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17161FA3661CF-AD61-47DA-990D-643F40FA5A6EA828802Symphonies for Small Orchestra; No. 5: Dixtuor d'Instruments a Vent, Op. 75 (Chamber Symphony No. 5)Set Of Parts-as Scored
17162FA388D55-A360-4FAA-9506-26D4F58AC070M912802Lohengrin: Act 3 PreludeConcert Band
17163FA3D6585-9D9C-44B4-B3AA-C8E921814C49A838002Summer Nights, Op. 7 (Les nuits d'ete): 1. Villanelle (transposed in F)The song cycle LES NUITS D’ETE (SUMMER NIGHTS) is a setting of six poems by composer Hector Berlioz' (1803-1869) neighbor and friend, Théophile Gautier. The text deals in themes of love in all its facets, progressing from youthful innocence to loss and renewal. Originally composed in 1841 for solo vocalist and piano, Berlioz completed orchestration of each of the six songs in 1856. While regrettably neglected for many years, this song cycle was rediscovered in the 20th century and has become one of the composer's most popular works. The songs in the original keys (1. A; 2. B; 3. F minor; 4. F-sharp; 5. D; 6. F) are available from the publisher both as a complete set (A2573) and individually. Robert Sutherland has edited five of the songs in the cycle and has transposed each in multiple keys to expand the work to more vocalists. Songs completed by Robert Sutherland: 1. Villanelle (E, F, and G), 4. Absence (Db, D, Eb, and E), 5. Au Cimetie?re, Clair de lune (Bb, B, and C), and 6. L'lle inconnue (D, Eb, and E). A transposition of 2. Le Spectre de la rose to D and a transposition of 3. Sur les Lagunes to g minor is also available from the publisher. Villanelle celebrates spring and love, and invites the beloved to walk through the forest gathering wild strawberries and holding hands, all accompanied by charming melodies. Instrumentation: 2.1.2.1: 0.0.0.0: Str (9-8-7-6-5 in set): Solo Voice (Ten or Sop). Newly engraved edition.2.1.2.1: 0.0.0.0: Str (9-8-7-6-5 in set): Solo Voice (high voice)
17164FA4457A2-2520-4924-9823-2295FD31C0B6M263091French Masters of the Organ(not set)Organ
17165fa458151-9e3b-11f0-a418-0022482c9682SO220CMamou Two-Step, TheCajuns are the descendants of Catholic French Canadians whom the British Empire expelled from the captured French territory of Acadia (modern-day Nova Scotia and its surrounding areas) in the 18th century. They emigrated to an area of rural south Louisiana, territory owned by France prior to the Louisiana Purchase, which the new settlers called “Acadiana.” Modern Cajuns maintain connections to their heritage and culture through the French language and dialect, their cuisine, and their music. The Mamou Two-Step is named after the Louisiana town of Mamou, given the epithet of "The Cajun Music Capital of the World."String Orchestra
17166FA4F09F0-D1D0-41BC-862E-05280EA68FBFA171102Midsummer Night's Dream, A: Incidental Music, Op. 61 (Ein Sommernachtstraum); No. 5: IntermezzoFelix Mendelssohn (1809-1847) wrote music for William Shakespeare’s play A MIDSUMMER NIGHT’S DREAM on two separate occasions. He first wrote the concert overture in E Major, Op. 21 in 1826 at the age of seventeen for no other reason than the love that he and his siblings had for Shakespeare’s stage works. He wrote the incidental music, Op. 61 (likely the best-known incidental music in the repertoire) in 1842 as a commission from King Frederick William IV of Prussia. In creating the complete later version, the composer incorporated the original overture, Op. 21 as the overture for the incidental music and the first of the 14 numbers. Starting with what must be four of the most evocative and memorable chords in music, the work also is the origin of the Wedding March (No. 9) used in so many ceremonies today, commonly referred to as “Here Comes the Bride.” The work was premiered in Potsdam, Germany on October 14, 1843 by the Leipzig Gewandhaus Orchestra, conducted by the composer. The “Intermezzo” movement, No. 5, is here excerpted for those looking for a lighter and shorter piece to work into a program. Instrumentation: 2.2.2.2: 2.0.0.0: Str (9.8.7.6.5 in set).2.2.2.2: 2.0.0.0: Str (9.8.7.6.5 in set)
17167FA4F4D00-587D-4E6E-9677-A0A52CB14DEDLV132CBDown in the ValleyThis 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
17168FA54A207-2A15-4FD3-AC31-9CE74CFEAA43SS88Sarabande and Theme VarieClarinet
17169FA55E168-E312-401C-9B6E-4D0683340CBFA237802Samson, HWV 57: Overture [Score: Chrysander, Parts: Novello]SAMSON, HWV 57, is an oratorio in three acts by George Frideric Handel (1685-1759). When he composed it in the autumn of 1741, he had just finished work on The Messiah. The libretto, based on John Milton’s Samson Agonistes, was written by Newburgh Hamilton. The work premiered at Covent Garden in London on February 18, 1743. It achieved so much acclaim that six more performances were presented that season. The Overture remains popular still for concert programming. Instrumentation: 0.2.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Piano reduction included in score. The much improved score provided is from Friedrich Chrysander's edition published in 1861 as part of the Deutsche Händelgesellschaft, while the parts are from the Novello edition published ca. 1870.0.2.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Piano reduction included in score
