Titles
Showing 16,521-16,540 of 17,576 items.
| # | ID | Titlecode | Title Name | Marketing Copy | Instrumentation | |
|---|---|---|---|---|---|---|
| 16521 | F1BA24AA-6D54-4D01-B90F-EAF405F06600 | 50100019 | The Kelp Forests | Concert Band | ||
| 16522 | F1BBC728-9FBC-4746-B4DD-0ABF6D64F9BB | ST784 | Sonata for Oboe | This atonal piece for oboe and piano will offer a wonderful challenge to the advancing oboist and will be a great anchor selection for any recital. | Oboe and Piano | |
| 16523 | F1C58E20-C515-46F1-9EBE-AA6DFE80E31B | W723691 | Quartet, Op. 4 | (not set) | String Quartet | |
| 16524 | F1C73390-7500-4805-A7A5-9A2F47ECC47B | R00996 | Northern Light | (not set) | 2.2.2.2: 2.1.1.0: Timpani.Percussion(2): Strings | |
| 16525 | F1CC0E00-2C37-4D1F-9DC0-07EF4F197AC7 | A103390 | Shylock: Incidental Music, Op. 57: No. 5, Nocturne | In 1889, GABRIEL FAURÉ was asked to compose incidental music for a new play titled SHYLOCK to be presented at the Théâtre de l'Odéon in Paris, an adaptation of Edmond Haraucourt of Shakespeare's THE MERCHANT OF VENICE. Following the December 17, 1889, opening night, the play and music continued for a full 56 performances, an impressive number for that theater and a credit to Fauré's musical contribution. Following the use of the incidental music, he reduced the number of pieces from nine to six, making a suite. The highlight of both the incidental music and the suite is NOCTURNE. Charles Koechlin wrote of it: "As for the Nocturne for strings alone, it is impossible to place this music, so profound and universally human is it. The intense tenderness of night here revealed was one of the most beautiful of Faure's inspirations." Reprint edition. String count of 8-8-5-5-5 included in the set. | String Orchestra (8-8-5-5-5 in set) | |
| 16526 | F1CEC7FB-755C-41E6-B82C-8CD8FF269767 | R00267 | Night Ceremonies | (not set) | 3(2d Piccolos, 1d Alto Flute).3(1d English Horn).2+Bass Clarinet.2+ContraBassoon: 4.3.3.1: Timpani.Percussion(4).Piano(d Celesta).Harp: Strings | |
| 16527 | F1CFA0F3-6A47-4D0B-8BFB-94F220BD004D | SC674 | Night | 2003 Texas University Interscholastic League Sightreading for 5A and 4A Varsity Tenor-Bass (TBB) Choirs. | Tbb | |
| 16528 | F1D167FF-6061-4C41-A169-5652B842D5CC | M105391 | Spring In The Garden | (not set) | Piano Solo | |
| 16529 | F1D1B0B6-E994-42BC-AB85-8CFE72AED0B6 | ST73 | Quartet in 12 Fragments | Sax Quartet | ||
| 16530 | F1D1E990-15B6-4319-8518-C9533C8857FD | B156 | Orchestra Studies, Bk. 10 | This is part of a 10-volume series of the most musically important and technically difficult solo horn passages in the literature, taken from symphonies, overtures and operas. Collected by Friedrich Gumbert over his career to offer aspiring young horn players an easier route to entering the orchestra world while providing advanced hornists a means of maintaining their technical skills to meet the daily demands of their position, this new edition was revised by Albin Frehse. Included in this volume are works by: Bach, Beethoven, Berlioz, Hummel, Schumann, Thuille, and Verhey. | Horn | |
| 16531 | F1D5DCAF-D8EB-4806-9DAD-BF7F53B11509 | S341 | Municipal March (out-of-print) | Marching Band | ||
