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#IDTitlecodeTitle NameMarketing CopyInstrumentation 
  
16541F1ED0E73-9A6E-4655-89BB-928F028F9F2AX663901Chant and Dance for Mixed SextetRecorded by The Carnegie Mellon Ensemble, Nitzan Leibovitch.Flute(d Picc, Alto Flute), Clarinet(d BCl), Pno(d Clst), Perc(3)
16542F1EF24D5-A5A4-4233-BFC1-9BFB2AE2A647X816302Three Sacred Songs for Tenor, Flute, Cello and Piano(not set)Tenor Solo Flute (d Piccolo), Cello, Piano
16543F1F2DBA7-329D-4966-B5E6-75C907EE3A0BA833790Ave Maria, Op. 52/6; D. 839 [arrangement for low voice, G]Franz Schubert (1797-1828) wrote the beautiful melody now associated with the Latin "Ave Maria" text in 1825 as part of a setting of seven songs from Walter Scott's narrative poem THE LADY OF THE LAKE, Op. 52. In the song cycle, a young woman named Ellen sings a prayer (called "Ellen's Third Song") to the Virgin Mary, albeit in a German translation of Walter Scott's text. "Ellen's Third Song" opens with the words "Ave Maria," and this may have led to the idea of setting the traditional Roman Catholic prayer "Ave Maria" to the same melody. Whatever the reason is began, the universally recognized song is so frequently performed with the Latin text that many believe it Schubert's original intent. Instrumentation: 1.1.1.1: 2.0.0.0: Str (9-8-7-6-5 in set): Solo Voice. William Ryden has arranged versions for low voice (g) and orchestra and high voice (Bb) and orchestra, both of which are available from the publisher.1.1.1.1: 2.0.0.0: Str (9-8-7-6-5 in set): Solo Voice
16544F1F52CA9-8EF7-4530-AD62-35ADD2593F9710660291Duo for Euphonium and PercussionDuo for Euphonium and Percussion is Clarence Barber's first published composition. It was named runner-up by Dr. Gunther Schuller in the 1974 Ohio Music Teachers Association Composition Contest.Euphonium and Percussion Duet
16545F1FB97DB-AF01-4B88-944F-0A9AADA02E37R01302Adagio for String OrchestraString Orchestra
16546F1FE9907-1593-48F2-8C2B-F9FA7CDA2EA0M387191Horn Trio, Op. 24, No. 13 Horns
16547f1fec043-9e39-11f0-a418-0022482c9682A614902Pezzo Capriccioso, Op. 62Pyotr Ilyich Tchaikovsky (1840-1893) wrote PEZZO CAPRICCIOSO in B minor, Op. 62 for solo cello and orchestra in one week in August of 1887. A somber and sober work, Tchaikovsky wrote the work in the midst of experiencing the death of his friend Nikolay Kondratyev, who was in the final throes of syphilis at the time. In a trip to Paris to visit his friends as a respite, he wrote the work for cellist Anatoliy Brandukov. Tchaikovsky wrote to Brandukov, "I have written a small cello piece, and would like you to look through it, and put the final touches to the cello part." He began the piano score two days after he wrote that letter and began orchestrating it a few days after that. The first performance took place in the piano accompaniment version on February 28, 1888, at a private home in Paris, with Brandukov as the soloist and the composer at the piano. Brandukov performed the solo at the orchestral premiere on November 25, 1889, in Moscow at a Russian Musical Society concert, Tchaikovsky conducting. Instrumentation: 2.2.2.2: 4.0.0.0: Timp: Str (9.8.7.6.5 in set): Solo Cello in set. Reprint edition.2.2.2.2: 4.0.0.0: Timp: Str (9.8.7.6.5 in set): Solo Cello in set
16548F203D312-7C07-48D3-A421-9266A220588CBSMIS106Annie LaurieThis is a trombone/ piano version of the recently published new adaptation of the famous Arthur Pryor solo, ANNIE LAURIE which has been arranged for brass band by Keith Wilkinson (BSMBB-100). The last variation in the brass band arrangement, which we believe is published for the first time, is taken from Arthur Pryor's own recording. Brett Baker, one of England's premier trombonists, has recently recorded the brass band version of this work with the Flowers Band on the Polyphonic label (QPRL 203D).Trombone or Euphonium, Piano