17170FA55EE71-712D-4B4F-96DF-971054B47149SC299Let Freedom RingTtb
17171FA571E2C-40F9-47DD-89CF-10191CD0EB9252703132Brandenburg Concerto No. 2 for String QuartetBach's famous "Brandenburg Concertos" are considered by many to be the pinnacle of the Baroque Concerto Grosso style. These arrangements of the "Brandenburgs" for string quartet by Lynne Latham have become much-used by professionals and students alike.Violin 1, Violin 2, Viola, Cello
17172fa587e9e-9e3b-11f0-a418-0022482c9682SO221CNew Orleans Blues, TheFerdinand Joseph LeMonthe (c. 1890-1941), better known by his pen name "Jelly Roll" Morton, was a New Orleans-born ragtime pianist, composer, and band leader. One of the first musicians to play the New Orleans music that would come to be known as “jazz,” he was also one of the first artists to notate his jazz compositions on paper. He would claim, years later, that he had “invented” jazz, something historians dispute. His popular works include Dead Man’s Blues, King Porter Stomp, Alabama Bound, and the Tiger Rag. His 1920s recordings by his hand-picked band The Red Hot Peppers are considered classics in the early jazz idiom. Morton’s The New Orleans Blues appears to have been composed between 1900-1910, when the composer was touring the United States.String Orchestra
17173FA6737FC-3979-4C04-8ED7-BB988E12A379SC820Red White and Blue(not set)SSA
17174FA68D2F5-AE18-4C78-A699-435BF6823ACFX504032Folk Songs: Set No. 11B(not set)String Quartet
17175FA6B5113-ED3F-438D-8D0E-EACED94A96FC52703617Wash Rag for String QuartetThis humorous little vignette for string quartet was composed in 1979 and was originally intended to be published by Piedmont Music, the ASCAP division of EB Marks Classical. For reasons unknown, however, it remained in manuscript form until 2021, when a copy of the composer's autograph parts was discovered in the archives of a completely different Alan Shulman piece. This newly engraved Latham Music edition therefore represents the first publication of Shulman's delightful work, as well as the first full score. As the title suggests, this is a medium-slow rag, or "cakewalk" in a loose AABA form. The bluesy and graceful main melody is introduced by the first violin in a call and response exchange with the rest of the ensemble. The restatement of the primary theme is led by the second violin, with the entire ensemble playing pizzicato, having the effect of playful mockery. In the B section, the first violin earnestly reasserts the stately grace from the opening however, the cello is clearly becoming restless and decides to take over the lead just before the final reprise. The lighthearted ending again has the first violin doing its best to bring the tune to a refined conclusion, but the rest of the group still has mischief in mind. After a couple moments of seeming confusion, the ensemble regroups at last and plays the final riff with resolute emphasis. If you're looking to add a light moment to a recital program, or looking for a short, medium level contest piece that players and audiences alike will enjoy, this little miniature is an ideal choice!String Quartet
17176fa6d284e-9e3b-11f0-a418-0022482c9682SO222CLarghetto and Allegro Op. 6 No. 3Written in 1739, George Frideric Handel’s Concerti Grossi Op. 6 are among the most popular pieces he composed for strings. The stately Larghetto and spirited Allegro ma non troppo of the Concerto No. 3 in E minor make a delightful pairing. Originally scored for two solo (ripieno) violins and cello with accompanying strings and basso continuo, the Larghetto and Allegro have been adapted and re-scored for string orchestra. All parts are within the abilities of intermediate-level groups and are a wonderful way to introduce elements of Baroque style.String Orchestra
17177FA7B647D-54B9-4848-9713-48BCAFCA4B61S746CBCarnaval(not set)Concert Band
17178FA7E6469-0C40-4660-8019-1A6171BA538CR01524Viola ConcertoAn expansion of Crockett's viola chamber concerto, "To Airy Thinness Beat," which was commissioned by BMOP (with funding from Jebediah Foundation New Music Commissions - JFNMC) and premiered in February 2013.Viola Solo: 2.2.2.2.: 2.2.1.0: Perc(2).Pno: Str
17179FA7F59D9-73BF-4AEE-8BCB-1038123197ADSC382Sigh No More(not set)Satb
17180fa81c0db-9e3b-11f0-a418-0022482c9682SO223CNighthawk of Golden Bell, TheThe Nighthawk of Golden Bell was commissioned for the 30th anniversary of Camp Con Brio (formerly the Colorado ASTA String Camp), which the composer founded in 1995. The camp is currently held every summer at nearly 10,000 feet elevation at the Golden Bell Camp above the town of Divide, Colorado. The work is programmatic, bringing to life a poem about the quest of a young camper who must decide between the security of the familiar and the uncertainty of the unknown. The poem is an allegory for the choices we make in life. A short introduction (including a disguised quote from Stravinski’s Firebird) is followed by an exciting quest including wolf howls and bird screeches. At a mountain summit, the child receives council from a mythical bird before continuing the journey.String Orchestra