Titles
Showing 14,301-14,320 of 17,576 items.
| # | ID | Titlecode | Title Name | Marketing Copy | Instrumentation | |
|---|---|---|---|---|---|---|
| 14301 | D21FEF91-1D85-439D-BF69-86D346F913AE | SU56CO | Connected Forces | (not set) | 6M, 6P, PNO | |
| 14302 | D226F7C5-FFF8-4A61-B90F-FD9248E20C0B | A919890 | Chacony In G Minor | |||
| 14303 | D23370DD-8DA7-48FF-94B4-667A7FE7F11B | BSMCM112 | America, America | (not set) | SATB, Piano | |
| 14304 | D2370A25-38BD-4044-AB86-0D258A43DFB3 | B583 | Arias for Flute Choir | While playing with Sadler’s Wells Opera orchestra (later became the English National Opera), Sir James Galway first came upon Gilbert and Sullivan’s wonderful operettas. His fondness for good tunes, with which the G&S operettas abound, led to this collection, created with longtime collaborator and arranger David Overton. This volume for flute choir contains: • Brightly dawns our wedding day (Mikado) • For he’s gone and married Yum-Yum (Mikado) • I am a courtier, crave and serious (Gondoliers) • Strephon’s a Member of Parliament (Iolanthe) | 4 flute choir | |
| 14305 | D237F837-87F8-47AD-9A1D-85EC838AD83D | M143891 | Nature Poems, Op.25 | (not set) | Piano Solo | |
| 14306 | D23B1286-A8F7-4B73-9B86-7E0D4F7D1A9F | X652708 | Class of 1915 for Flute, Clarinet and PIano Trio | "Class of 1915" was written in celebration of the dual centenaries of Reed College and Arnold Schoenberg's celebrated work, "Pierrot Lunaire." Though the work shares the same instrumentation, which has become popular among new music ensembles, Schiff's work is a celebration of popular song and dance styles from the mid-1910?s arranged in a suite that makes an ideal curtain-raiser for "Pierrot" concerts. | "Pierrot" Ensemble: Flute(dPicc), Clarinet(dBCl), Violin, Cello, Piano | |
| 14307 | D23C67B8-C78B-4472-A98B-8F30310E25CC | S811401 | Triptych | |||
| 14308 | D23CF4C6-E463-41FF-80FF-322EB77A95D0 | M163991 | Sonata for Violin and Piano, Op. 21 | The Hungarian composer Ernst von Dohnányi (1877-1960) composed the Sonata for Viola and Piano, Op. 21, while teaching at the Hochschule in Berlin in 1912. | Violin and Piano | |
| 14309 | D23E5A53-4490-4EDA-930E-34C19AF29145 | 51352001 | Measures for Beginning Horn | Method Book | ||
| 14310 | D23F2A0D-767E-412D-9974-1BE176FDC523 | R188 | Concerto No. 1 for Trombone and Orchestra | Based on Ewazen's "Sonata for Trombone and Piano". Orchestral version made for William Zehfuss and the Charleston Symphony includes an added cadenza. Duration ca. 22'. | Trombone Solo: 2.2.2.2: 4.2.2.1: Timp.Perc(4): Str | |
| 14311 | D23FAB15-D86E-4E5B-83CE-57FB9CF37238 | LV437MB | Moonlighters | |||
| 14312 | D240E9D1-1C8D-4C2E-8A9D-85A74945E2D3 | A433690 | Hands Across the Sea March | American Marches | 2+1, 2, 2(+1) - 4, 2, 3, 1, perc, str | |
| 14313 | D2417DB6-1F06-4B6B-8FB0-87C8AC3A3CD8 | EBM0610219 | American Place, An | Naxos American Classics series issued the first all-Fuchs orchestral album in 2005, which featured "An American Place," which the composer describes as "reflect(ing) the palette of musical sounds that developed in the United States in the last hundred years." The obvious reference point here is Copland with a dash of Hollywood scoring here, a pinch of Stravinsky and the employment of some minimalistic ostinati without going into full-bore minimalism itself." "Apart from itemizing the influences that go into this work, An American Place is a very listener-friendly piece that would keep an average symphony audience quiet and attentive, rather than restless and bored, which is what symphony patrons dread the most about contemporary compositions. It is a fine piece of music" -Uncle Dave Lewis, Allmusic.com | 2Pi2EH4(Eb, BsCl)2Cbn 4331 Timp 3Pc Hp Cel Str | |
| 14314 | D2453A25-EC06-4E98-98EF-9F910D240D46 | A796402 | Wiegenlied Op. 41/1 | (not set) | 2, 2+1, 2, 2 - 2, 0, 0, 0, 2hp, str, solo [voice], solo vn(3), vc(2) in set | |
| 14315 | D2489B88-F07C-4028-AF74-DBFFA4D2C208 | 10100261 | Celebration Alegre | Concert Band | ||
| 14316 | D24B1D12-FD47-478A-84FB-3ACF58E04727 | SO144C | Green Grows the Laurel | This lovely traditional folk tune in 3/4 is a wonderful introduction to dotted quarter - eighth note rhythms. Beginning in G Major and modulating to D, it can be played all in first position. Everyone will get the melody and all parts are independent. Bowings are kept simple with nothing more than 2-note slurs. | String Orchestra | |
| 14317 | D24BD7B7-45E5-4FC0-B0D2-BDD7E4FD5858 | SS661 | Drum Invention | 2 Snare Drums | ||
| 14318 | D24FFEA9-B877-419A-8759-C63578B4830D | X511029 | Vigil | The opening theme and title of Vigil were formed during a late night drive on a deserted country road. The feeling arose of people caring for and protecting others – keeping vigil at night. Vigil is through-composed, expanding upon one theme (initially presented by the violin), appearing in a variety of guises. Although the work may be heard in three sections (slow–fast–slow), it is essentially one extended movement. The intent is to allow the them to unfold, seemingly of its own accord. | Violin, Piano | |
| 14319 | D25CC187-848D-47C7-BFE6-8870E6066ACF | S975CB | After the Cake Walk | Among Dett's earliest titles was his “Characteristic March Two-Step,” After the Cake Walk. Perhaps written by Dett when he was a teenager, this edition is wholly based upon its original 1901 band publication that was arranged by Lee Orean Smith. Owing to the fact that Smith’s highly idiomatic scoring was for a band of that period, this arrangement is an adapted, edited and extended version which makes it possible for Dett’s music to be experienced by a new generation of musicians and listeners alike. | Concert Band | |
| 14320 | D25D5CFA-41AD-4AB6-9C9B-C6F2C7040DF6 | S944004 | The Bereaved Maid (from Three Lyrics for Chorus) | This work for SATB chorus is based on an anonymous text. It includes a full piano accompaniment part. | SATB Chorus, Piano |