Orchestra - Grade 3

SKU: AP.49020

From Album for My Little Friends. Composed by Gabriel Pierne. Arranged by Douglas E. Wagner. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Concert String Orchestra. Masterwork Arrangement; Romantic. Score and Part(s). 78 pages. Duration 3:30. Belwin Music #00-49020. Published by Belwin Music (AP.49020).

ISBN 9781470645427. UPC: 038081561158. English.

March of the Little Lead Soldiers, arranged by Douglas Wagner, is a delightful musical bonbon, from Gabriel Pierné's Album for My Little Friends. The piece presents a refreshing out-of-the-box programming opportunity for any string orchestra concert. This arrangement, which highlights the playful recurring main theme and persistent pizzicato passages, creates an entertaining audience experience, as well as an educational vehicle full of teachable moments. (3:30).

(Blasersextett). By Leos Janacek (1854-1928). Edited by Jan Dolezal. For Flute (including piccolo) Oboe, Clarinet, Horn, Bassoon, Bass-Clarinet. Study Score (paperbound). Published by Baerenreiter Verlag

SKU: CL.016-0434-00

March. Composed by Barnhouse. Orchestra. Score and set of parts. Composed 1928. C.L. Barnhouse #016-0434-00. Published by C.L. Barnhouse (CL.016-0434-00).

Orchestra (2.2.2.2. - 4.3.3.0. - timp.perc - hp -str)

SKU: BR.PB-4862-07

Study score. Composed by Jurg Baur. Softbound. Partitur-Bibliothek (Score Library).

World premiere: Hannover, March 13, 1972

Music post-1945. Study Score. Composed 1972. 82 pages. Duration 15'. Breitkopf and Haertel #PB 4862-07. Published by Breitkopf and Haertel (BR.PB-4862-07).

ISBN 9790004206591. 7 x 9.5 inches.

Variationen (Ouverture / Thema / Variation / Coda), Lyrisches Intermezzo (Sostenuto), Symphonische Nachklange (Allegro con moto).Immer wieder lassen sich Komponisten von Themen alterer oder auch zeitgenossischer Meister zu Variations-Zyklen anregen (Brahms: Handel- und Haydn-Variationen, Reger: Mozart-Variationen, Holler: Sweelinck-Variationen). Themen von Robert Schumann fanden bisher relativ selten Beachtung - (Regers Schumann-Variationen fur zwei Klaviere sind eine Ausnahme) - vielleicht, weil sie zu sehr in sich vollendet und abgeschlossen sind und deshalb kaum Moglichkeiten zur Veranderung enthalten. Dennoch beschaftigte mich schon langer die Idee, eine ,,Musik mit Schumann, Nachklange oder Erinnerungen an Schumann zu gestalten, mit der Absicht, ein heiteres, liebenswurdiges (und nachdenkliches) Werk zu schreiben, einmal ohne Experimente-, als ,,Divertimento fur den Normalhorer, gelegentlich behutsam verbunden mit modernen Techniken - nicht ohne hintergrundigen Humor. Der 1. Satz wurde inspiriert von den ,,Papillons (opus 2 fur Klavier); er gliedert sich in vier variationsahnliche Abschnitte. Die ,,Ouverture exponiert drei kurze Themen, die sich trotz ihres gegensatzlichen Charakters wie selbstverstandlich erganzen (Einleitungsgirlande und Schlussfanfare der Papillons und das bekannte Anfangsmotiv aus ,,Vogel als Prophet). Die Abschnitte ,,Thema, ,,Variationen und ,,Coda entwickeln und verandern das Hauptthema der ,,Papillons; dieses dominiert uber weite Strecken des Satzes und wird mit den Motiven der Ouverture kombiniert. Vielfaltig gegliedert ist das ,,Lyrische Intermezzo. Zu Beginn gewinnt ein Motiv aus den ,,Nachtstucken (fur Klavier) Bedeutung, taucht mehrere Male auf, von mehrtonigen b-a-c-h Clustern ,,gestort. Im Mittelpunkt stehen das Thema des 2. Satzes der g-moll Klavier-Sonate op. 22 (ein Mondnachtlied ohne Worte; Holzblaser) und ein Adagio-Gedanke aus dem Klavier-Zyklus ,,Kreisleriana (tiefe Streicher); beide Themen werden kontrapunktiert von zwolftonigen Strukturen und Klangbandern (Holzblaser). Die ,,Fruhlings-Symphonie-Fan fare eroffnet das Finale. Danach bilden sich uber rotierenden Klangflachen (Streicher) einzelne Tone und Intervalle, aleatorisch frei, verdichten sich, wie aus der Erinnerung auftauchend, zu Motiven aus Schumanns bekanntester Symphonie. Nach diesem zogernden Beginn entwickelt sich ein fast klassisch anmutender Sonaten-Durchfuhrungsteil mit mehreren melodischen Gedanken (Kopfmotiv der g-moll Klaviersonate, tanzerische und ostinate Themen aus der Fruhlings-Symphonie), die zum Teil in- und ubereinander geschichtet werden, bis auf dem Hohepunkt des Satzes das Schlussthema der Klavierfantasie op. 17, pathetisch-ironisch in den Blechblasern erklingt. Eine kurze Reprise mit dem Hauptgedanken fuhrt zur Anfangsfanfare zuruck; der Satz verklingt im pianissimo. Wollte man dem ganzen opus ein Motto voranstellen, dann die Schumann-Uberschrift (aus den Kinderszenen) : ,,Fast zu ernst - aber eben nur ,,fast. (Jurg Baur)CD:Sinfonieorchester des Bayerischen Rundfunks, cond. Hanns-Martin SchneidtCD Thorofon CTH 2270 Bibliography:Wallerang, Lars: Die Orchesterwerke Jurg Baurs als Dialog zwischen Tradition und Moderne, Koln: Dohr 2003.Nonnenmann, Rainer: Vergegenwartigungen. Umgang mit historischem Material bei Zimmermann, Baur, Killmayer, Schnebel und Zender, in: Jurg Baur, hrsg. von Ulrich Tadday (= Musik-Konzepte. Neue Folge, Heft 184/185), Munchen: Edition Text+Kritik 2019, S. 26-46.

