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#IDTitlecodeTitle NameMarketing CopyInstrumentation 
  
16101EBE38B06-F9D9-47F6-8AC1-C8700364396AA017190War MarchThe opera may not be immediately identifiable, but the march is quickly and easily recognized. It is a remarkable example of Mendelssohn's melodic and harmonic gifts.Full Orchestra
16102EBE769EF-9561-479C-8277-CC9214B5C661S243WWCHSuite in a Minor, Pt. 3This arrangement follows both the original score for Flute and Strings and the reduction for Flute and Piano made by John Wummer (available from Southern Music- SS242). Movement titles: I. No. 6: Passepied 1
II. No. 6: Passepied 2
III. No. 3 Air a l' Italien		Woodwind Choir
16103EBE7F74E-E5EB-4D33-B055-9B3340DBFD9FSU186BassooneryThis fun and melodic medium-tempo piece is ideal for contest or recital by a 2nd or 3rd year bassoonist.Bassoon and Piano
16104EBE956E9-F1F8-4822-B07A-74E5A29C0732A431902Sevillana (Scene Espagnole), Op. 7Edward Elgar (1857-1934) wrote the short orchestral piece titled Sevillaña (Scène Espagnole), Op. 7 in 1884 when the composer was twenty-six. 1884 was a time of personal difficulty for Elgar as his engagement to a girl named Helen Weaver was broken off due to pressure from her parents, both of whom assumed that the young man had no prospects. Elgar's violin instructor, Adolf Pollitzer, presented the score to conductor August Manns, who scheduled the work for a premiere at the Crystal Palace in London on May 12, 1884. Although this performance did take place as intended, it was not the premiere as the Worcester Philharmonic Society under William Done immediately performed the work on May 5, 1884 upon hearing word of the London performance, falsely claiming that the work had been written for them. Elgar wrote of the work, “This sketch is an attempt to portray... the humours of a Spanish fête. It consists of three principal themes... an imitation of a Spanish folk-song...; 2nd, a softer strain in the major, which may (or may not) be taken to represent ‘un passage d’amour’, for which, as in England, such gatherings are supposed to lend opportunity; and 3rd, a brisk Valse measure in D major. Something very like an émeute takes place during the progress of this, missiles are freely thrown, and at least one stiletto is drawn – but these are only modern Spaniards and no tragic result follows...” Instrumentation: 2(2nd dPicc).2.2.2: 2.2.3.1: Perc(3-4): Str (9-8-7-6-5 in set).2(2nd dPicc).2.2.2: 2.2.3.1: Perc(3-4): Str (9-8-7-6-5 in set)
16105EBEA38A5-0FFB-46CB-BD80-4CEC2E907A3DST555Moon Maiden's DanceThis piece for intermediate to advanced oboe players allows the player the opportunity to focus on intricate subdivided rhythms at a slow tempo. It is perfect for recital or contest. Versions for flute, oboe, clarinet and violin are available from the publisher.Oboe
16106EBEBE1BC-41E1-430E-AC19-177157AF5ED9SO130CAdagio: From Symphony No. 5Prokoviev wrote his Bb symphony in short form within a month, 16 years after his last symphony. He used sketches he had compiled in his ubiquitous notebooks. Written in 1944, its four movements are in Bb Major, d minor, F Major and Bb Major (Bb chord) in a sequence of slow, fast, slow, fast. The Adagio is the third movement of the symphony. The music traces its roots to a score Prokofiev was preparing for a film of Pushkin’s Queen of Spades that never reached production.

Prokoviev’s tempo marking for the Adagio’s opening is qtr. = 60, technically a “largo” tempo. Many modern interpretations used by conductors employ a slower tempo as I have indicated. This is a personal choice with your players in mind. The essence of the rhythmic motion is 3 triplets against 2 eighth notes. I have maintained the original key however have made edits to shorten the duration for educational settings.

