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17041F86B1CB7-8AE2-4B1B-AAAF-B69615F4304DS966CBMalaguena: from the Spanish Suite ANDALUCIABorn in Havana, Cuba in 1895, Ernesto Lecuona is arguably Cuba's greatest serious composer. He was a gifted pianist who wrote hundreds of songs and piano works before he died in 1963. Most of his music is composed in a rich, authentic Cuban style.
The most famous of his works is "Malagueña," the sixth movement of his Suite Andalucia for solo piano, which was first published in 1928. Malagueña has been recorded as a popular song (with added lyrics), as a serious piano work (even by Lecuona himself in the 1950's) and also as a jazz standard (Bill Holman's arrangement for the Stan Kenton Orchestra in the early 1960's.) Over the years, it has been arranged many times for various other mediums, ranging from symphony orchestra to field arrangements for drum and bugle corps.
In 1976, James Barnes arranged Malagueña for the University of Kansas Marching Band. A few years later, with permission from the publisher, he expanded this original arrangement into a full work for symphonic band called "Prelude, Fantasy and Fandango on Lecuona's Malagueña." After several performances in the spring of 1978 (most notably at the MENC Convention in Colorado Springs), this work, along with over 200 other Barnes manuscripts, lay fallow in the KU Band Library.
While packing up his office belongings when he retired from The University of Kansas in 2015, Barnes came across this long languishing "Prelude, Fantasy and Fandango," which remained in condensed score. In the fall of 2016, he completely re-composed the opening portion of the work, reduced the number of required percussion and disposed of the two harps in his 1978 version. This new setting features evocative, thinly scored, extended solo passages for clarinet, bassoon and flute before the full wind band concludes the work with a powerful, dramatic setting of the main themes of Lecuona's masterful Malagueña.		Concert Band
17042F86BE0ED-BB7D-4772-B24C-CC79506B9CF5LV161CBSweet Betsy from PikeThis piece is part of the Music Your Band Can Play series, a series dedicated to providing familiar folk songs, carefully selected and properly arranged for the elementary band program, in an effort to maintain and increase interest in beginning programs.Concert Band
17043F86C2E25-44B3-4087-A462-80A2EF2835F4C14Allegro
17044f875b18e-9e3b-11f0-a418-0022482c9682SO198CDark Machinations (multilevel)DARK MACHINATIONS is a hauntingly beautiful waltz that tells the story of a villain's nefarious plan to destroy the hero. From the brooding opening notes that depict the gathering of dark magic, to the lighter, almost whimsical middle section as the villain watches the hero living a happy life, the tension builds and falls in a captivating dance of light and darkness. The villain's aggression is represented in a powerful musical statement that brings the piece to a thrilling conclusion, leaving you on the edge of your seat. The mixed level scoring of this piece provides a challenge to both primary and secondary players. The beginning and open string level parts were then added to provide options for any orchestra program that wants to include a full range of playing abilities into a single performance.Multilevel String Orchestra: Advanced (Grade 4); Intermediate (Grade 2); Beginner (Grade 1); Open Strings (Grade 1/2)
17045F87DB326-F7F9-4B19-A2A1-84ED29031A96A696302Slavonic Dances Op. 46 Nos. 1-4, critical editionTwo series of "Slavonic Dances," each of them consisting of eight numbers and separated by eight years, were composed by Antonín Dvo?ák. The idea was suggested to the composer by the publisher, N. Simrock, following the publisher's introduction to Dvo?ák's "Moravian Duets" by Johannes Brahms. Understanding the national characteristics and talent of the hitherto unkown Czech composer, Simrock suggested he create a series of "Slavonic Dances" in a style similar to that which had recently proved so successful in the base of Brahms' "Hungarian Dances." Using only the rhythms as the most characteristic and expressive element of Slavonic music rather than original folk dance songs, Dvo?ák quickly completed the first series of eight (Opus 46) for piano duet, often also orchestrating them while still composing. Considered one of the most personal, nationally most characteristic, and most famous of Dvo?ák's works, this critical edition of Op. 46, Nos. 1-4 by Otakar Šourek was based on original sources. Instrumentation: 2(2dPicc)+Picc.2.2.2: 4.2.3.0: Timp.Perc(2-3): Str (9-8-7-6-5 in set).2(2dPicc)+Picc.2.2.2: 4.2.3.0: Timp.Perc(2-3): Str (9-8-7-6-5 in set)
17046F87DB4EC-5CBB-42B7-B081-460091CD773DW739091Carmen (original French edition, engraved)
17047F8801021-F302-4167-99AA-0B0D01023C69F502Musidex File Set Band/ Orchestra, 200-numbersForms