Marching band - Grade 2

SKU: RM.GUST05312-BA

Composed by Gustin. Arranged by Elgar Devay. Marching band. Orchestra. Full set. Duration 2 minutes, 45 seconds. Editions Robert Martin #GUST05312-BA. Published by Editions Robert Martin (RM.GUST05312-BA).

ISBN 9790231053128.

Marching band - Grade 2

SKU: RM.GUST05312-CO

Composed by Gustin. Arranged by Elgar Devay. Marching band. Orchestra. Conductor's score. Duration 2 minutes, 45 seconds. Editions Robert Martin #GUST05312-CO. Published by Editions Robert Martin (RM.GUST05312-CO).

Version of 1851 - Urtext. Composed by Robert Schumann. Edited by Joachim Draheim. Symphony. Orchester-Bibliothek (Orchestral Library). The 5 study scores of the symphonies (incl. early version of the 4 th symphony) in slipcase are temporarily out of print. The single editions are, however, still available. Romantic. Double bass part. Breitkopf and Haertel #OB 5264-27. Published by Breitkopf and Haertel (BR.OB-5264-27). 0.48

(study score). By Robert Schumann. Edited by Joachim Draheim. Breitkopf Full Scores. Parts, Urtext. 172 pages

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

(study score). By Felix Bartholdy Mendelssohn (1809-1847). Edited by Ralf Wehner. For orchestra. Breitkopf Full Scores. Parts, Urtext. 92 pages

Orchestra

SKU: HL.49009576

Battle Symphony. Composed by Ludwig van Beethoven. Edited by Hans-Werner Kuethen. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Study Score. Op. 91. 96 pages. Eulenburg Edition #ETP 1367. Published by Eulenburg Edition (HL.49009576).

ISBN 9783795762490. UPC: 841886011908. 5.25x7.5x0.263 inches.

With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.

SATB Choir, Orchestra (Study Score)

SKU: HL.14026108

Composed by Zbigniew Preisner. Music Sales America. Post-1900. Sheet Music, Score. With Text language: Greek / Latin / Polish. Chester Music #CH61497. Published by Chester Music (HL.14026108).

