| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| New Technique For The Double Bass - Vol. 4 (double Bass) Leduc, Alphonse
Nouvelle technique de la contrebasse, Vol. 4 is the fourth book of a method for ...(+)
Nouvelle technique de la contrebasse, Vol. 4 is the fourth book of a method for Double Bass by Francois Rabbath. Following the three previous volumes, it can be used by upper beginners or intermediate players and requires some basic musical knowledge in theory and reading. It also includes a DVD and provides full explanations, including pictures for all the technical points in French, English, German and Spanish. This book is divided into five chapters: exercises, studies, scales and arpeggios, orchestral figures and pieces for solo Double Bass. In term of technical points, it features the different positions, the double chords, the pivot and some highlight on the bow and the wrist positions among others. This helpful method is definitely one of the most complete. It will help all Double Bass beginners to get the necessary basic skills. Born in Syria in 1931, Francois Rabbath has been playing the Double Bass from a really young age. He later settled in Paris when he was the main Double Bass accompaniment for renowned French artists including Edith Piaf, Georges Moustaki and Serge Gainsbourg. He recorded some CDs and DVDs, did some touring and was offered the possibility of writing his own Double Bass method in which he describes his ?crab technique?.
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| Miniature Biographies from 'Nonsense Songs from Mother Goose', Op. 19 Fredonia Press
Vocal Mixed Choir with Piano SKU: AY.FRD54 Composed by John La Montaine. ...(+)
Vocal Mixed Choir with Piano SKU: AY.FRD54 Composed by John La Montaine. Vocal. Fredonia Press #FRD54. Published by Fredonia Press (AY.FRD54). ISBN 9790302115113. The Nonsense Songs from Mother Goose, Op. 19 for mixed voices and piano consists of seven songs: In Islingen There Was a Man, The Proposal, Rub a Dub, Miniature Biographies, Simple Simon, Peter Piper, and Merry Shall We Part and Merry Meet Again. The first performance took place on May 6, 1973 at the National Gallery of Art, with the Georgetown University Men's Chorus, conducted by Paul Hume. This product only contains the fourth song of the collection, Miniature Biographies. $6.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| God of Our Fathers Choral SSATB SSATB, Piano [Octavo] Jackman Music Corporation
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By George William Warren. Arranged by David Len Allen. For SSATB Choir. Medium Difficullt. Duration 3:20
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| ave, dulcissima maria from regina coeli Choral SATB [Set of Parts] - Intermediate/advanced LudwigMasters Publications
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| George Gershwin: George Gershwin At the Piano Piano solo [Sheet music] Alfred Publishing
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| George Gershwin: The Complete Gershwin Preludes for Piano
Piano solo [Sheet music] - Intermediate Alfred Publishing
Composed by George Gershwin (1898-1937), edited by Alicia Zizzo. Collection for ...(+)
Composed by George Gershwin (1898-1937), edited by Alicia Zizzo. Collection for solo piano. 36 pages. Published by Alfred Publishing.
(3)$10.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Carolan: The Life Times And Music Of An Irish Harper Harp [Sheet music] Ossian Publications
By Turlough O Carolan ; Donal O'sullivan. For Harp. Irish, Folk, Celtic. 380 pag...(+)
By Turlough O Carolan ; Donal O'sullivan. For Harp. Irish, Folk, Celtic. 380 pages. Published by Ossian Publications.
$49.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Bob Dylan: The Songs Of Bob Dylan Piano, Vocal and Guitar [Sheet music] - Intermediate Cherry Lane
Performed by Bob Dylan. For voice, piano and guitar chords. Format: piano/vocal/...(+)
Performed by Bob Dylan. For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Folk rock. 382 pages. 9x12 inches. Published by Cherry Lane Music.