16549F204AAE1-A59A-4BEE-9B29-1BEB0E2E7DCAA812202Odelette for Flute and Orchestra, Op. 162ODELETTE for Flute and Orchestra, Op. 162, composed by Camille Saint-Saëns (1835-1921) in the last year of his life, refers to the secular variety of the ode, an ancient Greek poetic form praising a person or event. Paying homage to the development of the form as it appears throughout the Renaissance, the work makes use of trochaic rhythms and strophic breaks. Dedicated to François Galliard, it premiered in September 1920 with Gaston Blanquard performing the solo part and Arnold Ferté conducting. The composer also produced a reduction of the work for flute and piano. Instrumentation: Solo Flute: 0.2.0.2: 0.0.0.0: Str (9.8.7.6.5 in set).Solo Flute: 0.2.0.2: 0.0.0.0: Str (9.8.7.6.5 in set)
16550F205B757-71CF-4E7C-86B2-98771A89DA6F50604001Impact!Spirited and energetic, yet subtle and nuanced, a combination that is certain to provide meaningful educational and musical moments for your students. Impact is an absolute delight to play, teach, conduct, or hear.Percussion Quintet: 4 Toms, SD, BD, Sus Cym/Bongos, Timp
16551F206CF3A-5A60-4461-BAA5-6F8B296EC537M109191Five Piano Pieces, Op. 3(not set)Piano Solo
16552F20BF23E-A9DC-4F06-B7F3-65175AA49185A182202Divertimento No.2, K. 131(not set)1, 1, 0, 1 - 4, 0, 0, 0, str
16553F20C7003-C566-482C-BCB8-57FE0AF756F4M802990Minuet for ModernsFirst performed by the NBC String Orchestra, Skitch Henderson, cond., May 26, 1954.String Orchestra
16554F20D1305-EC1C-4A61-B4F9-833CA0EEA7A5RCB261Seven Artistic SolosFlute, Piano
16555F20DE228-FAD7-4040-A621-1378F9FF3B21ST624ChansonFlute
16556F216FF35-4A16-4D3F-A0CA-571C206A5B7AR00006In Memories ofIn Memories Of is a one movement piano quintet approximately 16 minutes in length. It was originally composed for and recorded by Marija Stroke and the Brentano String Quartet (NWCR761).Piano, String Quartet
16557F219332F-0D52-4256-957F-87FDF895F33FX120007Dream Etudes, Book IVA set of three pieces for oboe: Remembering, Bouncing, and Silencing. Commissioned for and dedicated to Juozas Rimas, the work was directly inspired by his playing in a wide range of repertoire—from early music to contemporary.Oboe Solo
16558F21A19E5-CADA-4459-8428-697704873481A114402Concerto Grosso in G minor, Op. 3, No. 2While Italian Baroque composer and violinist Francesco Xaverio Geminiani (1687-1762) has now largely been forgotten, during his lifetime he was considered on the same tier as Handel or Corelli, whose contrapuntal style he emulated. Compositionally, he is best known for three sets of 42 concerti grossi (a term made famous by Corelli): Opus 2 (1732), Opus 3 (1733) and Opus 7 (1746). These were written for an English audience excited by the 'Corellian' style, despite the rest of Europe then adopting the fashionable galant style. These concerti grossi proved very popular on performance and were published quickly in London. The collection of Six Concertos (Concerti Grossi), Op. 3 were written first in 1732-1733, but were revised by Geminiani in 1755. This edition of Concerto Grosso in G minor, Op. 3, No. 2 has been edited by Robert Hernreid, and it features combined ripieno and concertante string parts (4-4-3-3-3 in the set) into each instrument part and a realized cembalo/harpsichord continuo.(Ripieno/Concertante parts combined): Str (4-4-3-3-3 in set): Concertante: Vn(2).Va.Vc: Hpchd in set
16559F21D2FFF-6E02-475E-A9C4-F9A6B71EBFF6EBM220346Concerto for Piano and Orchestra (reduction)Roger Sessions' Piano Concerto (1955) was composed shortly after the composer began to incorporate full-fledged twelve-tone procedures into his compositional language. Sessions barely finished the work in time for the performers to prepare. The three movements of the Concerto present a dramatic dialogue between the piano and orchestra. The first is cast in a traditional sonata form. The second begins with a slow introductory passage, after which the movement opens up into broad, sustained lyricism. The final movement assumes a rondo-like form. Dedicated to the memory of Sessions' friend and colleague Artur Schnabel, the Concerto has shared much the same fate as its sister work, the Violin Concerto (1930 - 35): despite the singular musical personality of their creator, both have suffered neglect in the concert repertory. Following its premiere in 1956, the Piano Concerto virtually disappeared until the 1980s, when players took a much-deserved, renewed interest in the work. - Description by Blair Johnston2 Pianos
16560F21DA76B-3895-4991-9F59-1D9B54FD68ADST540LaverneAlto Sax