17048F8839B4A-B822-40DE-A04A-5D25211CA37CR00605Symphony No. 3, Op. 50(not set)3.3.3.3: 4.2.3.1: Timpani.Percussion(3).Harp: Strings
17049F8890037-2D4C-4572-9149-ECA3C60CC5BES563Heatherwood Portrait for BandCommissioned by the Long Beach Middle School 1984-85 8th Grade Band, Long Beach, N.Y., Richard Hornung, Director. Versions for band and orchestra are available from the publisher.Concert Band
17050F88963E9-E541-41AE-B6EB-60F3BFC7D4FA10420190Amour Viens Aider for Oboe and PianoAmour Viens Aider ("Love, Thy Help") is one of the most performed arias in the operatic repertoire. It appears at the opening of the second act of the opera Samson and Delila, in a scene where Delila pleads to an ancient love deity to help her seduce and defeat the Hebrew warrior Samson. This arrangement by Paul Whear effectively translates the haunting aria to the solo brasswind medium, allowing instrumentalists to play and enjoy a fine Romantic miniature.Oboe and Piano
17051f88a2523-9e3b-11f0-a418-0022482c9682SO199CDouze de Decembre: Christmas CotillionSancho’s original DOUZE DE DÉCEMBRE is one of two holiday themed dances he included in his collection. It was originally written to be played by an unaccompanied keyboard instrument. Like most of the dances in this collection, he included the dance moves that he choreographed specifically for this piece. The dance, which involves 8 people, has 4 people doing a specific dance (allemande) and the other 4 doing a different dance (chasse). The 2 groups then trade choreography for the second half of the song.String Orchestra (opt. Viola 2 for Violoncello) and Sleigh Bells
17052F88CA580-9441-4330-A19E-6B8F96EAFC3DSC200Texas Our TexasTtbb
17053F892116A-675A-4B3E-9EB2-293B0AFFD00150751004Hymns Of PeaceAppropriate for intermediate players and up, these eight arrangements of popular hymn tunes will add class to any church service or gig. Contents: All Things Bright and Beautiful; Blessed Assurance; Dona Nobis Pacem; This Is My Father's World; I Come to the Garden Alone; Morning Has Broken; What a Friend We Have in Jesus; When Morning Gilds the Skies.Guitar Duet
17054F89447F1-1A46-483B-B889-54A58600114FS711CBProcession to the End of TimeBegun when a friend told the composer of the Nazi invasion of Czechoslavakia during World War II, Nelhybel ceased working on it out sadness and frustration. Finished at the suggestion of his friend Peter Boonshaft, this edition is faithful to the original manuscript in every way way save the metronome markings.Concert Band
17055F8979DD4-2AE0-4A83-AB36-30DEA7E26B37LL107Hail to Thee, Glad DaySatb
17056F89DBEA0-98FC-4CEF-902D-D43441B385F2A774902Sinfonia No. 9: String Symphony in CThis is the eighth among thirteen string symphonies written between 1821 and 1823, when Felix Mendelssohn (1809-1847) was twelve to fourteen years old. Like the other twelve, it was written as a tribute to early Classical symphonies by composers such as Haydn, J.C. Bach, C.P.E. Bach, and Mozart, a feature much more obvious in the first six as they were more imitative. The second grouping, starting with Sinfonia No. 7, show more of the composer's emerging personal style. Mendelssohn composed most of the thirteen works in three movements, but his ninth is an exception to the rule, with four movements instead. While influenced by the style of Haydn, Mendelssohn's own voice shines through. A string count of 8-8-2/2/2-5-5 are included in this set. Study score.String Orchestra (8.8.[3-3].5.5 in set)
17057F8A01A60-175D-4E18-860B-5CD6507334FAC26CBMUSETTA'S WALTZ
17058F8AAC484-E622-4BE1-A756-3AB8A151539FSC789Hold Fast to Your Dreams(not set)SATB
17059f8ad9c7f-9e3b-11f0-a418-0022482c9682SO200CIn a Forest Glade (from Two Russian Folk Songs)This setting of the lovely Russian folk song, IN A FOREST GLADE, allows the beautiful and catchy melody to be played by all the upper strings at various times. The melody should never be overpowered as it moves from one instrument to another and the indicated metronome markings are important to ensure a faithful interpretation.String Orchestra
17060F8B1EEBB-64FE-4F2B-B8A1-00BBA0AE6A1FEBM0610674Circus Overture: Into the Eighth Decade for BandBolcom’s curtain raiser, Circus Overture, was written in honor of Slatkin’s 70th and premiered by the conductor and Boston Symphony, which commissioned it. It’s a 5-minute riot, full of marching evocations of the midway - or perhaps the parade of life? - along with lickety -split wind lines, exaggerated tempo changes and a snippet of Ellingtonian talking brass, including a muted trombone growling out a reference to Chopin’s ‘Funeral March.’ That’s vintage Bolcom wit: Slatkin, who has championed the Ann Arbor composer for decades, specifically asked him not to quote ‘Happy Birthday.’ The Detroit Free Press, Oct. 10, 2014. Subtitled "Into the Eighth Decade," versions for both orchestra and band are available for rent.Concert Band