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16941F7022186-AD2A-44C8-AEF4-E92BE701EBEBS1028CBAdventures of Mark Otto, TheMark is a relatively short, but strong guy with an interesting accent. He gives emphasis to everything he does. He often stands out in a crowd, sometimes even wearing a cap to get noticed. Your students will never forget this humorous, yet effective, lesson in marcato playing.Concert Band
16942F702A8D7-6051-4A3F-BDE7-8C35559FD7EDJ96103Ascendit Deus Treble
16943F7058D73-11B0-4384-868F-5E5A4CAB5C0FM289591Sonata for Violin in G minor, GT 2.g05 'The Devil's Trill'Italian composer and violinist Giuseppe Tartini (1692-1770), the first known owner of a Stradivarius violin, composed at least 135 violin concerti and at least 100 violin sonatas in his lifetime, among a few other works not for the violin. While the fact that he never dated his manuscripts nor cataloged revisions makes it very difficult to catalog his works, scholars have created systems to at least categorize his output based on the stylistic characteristics of his music. The most famous of Tartini's works is best known as the DEVILS'S TRILL SONATA (SONATA FOR VIOLIN in G Minor, GT 2.g05/ B.g5). Tartini claimed to be inspired by a dream related to French astronomer Jérôme Lalande where the devil offered to teach Tartini, with the dream ending in an awe-inspiring performance by the devil of great virtuosity and brilliance. On waking, Tartini attempted to recreate what he heard the devil play. While Tartini claimed to have written the work in 1913, it may have been composed as late as the 1740s based on its stylistic maturity. Reprint of the edition by famed violinist and composer Fritz Kreisler.Violin and Piano
16944F705A8F8-1C2E-4477-9C41-C9296F996DFCS721CB24th Lancers Afoot(not set)Concert Band
16945F7088035-F8B4-422C-B2FA-D758B46A2CDATC140Verbum Caro Factum EstMuch of the so-called "a cappella" music of the late 16th and 17th centuries can be enhanced by the addition of instruments to double the voices or substitute for some of them, a practice suggested by many of the composers themselves. Because of its rhythmic structure and antiphonal effects, Hassler's VERBUM CARO FACTUM EST offers a fine opportunity for the conductor to employ such doublings. The set of instrumental accompaniment parts are available separately from the choral score.Six-Part Chorus of Mixed Voices (SSATTB) with Insturments (opt.)
16946F7092240-DC6F-4B97-B667-B583432C7944R00624Essay for Tenor Saxophone and Wind Ensemble(not set)Tenor Saxophone Solo and Wind Ensemble
16947F7093F6A-BFDE-421B-BAF9-D8547D6E25D5MP814027Concert Songs - Volume 1 (1975-2000): 35 Songs for High Voice and Piano
16948F70CE390-46BB-44DF-90B1-0895A75C5761A753902Symphony No. 7 in E-flat, Op. Posth. [arrangement from incomplete fragments]Peter Ilyitch Tchaikovsky (1840-1893) began work on a Symphony in E-flat after the completion of his fifth. Intending his sketches to become his sixth symphony, the composer abandoned the work as too impersonal, turning to new ideas for his actual sixth symphony. Convinced by others that sketches had merit, Tchaikovsky decided to re-score the music as a piano concerto, reusing the first movement for the single-movement Piano Concerto No. 3. The other two movements from the sketches were reworked for piano and orchestra by Sergei Taneyev as the Andante and Finale, which was published posthumously in 1897. Between 1951 and 1955, Russian composer Semyon Bogatyrev began work to fully orchestrate the work as Tchaikovsky's Symphony No. 7 in E-flat. This reconstruction premiered on February 7, 1957, by the Moscow Region Philharmonic Orchestra under Mikhail Terian. Instrumentation: 3(3rd dPicc).2.2.2: 4.2.3.1: Timp.Perc(2-3 players): Hp: Str (9-8-7-6-5 in set).3(3rd dPicc).2.2.2: 4.2.3.1: Timp.Perc(2-3 players): Hp: Str (9-8-7-6-5 in set)
16949F7123157-A91E-4A40-A021-A7EA83C24854SS511Third Solo De Concert(not set)Oboe, Piano
16950F718FD4A-B359-4449-9014-8FC9787F1C42SC753She's Like the Swallow(not set)Ssa
16951F719D4E3-B74C-4586-A577-603652C97825R00434Theme and VariationsPiano Solo    2(1d Piccolo).1+English Horn.1+Bass Clarinet.1: 1.0.0.0: Percussion(1): Strings
16952F71B0D34-C6CF-49C8-BAB4-3D955C6A06B210250006Divertimento III(not set)String Orchestra
16953F71EB64C-4B1A-469E-A8C0-3F67480267B6M289691Etudes Caprices, Op. 18 (Bk. 1)Violin virtuoso Henri Wieniawski (1835-1880) wrote these ETUDES-CAPRICES, Op. 18 for two violins in 1862. Eight etudes were written in total, and the publisher has split this across two books, with Etudes 1-4 in Book 1 and Etudes 5-8 in Book 2. Reprint edition.Two Violins
16954F720819D-8870-406A-89BF-889AEF104F58ST904Mandarin Whispers for Violin and MarimbaMandarin Whispers is a example Alice Gomez's use of cultural fusion. The violin takes the lead in this work as the marimba provides rhythmic and harmonic support.Violin, Marimba
16955F721F822-8E1D-495C-8EB8-283A16A77753M349291Suite for Oboe and Piano, Op. 17Pavel Haas wrote his Suite for Oboe and Piano in 1939, as Hitler's armies were marching across Europe. The music expresses his bitterness over the dark events unfolding around him, but also reflects a defiant spirit and a hopeful glance back across the cultural roots of his country.Oboe and Piano
16956F7226F6A-218B-496C-9564-08FFBC77EF87X506007Dreaming and Thinking for Piano and String QuintetEinstein wrote in his journals that relativity came to him first in a kind of dream state, and that once the details of the dreamed images appeared to group themselves, he considered that to be thinking. So he wrote that dreaming and then thinking is the essence of the creative process, and it seems that his definition of thinking is the organization of dreamed images, whatever form those images may take. I have long thought this to be the case for creativity in general, and it seems to describe my own experience in composing. I used the terms "dreaming and thinking" to describe creativity in the second edition of my book THE MIND'S EAR before I came across Einstein's journal on the subject. - Bruce AdolphePiano, 2 Violins, Viola, Violoncello, and Double Bass
16957F72A7E59-8AA0-45DA-AA8A-9698E0DE7C15SU370Difference of OpinionAlthough this work was originally composed for clarinet choir, its rich harmonies and lyricism make it especially appropriate for saxophone ensemble. Instrumentation: Soprano Sax, 3 Alto Sax, 2 Tenor Sax, and Baritone Sax.7 Saxophones: 1 Soprano Saxophone, 3 Alto Saxophone, 2 Tenor Saxophone, 1 Baritone Saxophone
16958F72DA4D5-6DCD-48C7-83F5-CDE455338DC0A115502Concerto Grosso in G minor, Op. 6, No. 6, HWV 324str, hpchd, soli vn(2), vc concertate
16959F7387956-4FC2-41A7-A4DF-DC7BF3F3DE93SC182NightfallSab
16960F73A2368-55E9-4E7E-AFB3-FF454E756D11M175291Songs, Vol. 1(not set)Voice and PIano