(3)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| High Performance Flute - The Sequel Flute [Sheet music + CD] - Intermediate Mel Bay
Grade 5 onwards. Composed by Robert Winn. Flute, Fife and Oboe, Method. Book...(+)
Grade 5 onwards. Composed by
Robert Winn. Flute, Fife and
Oboe, Method. Book and Insert
with CD. 168 pages. Published
by Mel Bay Publications, Inc
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Picture a day like this (First Edition Vocal Score) Piano, Voice Faber Music Limited
Voice SKU: AP.12-0571543057 Composed by George Benjamin. Performance Musi...(+)
Voice SKU: AP.12-0571543057 Composed by George Benjamin. Performance Music Ensemble; Vocal; Vocal Score. Opera. Book. Faber Music #12-0571543057. Published by Faber Music (AP.12-0571543057). ISBN 9780571543052. English. Picture a Day like This is the fourth collaboration between George Benjamin and Martin Crimp, whose acclaimed partnership produced Written on Skin, Lessons in Love and Violence, and Into the Little Hill. The 60-minute opera is cast in seven scenes and scored for five voices (S-S-MS-Ct-Bar) and twenty-two instrumentalists. It premiered at the Aix-en-Provence Festival in 2023, with the composer conducting.
Picture a Day like This tells the story of a Woman (mezzo-soprano) who has lost her child; if she can meet one truly happy person before nightfall, they will return to life. In her search she meets a pair of lovers, a Composer and their assistant, an Artisan, Collector, and the mysterious Zabelle. Benjamin's music meets Crimp's text to create a bittersweet fable on grief and renewal. This product comprises the vocal score. $55.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Picture a Day Like This (Limited Edition Full Score) Orchestra Faber Music Limited
Orchestra Voice SKU: AP.12-057154309X Composed by George Benjamin and Mar...(+)
Orchestra Voice SKU: AP.12-057154309X Composed by George Benjamin and Martin Crimp. This edition: Limited. Full Orchestra; Larger Works; Performance Music Ensemble. Form: Opera. Living Composer. Book; Score. 112 pages. Faber Music #12-057154309X. Published by Faber Music (AP.12-057154309X). ISBN 9780571543090. English. Picture a Day Like This is the fourth operatic collaboration between George Benjamin and Martin Crimp, whose acclaimed partnership produced Written on Skin, Lessons in Love and Violence, and Into the Little Hill. This limited edition of the full score is one of only 150, presented in a cloth-bound hard cover. It is signed by George Benjamin and Martin Crimp and includes facsimile reproductions of pages from the manuscript, sketches by Benjamin and Crimp, and a photograph of Benjamin, Crimp, and directors Daniel Jeanneteau and Marie-Christine Soma in rehearsal at the Aix-en-Provence Festival.
In this bittersweet fable of grief and renewal. Benjamin and Crimp tell the story of a woman who has lost her child: if, before nightfall, she meets one truly happy person and cuts a button from their sleeve, her child will live again. In her search she meets a pair of lovers, a composer and their assistant, an artisan, collector, and, in a beautiful garden, the mysterious Zabelle.
Benjamin proves with this taut, sharp miniature that he is the finest opera composer of todayâ¦a work of depth of feeling, humanistic artistry, and expressive rigorâ¦a drama that is miraculously condensed. -- Süddeutsche Zeitung (Reinhard J. Brembeck) 9 July 2023. $200.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Nouvelle Technique De La Contrebasse (livre Avec Dvd Al30608) Volume 4 (texte Double Bass [DVD] Leduc, Alphonse | | |
| Cello Repertoire Level 1 Cello The Frederick Harris Music Company
Cello - Elementary SKU: FH.VC1 Cello Series, 2013 Edition. Compose...(+)