UPC: 884088811266. 0.408 inches.

Composer's Note Once, we had a joint conception to create a concert telling a life story. The premiere was planned to take place on the Acropolis in Athens. It was intended to be a large event, a hybrid of a mystery play and an opera. Krzysztof Kieslowski would be the director, Krzysztof Piesiewicz was responsible for the script, and I was planning to compose the music. We thought it might be the first of a series of musical performances, to be developed in various interesting places around the world in the next few years. But it was life that authored a different ending: Krzysztof Kieslowski died in March of 1996. The first part of Requiem for My Friend is meant as a farewell to Krzysztof Kieslowski. I dedicate this music to him. Zbigniew Preisner.

Orchestra

SKU: HL.49019910

Composed by John Casken. This edition: Saddle stitching. Sheet music. Study Score. Softcover. Composed 2007. 76 pages. Duration 20'. Schott Music #ED13617. Published by Schott Music (HL.49019910).

ISBN 9790220134395. UPC: 888680089528. 8.25x11.75x0.25 inches.

My Concerto for Orchestra (2007) is a twenty-minute work in which different sections of the orchestra, as well as individual solos and duos from within the orchestra, are highlighted as the music unfolds. The work continues my interest in two-movement forms that began with my Cello Concerto (1991), and was later developed in Sortilege (1996) and Symphony (Broken Consort) (2004). In these works, and in the Concerto for Orchestra, each movement is given equal weight and importance with the second developing earlier material and taking it in new directions.The two-movement form of the Concerto for Orchestra derives from a symphonic sonata structure, reshaping the traditional four-movement form and combining this with aspects of sonata form, a tradition that goes back to Liszt, Schoenberg and Sibelius:1st movement (i) exposition of ideas - dramatic and sudden (ii) scherzo and development 1 - resolute2nd movement (iii) adagio - calm and unhurried (iv) development 2 with recapitulation - intense and energeticThe Concerto for Orchestra was commissioned by the Musikalische Akademie des Nationaltheatre-Orchester s Mannheim with the support of Die Landesbank Baden-Wurttemberg for its first two performances on 31st March and 1st April 2008 conducted by Friedemann Layer. The score is dedicated in friendship and admiration to Ronald Zollman.John Casken

3(3.pic).2. ca.2(2.Ebcl).bcl.3(3.cbsn )-4.3(1.Dtpt).2.btbn.1-ti mp.3perc(crot, vib, tub bells, sizz cym, Chinese cym, h.h, Swiss cow-bell, gong, horizontal gong, 2tam-t, tamb, bng, s.d, 5tom-t, b.d, clav, casts, marac, 5tempbl, wdbl, cabaca, vibraslap)-hp-str.

Orchestra (Score & Parts)

SKU: HL.48180419

For Orchestra. Composed by Bohuslav Martinu. Leduc. Classical. 50 pages. Alphonse Leduc #AL17700. Published by Alphonse Leduc (HL.48180419).

UPC: 888680846893. 9.0x12.0x0.34 inches.

Composed by the Czech composer Bohuslav Martinu in 1927, The Kitchen Revue is a ballet initially created for a sextet. This score was reviewed and tailored for an orchestra. This ballet, talking about the life of kitchen utensils, is divided in ten sections: 1. Prologue (Allegretto) 2. Introduction (Tempo de marche) 3. Danse du moulinet autour du caudron (Poco meno) 4. Danse du chaudron et du couvercle (Allegro) 5. Tango (Danse d'amour. Lento) 6. Duel (Poco a poco allegro. Tempo di Charleston) 7. Entracte (Lamentation du chaudron. Allegro moderato) 8. Marche funebre (Adagio) 9. Danse radieuse (Tempo di marche) 10. Fin du drame (Allegretto) The story focuses on the marriage of the Pot and Lid which is put at risk by the Twirling Stick, and the music features some strong jazz influences. Bohuslav Martinu (1890-1959) also wrote 13 other ballets, 15 operas and 6 symphonies and some orchestral and chamber music.

