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#IDTitlecodeTitle NameMarketing CopyInstrumentation 
  
17501FF033055-B471-497E-86EF-31FCFC7868F2ST307Blues and ChaserThis swing style piece for percussion octet (4 playing mallets and 4 playing percussion) has the following instrumentation: orchestra bells, xylophone, marimba, vibraphone, tambourine, chimes, timpani, 3 Tom-toms, and drum set.4M, 4P: orchestra bells, xylophone, marimba, vibraphone, tambourine, chimes, timpani, 3 Tom-toms, and drum set.
17502FF04C959-D6E6-4E47-BD12-178F8913AB1AEBM0630013Music for StringsMusic for Strings (1964) by Edward T. Cone. Duration ca. 10'String Orchestra
17503FF0F400C-6C2F-4272-8B0F-0B8BD0876874A826890Quella Fiamma Che(not set)Orchestra
17504FF12654F-099E-43F2-80B1-EF221958C73ESS763Suite No. 1This instantly recognizable cello suite has been elegantly transcribed for baritone saxophone by James Kasprzyk. A demanding exercise in lyricism, this suite is a fantastic choice for recital. Part of the Fred Hemke Saxophone Series.Bari-sax Unaccompanied
17505FF1A2EBB-733F-48C5-ACE0-C95C550E6753B520Songs for Sight Singing Vol. 2: JHHS/ SABSONGS FOR SIGHT SINGING provides a collection of literature for use in the choral classroom. Each selection was composed according to the criteria designed by Texas choral directors and commissioned by the Texas University Interscholastic League for use in its annual sight singing contest. These graded materials were created specifically for young musicians by recognized composers and comprise a valuable resource as they contain many of the problems encountered in sight singing. This collection can be used effectively as a supplement to the daily instructional sight singing program after an approved system (movable “do”, fixed “do” or numbers) and a rhythm system are established within the choral curriculum.SAB
17506FF1A9004-7809-4E2E-8B57-810140DD79B150250107Brandenburg Concerto No. 5 for String OrchestraAn absolute classic for strings, this version is in C major to avoid forward extensions for viola and violoncello. There is nothing out of first position except for a simple shift for violoncello and bass in a brief passage. A solo string quartet section gives the work a truly Baroque feel.String Orchestra
17507FF1CDE96-3770-43D7-8F77-12F8915653A7O3Swinging On The Swanee (out-of-print)Jazz Band
17508FF1D519F-8AA8-403B-AFAF-CC5BF05B7238M989690POP - See A009690 - Serenade for Strings in E, Op. 22/B. 52String Orchestra (8-8-5-5-5 in set)
17509FF20993C-7189-4A76-83E7-4FE5FD3FD111M801190Nutcracker Three DancesSome of Tchaikovsky's most beautiful moments can be found in the music he wrote for ballet, and this is no exception! Spanish Dance; Hungarian Dance (Czardas) and Neopolitan Dance are a treat for your players as well as your audience! This work is part ofString Orchestra
17510FF2A4DD6-B38D-48AE-8BB6-74B5CF8D9326ST133AntiphonA percussion piece for 10 players, "Antiphon" divides the musicians into two choirs. Aside from timpani, all other parts consist of unpitched drums including snare drums, tom-toms, bass drum, bongos, and crash cymbals.10P
17511FF2A7552-5486-4F2A-925A-108490AE3164MP410026Romantic Pieces
17512FF3C85BD-ACBA-4685-83FD-055BBAD7586DR14Concertino(not set)Full Orchestra
17513FF404D63-E1FB-4C81-99D1-B6B2F06193EFA714602Lustige Witwe, Die (The Merry Widow): Maxim March and Waltz IntermezzoThe operetta Die Lustige Witwe (The Merry Widow) was written in 1905 by Austro-Hungarian composer Franz Lehár (1870-1948), with a libretto by Viktor Léon and Leo Stein. The story tells of a rich widow for whom her countrymen attempt to find her a new husband that will keep her money in the principality. The operetta was successful when it premiered on December 30, 1905 at the Theater an der Wien in Vienna, with Lehár conducting, and it has remained a staple of the opera repertoire ever since. In 1907, only two short years after the premiere of the staged work, two of the more popular sections were arranged separately by two individuals, then combined and published as this brief two-movement suite: Maxim March, arranged by Alfred Roth, and Waltz Intermezzo, arranged by Walter Henry Lewis. Instrumentation: 1.2.2.2: 4.2.3.0: Timp.Perc(3): Str (9-8-7-6-5 in set).1.2.2.2: 4.2.3.0: Timp.Perc(3): Str (9-8-7-6-5 in set)
17514FF42C1AB-4F7A-4E10-8672-F33BCE694C66A103890Symphony in G (GluckWV 5.1.10)German composer Christoph Willibald Gluck (1714-1787) was a pivotal figure, bridging the gap between the Baroque and Classical periods. Composing in both Italy and France, he brought about many reforms to the practice of opera composition. While Gluck is predominantly known for his operas, he did write other music, including this Symphony (Sinfonia) in G, although it may have previously belonged to one of his fragmentary early operas, written between 1740-1760. Reprint of Adolf Hoffmann's edition. An optional double bass part has also been created and included by bassist Lucas Drew as the original version by Gluck and the Hoffmann edition omitted this part. String count: 4-4-3-3-(3) in set.String Orchestra (4-4-3-3-3 in set). Bs Pt opt.
