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All compositions by Pyotr Ilyich Tchaikovsky "Overture" – 3:22 "Toot Toot Tootie Toot (Dance of the Reed-Pipes)" – 2:30 "Peanut Brittle Brigade (March)" – 4:37
Due to his sudden and early death, Gibbons' output was not as large as that of his older contemporary William Byrd, [1] but he still managed to produce various secular and sacred polyphonic vocal works, including consort songs, services, more than 40 full anthems and verse anthems, a set of 20 madrigals as well as at least 20 keyboard works and ...
From 2007 to 2015, the IMSLP / Petrucci Music Library used a logo based on a score. The score image in the background was taken from the beginning of the first printed book of music, the Harmonice Musices Odhecaton. It was published in Venice, Italy in 1501 by Ottaviano Petrucci, the library's namesake. [5] [non-primary source needed]
Opus 13: Children's Songs after I.L. Peretz for singer and piano (1943) Opus 14: String Quartet No. 3 (1944) Opus 15: Sonata No. 2 for violin and piano (1944) Opus 16: Children's Notebook No. 1 for piano (1944) Opus 17: Jewish Songs after Shmuel Halkin (1944) Opus 18: Piano Quintet (1944) Opus 19: Children's Notebook No. 2 for piano (1944)
During Holst's earlier years as a composer, he took interest (as did many composers at the time) in folk music, and wrote many pieces based on folk tunes. He provided piano accompaniments in 1909 to 16 songs collected by George Gardiner for publication in 'Folk Songs from Hampshire ', a volume in Cecil Sharp 's County Songs series. [ 1 ]
Mátraszentimrei dalok (Songs from Mátraszentimre) (1955) Éjszaka – Reggel (Night, morning) (1955) Lux Aeterna (1966) Three Fantasies after Friedrich Hölderlin (1982) Magyar Etüdök, for 16 voices after Sándor Weöres (1983) Nonsense madrigals, for 6 male voices (1988–93), partly on poems by Lewis Carroll.
(Note: Cui's compositions, especially from the end of his life, remain in manuscript in the Russian National Library; likewise with the full orchestral scores of several of the operas. The recent publications of the last of Cui's instrumental works (Opp. 104–106) has addressed the research gap in his unknown works.)
Variations on a Hungarian Folk Song for violin and orchestra, Op. 4 (1929) North Hungarian Peasant Songs and Dances for violin and orchestra, Op. 5 (1929) Violin Concerto, Op. 24 (1953) Sinfonia Concertante for violin, cello and orchestra, Op. 29 (1966) Tema con variazioni for violin, cello and orchestra, Op. 29a (1962) Piano Concerto, Op. 31 ...