Cello - Elementary SKU: FH.VC1 Cello Series, 2013 Edition. Composed by The Royal Conservatory. Cello Series, 2013 Edition. Book/CD. The Frederick Harris Music Company #VC1. Published by The Frederick Harris Music Company (FH.VC1). ISBN 978-1-55440-537-4. This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. Supporting a balanced course of study, this series organizes repertoire into nine volumes from the Preparatory Level through Level 8. Each level offers music from a range of styles and compositional eras, including standard literature, new arrangements of familiar tunes, and music written for cellists, by cellists. These selections provide the flexibility to choose pedagogically appropriate material suited to each individual, and to motivate students to fully develop their musicianship and technique. Baroque and Classical Repertoire: Menuet and Trio, W.O 10, no. 3 - Beethoven, Ludwig van arr. Watson Forbes Rondeau (from The Fairy Queen) - Purcell, Henry arr. Watson Forbes Sarabande - Handel, George Frideric arr. Jason Noble Andante grazioso - Mozart, Wolfgang Amadeus arr. Jason Gray Hornpipe a l'Inglese - Galliard, John Ernest arr. Christine Donkin Vittoria, mio core! - Carissimi, Giacomo arr. Christine Donkin Traditional and Romantic Repertoire: Tambourin - Rameau, Jean-Philippe arr. Christine Donkin All the Pretty Little Horses - American lullaby arr. Jason Gray Barbara Allen - British folk song arr. Forrest Kinney Simple Gifts - Brackett, Joseph Jr. arr. Forrest Kinney March (from The Nutcracker) - Tchaikovsky, Pyotr Il'yich arr. Jason Noble Londonderry Air - Irish folk song arr. Forrest Kinney Repertoire Composed After ca 1930: A Little Child's Dance - Konicek, Zdenek ...I Say Ca-rib-'be-an - Birston, Harold Sonata da camera - Matz, Rudolf - First Movement: Adagio - Fourth Movement: Allegro vivace Grab the Slippery Toad! - Lumsden, Caroline and Ben Attwood Hungarian Stomp - Wedgwood, Pam Budapesto - Cheney, Carey Wild West - Blackwell, David and Kathy Blackwell Livi's Blues - Cheney, Elliott W. $30.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Novelette In Fourths Piano solo LudwigMasters Publications
Solo Piano SKU: AP.36-M388291 Composed by George Gershwin. Performance Mu...(+)
Solo Piano SKU: AP.36-M388291 Composed by George Gershwin. Performance Music Ensemble; Solo Piano. Ludwig Masters. Score and Part(s). LudwigMasters Publications #36-M388291. Published by LudwigMasters Publications (AP.36-M388291). UPC: 660355184727. English. Transcribed and edited by Richard Dowling. First Edition. As played by George Gershwin on Welte-Mignon Piano Roll #3968, mid-1919. Includes biographical information about the composer and his relationship to the player piano. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $4.95 - See more - Buy online | | |
| Chants du Rhin for Trombone and Piano Trombone and Piano - Advanced Cherry Classics
Trombone and Piano - advanced SKU: CY.CC2718 Composed by Georges Bizet. A...(+)
Trombone and Piano - advanced SKU: CY.CC2718 Composed by Georges Bizet. Arranged by Ralph Sauer. 19th Century French. Solo part and Piano accompaniment. Published by Cherry Classics (CY.CC2718). The Chants du Rhin (Songs of the Rhine), a cycle of six pieces, based on poems by Joseph Mery, were written in 1865, and Bizet performed two of them on 16 April 1866 at a soiree of the Beaujolais Philharmonic Society. The songs are grouped symmetrically around La bohemienne as the central piece, framed by two meditatively yearning pieces (in E and D flat major) and two vividly exuberant ones (similarly in E and D flat major), with L'aurore serving as an introduction.
In this cycle Bizet takes up the theme of the gypsy girl which had already entered European music in the operas The Bohemian Girl by the Irish composer Michael William Balfe and Verdi's Il trovatore, as well as in Franz Liszt's Hungarian Rhapsodies for piano. Bizet will return to it one year later in La jolie fille de Perth and ten years later in Carmen. The fourth piece Les confidences shows similarities in tonality, structure and motifs to the middle part of the third movement of Chopin's Sonata in B minor. $27.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Chants du Rhin for Euphonium and Piano Euphonium, Piano (duet) - Advanced Cherry Classics
Euphonium and Piano - advanced SKU: CY.CC2722 Composed by Georges Bizet. ...(+)
Euphonium and Piano - advanced SKU: CY.CC2722 Composed by Georges Bizet. Arranged by Ralph Sauer. 19th Century French. Solo part and Piano accompaniment. Published by Cherry Classics (CY.CC2722). The Chants du Rhin (Songs of the Rhine), a cycle of six pieces, based on poems by Joseph Mery, were written in 1865, and Bizet performed two of them on 16 April 1866 at a soiree of the Beaujolais Philharmonic Society. The songs are grouped symmetrically around La bohemienne as the central piece, framed by two meditatively yearning pieces (in E and D flat major) and two vividly exuberant ones (similarly in E and D flat major), with L'aurore serving as an introduction.
