus' 1907 opera, Waltz Dream (Ein Walzertraum), the aria titled "My dearest love, why leave me all alone!"2D1.2.2.2: 4.2.2.0: timp:perc:hp: str
13925cc17a944-9e39-11f0-a418-0022482c9682A246102Mass in F (Missa Brevis), BWV 233Johann Sebastian Bach (1685-1750) wrote five total Kyrie-Gloria Masses (Missa brevis) over the course of his lifetime, the 1733 Missa, BWV 232 which was later incorporated into the MASS in B minor, and BWV 233-236. The MASS in F Major, BWV 233, borrows a great deal from his earlier cantatas to act as the basis of most of the six movements. 1. The Kyrie eleison borrows from KYRIE in F Major, BWV 233a.; 2. The Gloria in excelsis is original. 3. The Domine Deus is based on part of the lost cantata FROHER TAG, VERLANGTE STUNDEN, BWV Anh. 18 (No. 6).; 4. The Qui tollis is based on the sinfonia from HERR, DEINE AUGEN SEHEN NACH DEM GLAUBEN, BWV 102 (No. 3).; 5. The Quoniam borrows from the sinfonia from HERR, DEINE AUGEN SEHEN NACH DEM GLAUBEN, BWV 102 (No. 5).; 6. The Cum sancto Spiritu is based on the first movement from DAZU IST ERSCHIENEN DER SOHN GOTTES, BWV 40 (No. 1). While it is uncertain, this Mass may have been first performed on Good Friday, April 6, 1708. This reprint of the Moritz Hauptmann edition was created originally for the 1858 Bach Gesellschaft Ausgabe.0.2.0.2: 2.0.0.0: Str (2.2.2.1.1 in set): [Hpchd]: Solo SATB: Mix Chorus
13926CC1C76D2-26A3-4878-BD00-6E1B905B2140ST962Three ImpressionsTrumpet
13927CC2C6DFB-0AA1-4E37-B610-B67177BFBDC4M200891Organ Partita, Op. 8, No. 1 'Nun komm, der Heiden Heiland'August Hugo Distler (1908-1942) was the organist at the St. Jacobi in Lübeck, Germany in 1931. In 1933 he became the head of the chamber music department at the Lübeck Concervatory and a teacher at Spandauer Keirchenmusikschule. Written in the Neo-Baroque style, ORGAN PARTITA, Op. 8, No. 1 is based on the Martin Luther’s hymn "Nun kmm, der Heiden Heiland". Includes four movements: 1. Toccata, 2. Choral mit Variationen, 3. Chaconne, 4. Toccata. Reprint edition.Organ
13928CC3CDA67-333D-445B-B805-090CC9EB76AAR01526Reverie for Cello and String OrchestraReverie for Cello and String Orchestra was written for cellist Eru Matsumoto. Later, the piece was reworked and incorporated into Gong's grand Fourth Symphony as "Ode to Limpidity". A solo cello and piano reduction is available separately. String orchestra parts available on rental only.Cello Solo, String Orchestra
13929CC3FDB03-BA3D-4C98-9B05-BBF929E225DAR00232Impressions from a Greek Tragedy3(1d Piccolo).2+English Horn.3(1d Bass Clarinet).3(1d ContraBassoon): 4.3.3.1: Timpani(1).Percussion(1).2 Harps: Strings
13930CC49695F-469D-4A0C-B3E1-955107396839EBM0610093Black Maskers SuiteThroughout most of his career, Roger Sessions was known for absolute music in a style that is usually complex and intellectually rigorous, yet marked by a considerable emotional undercurrent. Sessions' incidental music for THE BLACK MASKERS (1923) reflects the vigorous, more clearly American voice of the composer's early music. Sessions wrote the original score of THE BLACK MASKERS for a senior production of Leonid Andreyev's Symbolist drama at Smith College. As a group, the Symbolists (whether Russian or French) found particular inspiration in the works of Edgar Allan Poe. One of the most popular of the composer's works, THE BLACK MASKERS has enjoyed an active life in America; it is also much favored in Russia, no doubt largely a result of the work's literary origins. In 1928, Sessions arranged the incidental score into an orchestral suite of four movements, the version which is most familiar to concert audiences today. -Description by Joseph Stevenson. Movements: 1. Dance; 1a. Romualdo's Song (If no singer is available, this movement may be omitted); 2. Scene; 3. Dirge; 4. Finale.3(1st/2nd dPicc1&2).3(3rd dEH).2+Ecl+BCl.2+CBsn: 4.4.3.1: Timp.Perc(3-4): Pno.Org: Str: Sop. Solo (opt.)
