Titles
Showing 17,141-17,160 of 17,576 items.
| # | ID | Titlecode | Title Name | Marketing Copy | Instrumentation | |
|---|---|---|---|---|---|---|
| 17141 | FA00FB51-FB2D-4BB3-B85D-CDC2581F95CF | X940016 | O Praise the Lord (Psalm 117) | This setting of Psalm CXVII is voiced for SATB choir is written by George Walker and is dedicated to his Uncle J. Organ part included for rehearsal purposes only. | SATB Chorus | |
| 17142 | FA0247CD-5157-4D8B-A89F-8AD36FE7FC6F | A668502 | Herbstrosen Waltz | (not set) | 1+1, 2, 2, 2 - 4, 2, 1, 1, timp, perc, hp, pf cond sc in set, str | |
| 17143 | FA0519BF-E3DE-49AD-B2EE-E611EFD5DF36 | BSMCHM117 | Hebraic Elegy for Two Violas | Written by Amy Barlowe as a tribute to her late father, HEBRAIQUE ELEGIE is a hypnotic duo for two violas with a haunting and beautiful melody. This challenging and expressive duet is for advanced violists. Versions for violin duo and viola duo are available from the publlisher. | Viola Duo | |
| 17144 | FA05D057-2E02-4CD8-A391-8B804C57ED69 | B452 | Tried and Proven Choral Warmups | (not set) | Choral | |
| 17145 | fa0800fc-9e3b-11f0-a418-0022482c9682 | SO218C | Every Time I Feel the Spirit | Dating prior to the Civil War, Every Time I Feel the Spirit is one of the most beloved spirituals. Like many spirituals, this one is both a song and a prayer. This arrangement begins with a driving eighth note rhythm which, after a contrasting middle section, returns to bring the work to an exciting conclusion. | String Orchestra | |
| 17146 | FA0882A2-EB23-442D-B4E0-BD3E5A1BC2B2 | R00234 | The Charmer: A Rag | For experienced amateurs or professionals. This is a real rag -it is not based on a tone row or is it minimal; pleasant listening and fun to play. | B-flat Clarinet, Euphonium, Piano | |
| 17147 | FA09DA0F-E0D3-4799-82A6-B614F5B83C73 | X410103 | Piano Concerto No. 3 in Solo Version | I have finally decided to re-create the already-daunting "Rach 3" into an even more horrifying but also emotionally satisfying project, which was to make such a large-scale arrangement for solo piano requesting the pianist to combine both the piano and the orchestral accompaniment of Rachmaninoff’s original crowning achievement, thus merging an 80-people orchestral sonority onto one person. The process of this project was one of the most artistically educational experiences for me, as I couldn’t just take the original score and copy and paste it onto the same instrument, which would’ve been meaningless and would simply sound like a mess. One has to really work as a sensitive composer to know the differences between the timbres and colors of the piano and that of the orchestra, which requires me to re-arrange registers, minor shifts of structural obstacles, avoidance of over-toned harmonies, and attempt to make it sound like as if it was conceived originally as a grand solo piano sonata instead of just some crazy transcription for showing off. I hope this new version of the "Rach 3" can achieve a different kind of in-depth virtuosity and emotional scope and that it may attract interest from my comtemporary and future pianists or musicians worldwide. | Solo Piano | |
| 17148 | FA105FBC-DE76-4984-8286-AD321EA1E022 | S337 | Marcella Overture March (out-of-print) | Marching Band | ||
| 17149 | FA124C2B-46EA-4DF6-A86B-DC92874778CB | SU438 | Divertimento No. 4 | Karl Philipp Stamitz (1745-1801) was born into a Bohemian family of musicians dating back to the mid-17th century. Following the example of his renowned father, Karl gained wide recognition as a violinist, violist, and composer. Noted primarily as an orchestral composer, his Four Divertimenti for two clarinets, two horns, and two bassoons are among the few chamber pieces that have not been lost as a result of the bombing of the Berlin Public Library during World War II. These editions by Harry H. Hall have been meticulously researched, documented, and edited to bring this music back to the public. All Four Divertimenti are available from the publisher. | Woodwind Sextet | |
| 17150 | FA1998D1-AEC5-47F6-9C40-47CED13EA24B | MP814029 | Concert Songs - Volume 1 (1975-2000): 25 Songs for Medium/Low Voice and Piano | |||
| 17151 | FA1AD26F-AB8B-46D8-B4A6-BC8C8057B6B2 | B105 | INSTRUMENTAL CONCERTOS | |||
