Titles
Showing 14,321-14,340 of 17,576 items.
| # | ID | Titlecode | Title Name | Marketing Copy | Instrumentation | |
|---|---|---|---|---|---|---|
| 14321 | D2622BB6-60E6-4158-BC21-8A7810C08F00 | S500CB | Homage to the U.S. Navy | (not set) | Concert Band | |
| 14322 | D2658945-2E59-46F4-86B9-7A49370BC3FD | M262191 | English Idyll, Op. 77 | (not set) | Low Voice and Piano | |
| 14323 | D268B5C4-F8B0-440D-B953-BC08BCE30B65 | E911590 | Mississippi Suite, A Tone Journey: 4. Mardi Gras | Ferde Grofe's (1892-1972) Mississippi Suite depicts scenes along a journey down the Mississippi River, from its headwaters of Minnesota down to New Orleans. The work was composed in 1926 and first performed that year by Paul Whiteman's Orchestra in New York City. Later, American lyricist Harold Adamson wrote words to the music from the ballad theme of the suite's final movement. The resulting song was called Daybreak. In July 1942, it was recorded and released by Harry James, Jimmy Dorsey, and Tommy Dorsey. All three versions made the top 20 in the National Best-Selling charts, with Tommy Dorsey and his vocalist, Frank Sinatra, peaking at number 10 in October. Sinatra later recorded it along with many of his 1940's hits on his 1961 reprise album, I Remember Tommy. Movements: 1. Father of Waters, 2. Huckleberry Finn, 3. Old Creole Days, 4. Mardi Gras. This fourth movement, Mardi Gras, is a popular standalone work and is frequently programmed in concerts without the first three movements of the suite when a shorter, upbeat work is needed. Instrumentation: 2+Picc.2+EH.2+BCl.2+CBsn: 4.3.3 (3rd BTbn).1: Timp.Perc(4).Clst.Hp: Str (9.8.7.6.5 in set). The full Mississippi Suite is also available from the publisher. | 2+Picc.2+EH.2+BCl.2+CBsn: 4.3.3 (3rd BTbn).1: Timp.Perc(4).Clst.Hp: Str (9.8.7.6.5 in set) | |
| 14324 | D26A9880-823F-46E9-8346-C9F76352098A | X940024 | I Live My Life in Growing Orbits | SSATB Chorus | ||
| 14325 | D26CC629-D71A-4046-AF6D-DD2C1479284D | A652802 | Light Cavalry (Leichte Kavallerie): Overture (Roberts) | The two-act operetta Leichte Kavallerie (Light Cavalry) was written by Franz von Suppè (1819-1895) in 1866 and is set in a 19th-century Austrian village where love intrigues and other relationships intersect with the arrival of a regiment of hussars (a class of light cavalry). While the operetta itself is obscure and very rarely staged, the Overture has taken on a life of its own, practically divorced from the original dramatic work, becoming arguably the best-known composition by von Suppè and a standard work in the orchestral repertoire, quoted in numerous other medias, including cartoons. This arrangement for a small "theater" orchestra was completed by Charles J. Roberts in 1912. Instrumentation: 1.1.2.1: 2.2.1.0: Perc(2): Str (9-8-7-6-5 in set). | 1.1.2.1: 2.2.1.0: Perc(2): Str (9-8-7-6-5 in set) | |
| 14326 | D27253F4-BF3D-407E-A632-2F5E26942135 | M262791 | Two Pieces for Piano | (not set) | Solo Piano | |
| 14327 | D274C5C2-FE3A-461E-B9ED-03F499821CAB | C61 | Divertimento | |||
| 14328 | D2831791-98FB-404B-8F1B-4B1154EF3C00 | SS399 | Alla Sarabanda | (not set) | Clarinet, Bassoon | |