SKU: CL.016-0022-00

Composed by J. S. Taylor. Orchestra. Score and set of parts. Composed 1898. C.L. Barnhouse #016-0022-00. Published by C.L. Barnhouse (CL.016-0022-00).

Orchestra

SKU: BT.PWM8821

Composed by Mieczyslaw Karlowicz. Classical. Score Only. 248 pages. Polskie Wydawnictwo Muzyczne #PWM8821. Published by Polskie Wydawnictwo Muzyczne (BT.PWM8821).

Work on this piece began in the spring of 1899 durng Kar owiczs studies in Berlin and he finished it after graduating and returning home in June 1902. Its premiere took place on March 21, 1903 in Berlin, and the Polish premiere on April 7, 1903 in Lviv. The symphony has a classic, four-movement structure, but in terms of architecture it is much closer to symphonic poems. It consists of the movements: 1. Andante. Allegro 2. Andante non troppo 3. Vivace 4. Allegro maestoso. ''In terms of orchestration and instrumentation technique it represents Kar owiczs early, academic period. The composer still used double wind enriched with piccolo flute, unlike in his later orchestral works the symphonic poems. The orchestration of the work indicates that the composer was guided by Tchaikovskys symphonic model. Kar owicz here still willingly operates with various sound blocks of entire instrumental groups, treating them in a choral manner, with tight chordal pillars'' (Leszek Polony). Before the Polish premiere the composer gave a comprehensive literary programme of the work in the Lviv newspaper S owo Polskie, in which he referred to each consecutive movement of the Symphony. In his last words he wrote, ''We hear a hymn of revival, at first quiet and sweet, then wider and wider, and fuller. Already the time has come; to hear the fanfare. Only one more step! And although the spirits fall again in doubt, we hear a powerful and solemn hymn of rebirth.''.

Orchestra

SKU: HL.14029172

Composed by Gerard Schurmann. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV890181. Published by Music Sales (HL.14029172).

ISBN 9780853607519.

< em>Gerard Schurmann (b. 1924) is a Dutch contemporary composer, who was born in the Dutch East Indies and lived in England from childhood, before setting in the USA in 1981. His orchestral works span 5 decades, and he remains in demand for commissions today.

The single-movement Cello Concerto The Gardens of Exile was first performed by the Bournemouth Symphony Orchestra in March 1991. It received immediate critical acclaim, with one reviewer calling it an extraordinarily fine and imaginative composition. It features a tense orchestral build up before the Cello enters, gradually emerging from the texture and taking control of the music. Asignificant contribution to the repertoire, this study score is published by Novello.

Orchestra (2(picc).2.0.2. - 2.2 post-hn.2.0.0. - timp.perc(3) - str(without va))

SKU: BR.PB-4906

With the Trio Die Schlittenfahrt. Composed by Wolfgang Amadeus Mozart. Orchestra; Softcover. Partitur-Bibliothek (Score Library). Dances/marches; Classical. Full score. 8 pages. Duration 7'. Breitkopf and Haertel #PB 4906. Published by Breitkopf and Haertel (BR.PB-4906).

ISBN 9790004207024. 9 x 12 inches.

Orchestra - Grade 0.5

SKU: AP.45817

Arranged by Sandra Dackow. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Orchestra Expressions. Folk; Traditional. Score and Part(s). 148 pages. Duration 2:15. Alfred Music #00-45817. Published by Alfred Music (AP.45817).

UPC: 038081525501. English. Traditional Irish Tune.

All in first position with straightforward rhythms and thematic parts for everyone, this poignant song arranged by Sandra Dackow will be a wonderful addition to any concert. The Girl I Left Behind Me first appears in 18th century Ireland, often known as Brighton Camp. It emigrated to the United States along with many other Anglo/Scots/Irish folk tunes and became a popular marching song for soldiers. During the American Civil War, soldiers in both the Confederate and Union armies sang it. A number of cultures have embraced this song, adding their own local lyrics. (2:15) This title is available in MakeMusic Cloud.