| 17152 | fa1b0d11-9e3b-11f0-a418-0022482c9682 | SO219C | Clef Club March, The | James Reese Europe (1881-1919) was an influential New York bandleader and composer during the first two decades of the 20th century. He first came to prominence as one of the founders of The Clef Club, an organization that provided musical support and performance opportunities for the city’s Black musicians. Europe later commanded the U.S. Army regiment during World War I, and was decorated for bravery for his service on the Western Front. While Clef Club March was originally published in several different arrangements, all but a handful of orchestral parts have been lost to history. This arrangement provides the rare opportunity for string players to perform an outstanding march by this historically important American composer. | String Orchestra | |
| 17153 | FA1D6759-EC60-4FFD-B1DE-0238631483A2 | M174491 | Sheherazade, M. 41 | Maurice Ravel’s (1875-1937) SHÉHÉRAZADE, M. 41 is a song cycle based on three poems by Tristan Klingsor. Both men belonged to a circle of young artists known as the Hooligans (Les Apaches), and upon hearing Klingsor read some of his poetry to the group, Ravel suggested that he set three of the verses to music. Not to be confused with the 1898 overture of the same name, it is scored for solo soprano and orchestra, but one of Ravel’s acquaintances noted that the composer and poet were contemplating the solo part being sung by a male voice. Alfred Cortot conducted the premiere on May 17, 1904 at the Salle Nouveau Théâter with soprano Jeanne Hatto. Movements: I. Asie (Asia); II. La flûte enchantée (The Enchanted Flute); III. L'indifférent (The Heedless One). Reprint edition. | High Voice and Piano | |
| 17154 | FA21EED7-C5C3-4BC5-802C-49E99908CF8E | R01264 | Fuga Eroica | 2.2.2.2: 3.2.0.0: Timp: Str | ||
| 17155 | FA2573B4-6B6E-479F-8E7A-AE0590C64F79 | AR106 | Intrigues for Clarinet | Cl.: Woodwind Solos & Ens | Clarinet/piano acc. | |
| 17156 | FA2B896D-B219-4982-9E0D-A50BF027E8DB | SS514 | Menuet and Famous Aria | These two challenging pieces by J.S. Bach have been revised for Oboe by Albert J. Andraud. They are a perfect concert or competition selection for the advancing oboist. | Oboe | |
| 17157 | FA2D286B-4167-4EB3-AC35-F2E9EB4223AC | B391 | Two-Part American Songs, Bk. 2 | The bicinia in this collection were inspired by the work of Zoltan Kodaly, Hungarian composer and educator. Using Kodaly educational ideas, this second book in the collection uses American folk songs written in two parts to teach students the musical understanding of each whole composition. Songs included in Book Two: 1. Quaker, Quaker, 2. There Was a Crooked Man, 3. Star Light, Star Bright, 4. Burny Bee, 5. Sleep, Baby Sleep, 6. Old Mister Rabbit, 7. Lucy Locket, 8. Little Sally Rand, 9. I Climbed Up the Apple Tree, 10. Wee Willie Winkie, 11. Grandma Grunts, 12. Frog in the Mudhole, 13. Houn' Dog, 14. Bought Me a Cat, 15. Rocky Mountain, 16. Great Big House in New Orleans, 17. Blue, 18. Oh, Watch the Stars, 19. B'm Bye, 20. Shady Grove, 21. Haul on the Bowlin' | Vocal | |
| 17158 | FA2D7CC7-909C-4CA8-93F5-806CE23C8119 | MP940008 | Alleluia | |||
| 17159 | FA2E3A89-3A43-4261-9CC0-D3A926B76F89 | A795202 | Panis Angelicus | César Franck (1822-1890) wrote his Mass in A Major, Op. 12 in the summer of 1860. It was later revised in 1872, with the then newly composed Panis angelicus replacing the original movement O salutaris. Originally written for voice and orchestral accompaniment, the 1872 arrangement was only scored with organ, harp, cello, and double bass accompaniment. This edition of Panis angelicus was transcribed by Leopold Stokowski for wind instruments and strings. Instrumentation: 4.1.3+BCl.3+CBsn: 4.0.4.1: Str (9-8-7-6-5 in set). | 4.1.3+BCl.3+CBsn: 4.0.4.1: Str (9-8-7-6-5 in set) | |
| 17160 | FA30B28E-ABCD-48B8-B961-80E7AB6E93C5 | R00788 | Invocations | Invocations is a tribute to the rhythms, scales, instruments and musical architectures of a great number of cultures, on the notion of a universal language, perhaps one that, within its many diversities can speak to us of our similarities. | 2+Picc.2+EH.2+BCl.2+Cbsn: 4.4.4.1: Timp.Perc(6).Pno.Clst.2 Hp: Str |