17515FF4660BC-2D55-4286-9895-560281378561K11113Under a Near Sky: John Dee, Oboe; The Tantallon Ensemble
17516FF47EA64-9C1F-436A-8B7B-01E8E0FEEEEEX504093Four Etudes and a Fantasy: String Quartet No. 2A Consortium Commission for the Ying Quartet by: The Eastman School of Music; The Krannert Center, University of Illinois, Urbana; Lied Center, University of Kansas; San Francisco Performances; and Stanford Lively Arts, Stanford University.String Quartet
17517FF517EB4-685B-4FA8-BA6B-DD6355893643A168702Symphony No. 5 in C-sharp minor (3rd version): AdagiettoGustav Mahler (1860-1911) composed his FIFTH SYMPHONY between 1901 and 1902, a time during which he found great success in his conducting career, and met and married Alma Schindler, who by the summer of 1902 was expecting their first child. Now one of his most popular works, the complete symphony was not popular upon its premiere in 1904 with the exception of the fourth movement, scored for strings and harp, an exquisitely poetic meditation marked "Adagietto." Probably performed as a stand-alone work more than any other single symphony movement, the symphony's achingly lovely adagietto was written as a personal message to Alma, delivered wordlessly to her as a gift, an expression of Mahler's undying love for his wife, though Leonard Bernstein also cemented the tradition of playing it as an elegy in his tribute to Serge Koussevitzky, then later as a memorial for Robert F. Kennedy. Taking up just five pages in a nearly 250 page score, the work carries an undeniable weight and is an island of calm in the otherwise seething tumult of the FIFTH SYMPHONY. Mahler revised the work several times between 1904 and 1911, when he passed. This edition is the 3rd version.Harp: Str (8-8-5-5-5 in set)
17518FF52C244-4EA3-4B40-A35A-5F560CCE7187A230402Acis and Galatea(not set)2, 2, 2, 2 - 2, 0, 0, 0, str (2.2.1.1.1)vocal soli (4 STTB), chorus
17519FF544FD3-5301-4BCF-8EC3-3E0FD010987FS502002Six Sonatas for Violin and Viola, Vol. 1Michael Haydn (1737-1806), younger brother of Josef Haydn, had been in the employ of Colloredo, Archbishop in Salzburg as Court Composer and Leader (Concertmaster) of the court orchestra. In 1783, he was commissioned - or a better word perhaps - ordered by Colloredo to compose a series of six duets for violin and viola. Due to serious illness, he was unable to complete the series. Haydn was concerned that the Archbishop would cancel his fee. Haydn asked his friend Wolfgang Amadeus Mozart (1756-1791) to complete the work by writing the remaining two duets. Mozart composed the duets in a few days, in time to meet the Archbishop’s timeline. For this reason, all six duets were delivered under Michael Haydn’s name. The present edition is the ?rst that reunites the six duets - naturally with the correct attributions. Included in volume 1: 1. Duet in G Major K 423 (W.A. Mozart); 2. Sonata Nr. 1 in C Major MH 335 (M. Haydn); 3. Sonata Nr. 2 in D Major MH 336 (M. Haydn).Violin, Viola
17520FF551F85-98DE-4F21-85B6-0246AF1D4353A132702Concerto for Cello in B flat, G. 482Italian composer and cellist Ridolfo Luigi Boccherini (1743-1805) wrote during the Classical era and predominantly in the galante style. Over his career, he composed twelve concertos for the cello, and the Concerto for Cello in B-flat, G. 482 (the ninth), written sometime between the late 1760s and the early 1770s, is certainly the best known. The popularity of the work can be partly attributed also to the German cellist Friedrich W. Grützmacher (1832-1903), who arranged the work around 1895 more in the style of a Romantic virtuoso concerto. He made significant edits to Boccherini's original version, including extensive cuts in the outer movements, writing his own cadenzas, and replacing the second movement (Andante grazioso) with the second movement from Boccherini's seventh cello concerto (Adagio; non troppo). Both the Grützmacher arrangement and the original, which has grown in popularity over more recent decades, are available from the publisher. Instrumentation: 0.2.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Solo Cello.0.2.0.0: 2.0.0.0: Str (4-4-3-3-3 in set): Solo Cello