In this cycle Bizet takes up the theme of the gypsy girl which had already entered European music in the operas The Bohemian Girl by the Irish composer Michael William Balfe and Verdi's Il trovatore, as well as in Franz Liszt's Hungarian Rhapsodies for piano. Bizet will return to it one year later in La jolie fille de Perth and ten years later in Carmen. The fourth piece Les confidences shows similarities in tonality, structure and motifs to the middle part of the third movement of Chopin's Sonata in B minor.
This version includes parts in B-flat treble clef as well as bass clef. $27.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Flute Repertoire 5 Flute - Intermediate The Frederick Harris Music Company
Flute - Intermediate SKU: FH.FLR05 2010 Edition. Composed by The R...(+)
Flute - Intermediate SKU: FH.FLR05 2010 Edition. Composed by The Royal Conservatory. Overtones: A Comprehensive Flute Series. Book/Piano Accompaniment/CD. The Frederick Harris Music Company #FLR05. Published by The Frederick Harris Music Company (FH.FLR05). ISBN 978-1-55440-293-9. Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental repertoire and supporting materials such as Studies, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study.This compilation of standard orchestral passages for flute is an indispensable resource for the developing years and beyond. Teachers and students will find this unrivalled volume essential for examination or audition preparation. Sonata in F Major, op. 1, no. 11, HWV 369, First movement and Second movement George Frideric Handel, arr. Kathleen Wood Sonata in D Major, op. 21, no. 1, Second movement Franz Anton Hoffmeister, arr. Kathleen Wood Sonata in F Major, op. 1, no. 4, First movement and Second movement Jean-Baptiste Loeillet (de Gant), arr. Kathleen Wood Sonata in F Major, TWV41:F2, First movement and Second movement Georg Philipp Telemann, arr. Kathleen Wood Sicilienne, op. 78 Gabriel Faure Sonatina, First movement and Second movement Endre Szervanszky I conversed with you in a dream, Fourth movement Jocelyn Morlock Seguidilla, from Carmen Georges Bizet, arr. Stephen Chatman Lawn Tennis Wilhelm Peterson-Berger, arr. Goeran Marcusson Capriccio-Sonata in A Major, Second movement Anton Johann Stamitz Echoes for Solo Flute, Second movement: Espressivo Maya Badian Petite suite pour flute, First movement and Second movement Srul Irving Glick. About Overtones Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental Repertoire and supporting materials such as Etudes, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study and is the official series for those using The Royal Conservatory Music Development program. $35.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Studies for Rhythm - Volume 4 Leduc, Alphonse
SKU: HL.48180798 Composed by Georges Dandelot. Leduc. Classical. Softcove...(+)
SKU: HL.48180798 Composed by Georges Dandelot. Leduc. Classical. Softcover. 27 pages. Alphonse Leduc #AL19263. Published by Alphonse Leduc (HL.48180798). UPC: 888680852580. 7.0x10.5x0.143 inches. Etude du Rythme is an educational tool proposed by Georges Dandelot (1895-1975), a French composer, agreeing with the concept that rhythm is the foundation on which melody and harmony are then layered. It was conceived to progressively teach musicians how to deal with complicated rhythms such as those used by Bartok or Ravel. This volume is the fourth out of five composing a step-by-step method to learn and master rhythm in music. It follows on the knowledge acquired in the three first volumes and uses complex combinations of rhythms and melody with binary and tertiary tempos. $14.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| How Excellent Your Name, O Lord Choral 2-part 2-part, Piano [Octavo] Laurendale Associates
Composed by George Frideric Handel (1685-1759). Arranged by Robert Van Howten. F...(+)