| 16532 | F1D69DCC-F7B3-4DE1-985F-33A6943EE1CA | R01393 | Three Soliloquies from The Greater Good | An arrangement for nonet of a series of three ariettas from Act II Scene II of Hartke's opera, 'The Greater Good'. This piece was written for an amateur ensemble and is suitable for good high school age musicians and above. | Flute, English Horn, Clarinet, Bassoon, 2 Violins, Viola, Cello, and Doublebass | |
| 16533 | F1D8EBF1-0C57-45A8-8F79-318FD3AD7AB7 | B390 | Artistic Studies, Bk. 3 (Italian) | This collection includes: Thirty Caprices by Cavallini (Op. 1 - 5), Four Studies by Labanchi, Seven Etudes-Caprices my Magnani, and Five Caprices by Gambaro. | Clarinet | |
| 16534 | F1DAC079-037B-4EA7-A235-ACD83F95AA1E | M982290 | Dance of the Hours from La Gioconda (Masters Edition) | If the name of this one isn't familiar to you, just think dancing hippos from "Fantasia." Everyone will recognize this delightful piece, and it's wonderfully fun to play. From Ponchielli's ballet "La Gioconda," this version is true to the original with only a few adjustments for practicality. | 2+Picc.2.2.2: 4.2(in Bb).3.0: Timp.Perc(3): Str | |
| 16535 | F1DBCB4D-0AF4-46F8-B4F3-8C862CE2D3C5 | SS833 | See SU821 POP Concerto for Alto Saxophone | Alto Sax | ||
| 16536 | F1DF9BC5-3075-4E4A-AC84-BE9755D67455 | F603 | Musidex File Set Choral, 300-numbers | Forms | ||
| 16537 | F1E067BA-F19E-411A-8EB9-86DD46F87898 | M226491 | Five Pieces | This collection contains 5 pieces composed for violin and piano around 1915 to 1922: 1. O Canto Do Cisne Negro, W123 (Poema - Ballo Mimico; Song of the Black Swan); 2. Improviso, W096 (No. 7; Melodia); 3. A Lenda Do Caboclo (transcription for violin and piano by Souza Lima); 4. A Mariposa Na Luz (also Le papillon autour de la lumière; No. 3 from O Martírio dos Insetos / The Martyrdom of the Insects, W214); 5. Serenidade (No. 2 from Fantasia de movimentos mistos, W175). Reprinted from various original editions. | Violin and Piano | |
| 16538 | F1E5236A-6FF7-4A2E-945E-51C9EBB74383 | M236791 | Impromptu, Op. 21 | (not set) | Harp | |
| 16539 | F1E5D057-A478-477B-8115-B76AC71565D2 | P002191 | Quadtych | Quadtych for cello and piano was written for the Thor Johnson Commission sponsored by the Delta Omicron Foundation, Inc. The title is a term borrowed from photography and refers to a set of four images, in this case emotional ones. No extended techniques | Cello, Piano | |
| 16540 | F1E931CE-ECA7-46FA-9098-0D71D1FC1A40 | A726090 | Four Novelletten, Op. 52, No. 3 in A minor | Samuel Coleridge-Taylor's (1875-1912) FOUR NOVELLETTEN, Op. 52, is a brilliantly crafted set of four short movements for string orchestra, with optional tambourine and triangle. Its title possibly inspired by Robert Schumann's set of piano miniatures, NOVELLETTEN, Op. 21, Coleridge-Taylor wrote his 1903 work for strings, infusing romantic sentimentality with a coloristic exploration of the modern string orchestra. Despite his publisher's early lack of success with the work, it must certainly have been one of the composer's favorite works as he programmed the set repeatedly on concerts he conducted throughout his career. No. 3 in A minor features a solo violin, revealing an emotional virtuosity and speaking to the composer's love for his instrument. Instrumentation in set: Perc(1 opt. player: Tambourine.Triangle): Str (8-8-5-5-5 in set). Each of the four movements from the suite are available separately from the publisher. | Perc(1 opt. player: Tambourine.Triangle): Str (8-8-5-5-5 in set) |