| 14329 | D292ACCF-E668-4585-9B16-5D3ECA05E233 | EBM0610601 | Symphony No. 8: from "Prophetic Books" by William Blake | Premiere: Boston Symphony Orchestra and Tanglewood Festival Chorus, James Levine conducting, February 28, 2008; NY premiere: same forces in Carnegie Hall/NY, March 3, 2008. “One of [Bolcom’s] trademarks . . . is a rare sensitivity to poetic text and an ability to distill their expressive essence in music. [His] chorus writing is so assured that the expressive force of the music comes through clearly.” –Jeremy Eichler, The Boston Globe. “William Bolcom’s Eighth Symphony writes out the poetry of William Blake in capital letters. Its four movements . . . think big in every way . . . unashamedly theatrical, and Mr. Bolcom’s deep experience and impressive control keep the pot boiling . . . a composer with a singular talent for inflecting words, making them clear and finding just the right orchestral color for the emotion of the moment.” –Bernard Holland, The New York Times. Recorded on BSO Classics | SATB Chorus, 4(2Pi)3(EH)3(EbCl/BsCl)3(Cbn) 6441 Timp 4Pc Pno/Cel Hp Str | |
| 14330 | D295B72D-C95B-44D7-A4D1-B543391D354B | SC601 | Mary, Mary | (not set) | Sa | |
| 14331 | D2983723-C568-4BAB-A93C-EBDBB3848C73 | M149991 | Six Songs, Op. 50 (h) | (not set) | High Voice and Piano | |
| 14332 | D29F7131-5BBF-4706-A0FF-C99D9880713E | R00609 | Umbral Del Sueno, Op. 30 | A Ballet in Seven Scenes. | 2.2.2.2: 3.2.2.1: Timpani.Percussion(2).Piano.Celesta.Harp: Strings | |
| 14333 | D2A4FA5D-CB64-4429-9F9F-1266CCD5ABF1 | B514 | Songs for Sight Singing Vol. 2: HS/ SA | SONGS 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. | SSA | |
| 14334 | D2AA53B3-47D0-40C9-91B0-58F8DC8764CF | M401091 | Piece en Forme de Habanera, M. 51 | Maurice Ravel (1875-1937), like many French composer of the time, tried his hand at writing the habanera in 1907, a Cuban dance which was very popular in Spain at the end of the 19th century. Originally written as a vocal etude titled Vocalise-étude en forme de Habanera, the work was quickly adapted for various solo instruments and retitled Pièce en Forme de Habanera. This transcription for bassoon of Ravel's delightful work was completed by Fernand Oubradous and is a great recital or contest selection. Reprint of the French edition. | Bassoon and Piano | |
| 14335 | D2B0F950-3AE3-4693-A980-386FE8A2EF6D | SC806 | Too Many Years | (not set) | TTB | |
| 14336 | D2B46AA0-CE89-41EA-839C-AC65E9A577E4 | X540007 | Codex | Explores a variety of effects available on the solo contrabass, and requires a machine extension for low C. Dedicated to Adam Czernikowski. | Double Bass Solo | |
| 14337 | D2B79CD6-BF22-4491-8069-159B22960DB4 | SS509 | Eglogue | Oboe | ||
| 14338 | D2B8038E-2821-4287-AEC6-E2F41CD59867 | S410026 | La Valse | Virtuoso pianist and arranger Matthieu Cognet’s transcription integrates Ravel’s own piano realizations of La Valse, originally conceived as a ballet for orchestra, into an idiomatic and brilliant solo piano arrangement for the first time. The edition includes Mr. Cognet’s fingerings to aid the performer in executing some of the more challenging passages. | Solo Piano | |
| 14339 | D2BAC182-6773-4758-A919-0D78FC0EDBF5 | R00196 | Psalm XCVII | SATB Chorus 2+Piccolo.2.3+E-flat Clarinet+Alto Clarinet+Bass Clarinet.2.ATBbs Saxophone Ensemble:4.2+2Cornet.3.2Euphonium.4: Percussion(3).Harp(optional): Double Bass | ||
| 14340 | D2BDD3E6-0BFE-4DA9-BDDC-03B06AADEB30 | SS60 | Trio for Flutes, Op. 51 No. 1 | This trio may also be performed on any other equal treble clef instruments. Benoit Tranquille Berbiguier (1782 - 1838) was a famous flute player. He was intended for the law, but the love of music being too strong for him, he ran away from home and entered himself at the Concervatoire in Paris. As a composer, he was very fertile in music for his instrument, both solo and accompanied - 11 concertos, many fatasias and variations, 140 duos, 32 trios, with quartets and symphonies. All three of Berbiguier's Trio for Flutes, Op. 51 are available from the publisher (edited by Elwyn Wienandt). 18 Exercises by Berbiguier (edited by Judith Thomas) is also available. | Flute Trio |