Composed by George Frideric Handel (1685-1759). Arranged by Robert Van Howten. For 2-part mixed voices, organ or piano, optional B-flat trumpet. General. Medium. Octavo. Duration 2 minutes, 15 seconds. Published by Laurendale Associates
$2.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Carol: Kings and Shepherds Choral SATB - Intermediate Schott
Choral (SATB) - intermediate to advanced SKU: HL.49017917 Text From Ch...(+)
Choral (SATB) - intermediate to advanced SKU: HL.49017917 Text From Christmas Poem by George Mackay Brown. Composed by Sir Peter Maxwell Davies. This edition: Saddle stitching. Sheet music. Choral. Christmas, Classical. Choral score. Composed 2008. 8 pages. Duration 3'. Schott Music #ED13283. Published by Schott Music (HL.49017917). ISBN 9790220131325. UPC: 884088601836. 8.25x11.75x0.05 inches. English. As Master of the Queens Music, Sir Peter Maxwell Davies has written a new carol for Her Majesty the Queen each Christmas since his appointment began in 2004. Kings and Shepherds is the fourth and like An Heavenly Song, Wonder Tidings and The Yule-tide Bell, will be published as part of the Schott Royal Collection.Written for the 2008 Christmas service and performed in the Ballroom of Buckingham Palace, Kings and Shepherds is a short traditional setting of Christmas Poem by George Mackey Brown, a poet who lived near to Maxwell Davies on the Orkney Islands. A wonderful addition to the carol repertoire and ideal for amateur choirs looking to programme new pieces. $6.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A Patriotic Salute (the Yankee Doodle Boy/you're A Grand Old Flag)/sab Choral 3-part SAB [Octavo] - Intermediate Alfred Publishing
For choir. Choral/Vocal (Choral Performance Music). Level: Level 3. Published by...(+)
For choir. Choral/Vocal (Choral Performance Music). Level: Level 3. Published by Alfred Publishing. (18651) 6-PACK includes six original copies of this piece.
$2.95 $2.8025 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A Patriotic Salute (the Yankee Doodle Boy/you're A Grand Old Flag)/2-part (6-PACK) Choral 2-part 2-part [Octavo] - Easy Alfred Publishing
For choir. Choral/Vocal (Choral Performance Music). Level: Level 2. Published by...(+)
For choir. Choral/Vocal (Choral Performance Music). Level: Level 2. Published by Alfred Publishing. (18652) 6-PACK includes six original copies of this piece.
$2.95 $2.8025 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Handel's Christmas Messiah: A Cantata - Satb Choral Score Choral SATB SATB, Piano [Vocal Score] Alfred Publishing
Handel's Christmas Messiah: A Cantata by George Frideric Handel (1685-1759). Arr...(+)
Handel's Christmas Messiah: A Cantata by George Frideric Handel (1685-1759). Arranged by Hal H. Hopson. Choir Sacred. SATB choir. Choral (Sacred); Choral Worship Cantata; Larger Works; Masterworks; Worship Resources. Choral, Masterwork; Sacred, Christmas. Choral Score. 56 pages. Published by Alfred Music Publishing
$8.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Gershwin: Complete Works for Solo Piano
Piano solo [Sheet music] - Intermediate/advanced Alfred Publishing
By George Gershwin. Edited by Maurice Hinson. For Piano. Piano Collection. Alfre...(+)
By George Gershwin. Edited by Maurice Hinson. For Piano. Piano Collection. Alfred Masterwork Edition. Jazz; Masterwork. Level: Early Advanced / Advanced. Book. 136 pages. Published by Alfred Publishing.
(2)$34.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Hallelujah Chorus (from Messiah) Piano solo - Easy Alfred Publishing
By George Frideric Handel (1685-1759). Arranged by Tom Gerou. For Piano. Masterw...(+)
By George Frideric Handel (1685-1759). Arranged by Tom Gerou. For Piano. Masterworks; Piano Solo; Sheet; Solo. Christmas; Masterwork Arrangement; Sacred; Winter. Late Elementary. 4 pages. Published by Alfred Music Publishing
$3.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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