13931CC49977F-49C1-41E2-A05A-442F2258C36EA204502Finlandia, Op. 26/7FINLANDIA was written by Jean Sibelius, one of the most celebrated Finnish composers. Originally written in 1899 for a Finnish press fund-raising gala under the name "Finland Awakens," this piece, along with a few other works performed at the gala, were written to covertly oppose Russia’s increasing censorship. Sibelius revised and renamed this work to its current title in 1900. It premiered on July 2, 1900, in Helsinki by the Helsinki Philharmonic Society conducted by Robert Kajanus. At times, FINLANDIA was performed under different names to avoid Russian censorship until Finland gained independence following World War I. The piece begins in a tense and ominous mood, played by brass and timpani. The mood intensifies with the addition of strings and woodwinds. It gradually leads to a more jubilant and militant section followed by the famous hymn-like theme. Sibelius later reworked the hymn to be a stand-alone piece, "Finlandia Hymn." Words were then given to this hymn, which has become one of the most important national songs of Finland. Instrumentation: 2.2.2.2: 4.3.3+BTbn.1: Timp.Perc(3): Str(9.8.7.6.5). Study score.2.2.2.2: 4.3.3+BTbn.1: Timp.Perc(3): Str(9.8.7.6.5)
13932cc546961-9e39-11f0-a418-0022482c9682A247402Oberon, J.306: OvertureHis only opera in the English language, Carl Maria von Weber’s (1786-1826) OBERON, J.306 is based on a poem by Christoph Martin Wieland which is a retelling of the medieval epic romance Huon de Bordeaux. Due to financial necessity, he accepted the commission by Charles Kemble against the advice of his doctor. Completing the work in London, he strained his health under a tight schedule of rehearsals and social activities leading up to the opera’s premiere at Covent Garden on April 12, 1826. The OVERTURE evokes the woodland realm of the elves with its opening horn call and sprightly melodies. Instrumentation: 2.2.2.2: 4.2.3.0: Timp: Str (9.8.7.6.5 in set).2.2.2.2: 4.2.3.0: Timp: Str (9.8.7.6.5 in set)
13933CC5D651C-23BE-4471-B07C-AA161435A9E250100279Fortitude: A FanfareThis is as much a processional march as it is a fanfare. The theme is of a bold, fanfare nature but it is followed by a secondary theme of a melodic style that will please the ear. Percussion writing is exposed but not difficult.Concert Band
13934CC5D9186-D0FE-42C9-9F55-28F1593AFC1FEBM311043Swing Dance PartyLee Evans' snappy arrangements of 12 swingin' standards: Amapola (Pretty Little Poppy) • Ballin' the Jack • For Want of a Star (La Comparsa) • I Wonder Who's Kissing Her Now • Let's Dance • Lollipop • Mah-Na, Mah-Na • My Gal Sal • My Shawl • Paper Doll • The Peanut Vendor (El Manisero) • Port-Au-Prince.Piano solo
13935CC608196-376D-4202-91A2-9B035B2DBCFEA115602Concerto Grosso, Op. 6, No. 7 in B-flat, HWV 325George Frideric Handel's (1685-1759) Concerti Grossi, Op. 6 (also Twelve Grand Concertos, HWV 319-330), are a collection of twelve concerti grossi for two violins and cello with an accompanying four-part string orchestra and harpsichord continuo, and they are among the best examples of the Baroque concerto grosso. Modeled more on Arcangelo Corelli's concerto da chiesa and concerto da camara than on Antonio Vivaldi's three-movement form adopted by J.S. Bach, these 1739 works were composed to be performed during the intermissions of Handel's oratorios. Among the twelve Concerto Grosso can be found a mixture of original music and music borrowed from other works by