This arranged transcription requires an almost constant five-part textural environment. A challenge will be to merge the independent voices into coherent sections grasped by the players. Prokofiev’s accompaniment lines are logical and embrace common musical patterns. They are somewhat relentless but can be learned without much difficulty. Because of the five-part texture, the performers are obligated to play the work with few breaks for rest. You may consider the work a young person’s endurance test of a 20th century masterwork. Of course, this music was not available to school programs until now, so this will be an exciting adventure for you and your students.		String orchestra
16107EBEC2667-A704-42D2-B00D-5D294DE2A2ACSU374Fantaisie(not set)Clarinet Quartet
16108EBEFD232-D062-4BB1-8497-894F688DADB4M118491Eight Songs for High Voice and PianoThese eight songs by Italian composer Ottorino Respighi (1879-1936), drawn from several of his song collections, are written for high voice and combine old-world Italian sensitivity with modern harmonic nuance and tender phrasing. Included: 1. Notte; 2. Pioggia (Soprano); 3. O falce de luna (Soprano); 4. Bella porta di rubini (Soprano); 5. Invito alla danza (Tenor); 6. Stornellatrice (Soprano); 7. Nevicata (Soprano); 8. Nebbi (Soprano). Reprint edition.High Voice and Piano
16109EBEFDC61-3C3C-4730-B874-EAD3BA5B55DDM235791Serate Musicali, Part 2(not set)Two Voice and Piano
16110EBF58D9F-CB70-4B41-8C36-CDB28F725F03SO16CA Night Piece for Flute and String QuartetShining as a a beacon to late bloomers everywhere, American composer Arthur Foote (1853 - 1937) did not begin music lessons until he was 12 years old. Originally premiered as the first part of his "Nocturne and Scherzo for Flute and String Quartet" this rhapsodic fantasy acquired the title "A Night Piece for Flute and Strings" when it was published four years later in a version for string orchestra. Versions for flute and string quartet, flute and string orchestra, and flute and piano are available from the publisher.Flute, String Quartet
16111EBF61FF5-FD7A-489F-B7E0-350C9D76DA95R00433Switching Stations2.2.2.2: 2.1.1.0: Percussion(2).Piano: Strings
16112EBF92E41-1EC8-4C9D-BBF4-BC3BE7A45DE0R00486ResoundingsThe first performance of Resoundings took place in New York City on March 2nd, 1990, as part of a concert given by the National Orchestral Assocation, Jorge Mester conducting.2+Piccolo.2+English Horn.2(1d Bass Clarinet)+E-flat Clarinet.2+ContraBassoon: 4.4.3.1: Timpani.Percussion(4).Harp: Strings
16113EBFA5A92-C942-4045-AD60-C60135153D8CA435102Cello Concerto No. 2 in E minor, Op. 30(not set)2, 2, 2, 2 - 4, 2, 2, 0, timp, str, solo cello
16114ebfd0e16-9e38-11f0-a418-0022482c968210511146Two Little Stars for 2 Trumpets/Cornets and PianoThis work for developing brass players is a wonderful edition to the teaching repertoire. Versions exist for trumpet/cornet, trombone, and baritone B.C. solos with piano, and also trumpets/cornets, trombones, and trumpet/cornet and trombone duets, also with piano accompaniment.Trumpet/Cornet Duet and Piano
16115EC0315C4-5376-4B35-BA58-B79B261545BAV28Brookside, The (out-of-print)Piano/vocal
16116EC056BE0-4A05-4ECB-BD06-91B4735A3D7C10620191Csardas from The Fortune TellerThe three-act operetta The Fortune Teller was written by Victor Herbert (1859-1924) in 1898, and it tells the story of an heiress and aspiring ballerina from Hungary name Irma who loves a young Hussar captain despite being forced to marry a silly nobleman. When a gypsy fortune teller arrives and is mistaken for Irma, it causes complications. The traditional Hungarian dance Csardas is sung by Musette the fortune teller and chorus at the end of the first act. It has been arranged for mallet instrument with piano accompaniment here by Scott R. Meister and Floyd Harris.Mallet Instrument Solo and Piano
16117EC08C320-DC32-45E0-BC06-EFEAD8D21FB0M126791Sonata, Op. 9(not set)Violin and Keyboard
16118EC0A7DED-D156-478D-B0D5-9437EF5FB4F3X430006SpiresSpires, written to evoke images of bell towers and the creatures dwelling within, was premiered by Mickey Thomas Terry at the 1998 National Convention of the American Guild of Organists in Denver.Organ Solo
16119EC0AF76D-DE94-4A2D-AA4A-EB7465A2B150LV144CBLittle Town Band(not set)Concert Band
16120EC0BD348-2D05-427C-BD1B-CB477F76A6C4LV176CBBand Plays Spirituals(not set)Concert Band