About Orchestra Expressions

< p>Play great songs such as Over the Rainbow, Batman, This Land Is Your Land, and Star Wars (Main Title). Listen to and play a variety of styles of music: popular, traditional, classical, folk and patriotic. Read and write music; compose and improvise. Perform in a concert and play for your family and friends. Be a conductor of the orchestra. Learn about composers, such as Antonin Dvorak, Johann Pachelbel, Jacques Offenbach, Pytor Ilyich Tchaikovsky, Giuseppe Verdi, George M. Cohan, George Frideric Handel, Ludwig van Beethoven, Johann Sebastian Bach, Wolfgang Amadeus Mozart, Giacomo Puccini, Georges Bizet, Neal Hefti, and John Williams. Discover how music and art are related. Learn about a variety of musical ensembles including string orchestra, full orchestra, mariachi band, steel drum band, dixieland jazz band, rock band, and more. Play music from around the world, including North America, Europe, Latin America, Asia, and Africa.

Orchestra - Grade 0.5

SKU: AP.45817S

Arranged by Sandra Dackow. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Orchestra Expressions. Folk; Traditional. Score. 8 pages. Duration 2:15. Alfred Music #00-45817S. Published by Alfred Music (AP.45817S).

UPC: 038081525518. English. Traditional Irish Tune.

All in first position with straightforward rhythms and thematic parts for everyone, this poignant song arranged by Sandra Dackow will be a wonderful addition to any concert. The Girl I Left Behind Me first appears in 18th century Ireland, often known as Brighton Camp. It emigrated to the United States along with many other Anglo/Scots/Irish folk tunes and became a popular marching song for soldiers. During the American Civil War, soldiers in both the Confederate and Union armies sang it. A number of cultures have embraced this song, adding their own local lyrics. (2:15) This title is available in MakeMusic Cloud.

About Orchestra Expressions

< p>Play great songs such as Over the Rainbow, Batman, This Land Is Your Land, and Star Wars (Main Title). Listen to and play a variety of styles of music: popular, traditional, classical, folk and patriotic. Read and write music; compose and improvise. Perform in a concert and play for your family and friends. Be a conductor of the orchestra. Learn about composers, such as Antonin Dvorak, Johann Pachelbel, Jacques Offenbach, Pytor Ilyich Tchaikovsky, Giuseppe Verdi, George M. Cohan, George Frideric Handel, Ludwig van Beethoven, Johann Sebastian Bach, Wolfgang Amadeus Mozart, Giacomo Puccini, Georges Bizet, Neal Hefti, and John Williams. Discover how music and art are related. Learn about a variety of musical ensembles including string orchestra, full orchestra, mariachi band, steel drum band, dixieland jazz band, rock band, and more. Play music from around the world, including North America, Europe, Latin America, Asia, and Africa.

Orchestra (0.2.0.0/2.0.0.0,str)

SKU: TM.05574SC

Composed by Wolfgang Amadeus Mozart. Score. Lucks Music Library #A1795. Published by Lucks Music Library (TM.05574SC).

Marche des Contrebandiers, Habanera, Nocturne, Chanson Du Toreador, Le Garde Montante, Danse Boheme; inst=modern key/clef.

Orchestra (2.2.0.0/2.0.0.0,str)

SKU: TM.05573SET

Composed by Wolfgang Amadeus Mozart. Set Type: D. Set of parts. Lucks Music Library #A1794. Published by Lucks Music Library (TM.05573SET).

Marche des Contrebandiers, Habanera, Nocturne, Chanson Du Toreador, Le Garde Montante, Danse Boheme; inst=modern key/clef.

Composed by Georges Bizet (1838-1875). Orchestra. Full Orchestra (Full Score); Larger Works; Masterworks. Dover Edition. Masterwork; Romantic. Full Score. Published by Dover Publications

Orchestra (0.2.0.0/2.0.0.0,str)

SKU: TM.05574SET

Composed by Wolfgang Amadeus Mozart. Set Type: D. Set of parts. Lucks Music Library #A1795. Published by Lucks Music Library (TM.05574SET).

Marche des Contrebandiers, Habanera, Nocturne, Chanson Du Toreador, Le Garde Montante, Danse Boheme; inst=modern key/clef.