the composer. No. 7 in B-flat Major, HWV 325, is predominantly new music, though the final Hornpipe movement is derived from Muffat's Componimenti Musicali. It is also unique in that each of the five movements are brief and there are no real solo/concertante episodes, although the violoncello has a few brief solos. Instrumentation: Str (2-2-2-1-1 in set): Hpchd (in set): (2 Solo Vn. Solo Vc in set). This urtext edition has been edited by Wilhelm Weismann.Str (2-2-2-1-1 in set): Hpchd (in set): (2 Solo Vn. Solo Vc in set)
13936CC639AD4-BF88-45EE-975F-08E18BA75D27R00242The Computer Kid's Magic NightAn opera focused on the value of a well-rounded education.Boy or girl Soprano, 3 Soprano, Mezzo-Soprano, Alto, Baritone, 2 Tenor, 2 Baritone, Bass-Baritone Soli Piano, Percussion, Synthesizer
13937cc750812-9e39-11f0-a418-0022482c9682A247802Heimkehr aus der Fremde, Die (Son and Stranger), Op. 89: OvertureThe youthful Felix Mendelssohn (1809-1847) composed the one-act singspiel, DIE HEIMKEHR AUS DER FREMDE, better known in English as SON AND STRANGER (despite actually translating from the German to THE RETURN HOME FROM ABROAD) in 1829 for his parents' silver wedding anniversary. With a libretto by Karl Klingemann, the standard comic tale of mistaken identity and lovers' escapades premiered on December 26, 1829, before an audience of 120 at the strictly private celebration, with the cast consisting wholly of family and associates of the composer, only one of which was a professional singer. In fact, the mayor's part only sings a single note F because the part was played by Mendelssohn's brother-in-law, who could not sing at all. Despite the urging of others, including his own mother, Mendelssohn refused to publish the work in his lifetime, and the short operetta did not see another performance until April 10, 1851, after the composer had passed. While the singspiel itself is rarely performed today, the overture does find its way to concert stage more often. Instrumentation: 2.2.2.2: 2.2.0.0: Str (9-8-7-6-5 in set). Reprint edition with the addition of consistent rehearsal letters between the score and parts and measure numbers at the start of every system in the score.2.2.2.2: 2.2.0.0: Str (9-8-7-6-5 in set)
13938CC7831D1-064B-4598-9262-5D06A1DD2F7320712108Two Minutes(not set)Violin 1, 2 and 3 (opt. Viola or Violoncello)
13939CC7C92D6-DEBD-4217-96CA-1EFF0AD8A7AFA792002The Fountains of Rome (Fonatana di Roma)Ottorino Respighi (1879-1936) constructed the first piece in his Roman trilogy, FONTANE DI ROMA (THE FOUNTAINS OF ROME), in four movements without break, each depicting a different fountain in Rome at various times of the day. The four fountains depicted are the Valle Giulia, Triton, Trevi, and Villa Medici. Completed in 1916, the work premiered on March 11, 1917 at the Teatro Augusteo in Rome under the direction of Antonio Guarnieri. Originally, Arturo Toscanini had been scheduled to conduct, but had cancelled after provoking controversy over a program which had included Richard Wagner’s music amid the tense climate of World War I. Instrumentation: 2+Picc.2+EH.2+BCl.2: 4.3.3.1: Timp: Perc (4): 2Hp: Clst: Org (opt.): Pno: Str (9.8.7.6.5 in set).2+Picc.2+EH.2+BCl.2: 4.3.3.1: Timp: Perc (4): 2Hp: Clst: Org (opt.): Pno: Str (9.8.7.6.5 in set)
13940CC8E8FA3-2BB8-41F8-BC7F-BD9FE731B038SC660Just Like a ManThis setting of anonymous text for SAB a capella chorus was composed by Jim Leininger. An SATB version is also available from the publisher.Sab