| Andrea Chenier Concert band - Intermediate C.L. Barnhouse
Grade 4 SKU: CL.013-1247-01 Composed by Umberto Giordano. Arranged by J. ...(+)
Grade 4 SKU: CL.013-1247-01 Composed by Umberto Giordano. Arranged by J. J. Richards. Concert Band. Audio recording available separately (item CL.WFR198). Extra condensed score. Composed 1951. Duration 8 minutes, 59 seconds. C.L. Barnhouse #013-1247-01. Published by C.L. Barnhouse (CL.013-1247-01). A truly stunning arrangement from one of the most beloved band pieces known. This outstanding arrangement of the Giordano classic is skillfully arranged by one of the true masters in J.J. Richards. A real show stopper! $8.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Andrea Chenier Concert band [Score and Parts] - Intermediate C.L. Barnhouse
Grade 4 SKU: CL.013-1247-00 Composed by Umberto Giordano. Arranged by J. ...(+)
Grade 4 SKU: CL.013-1247-00 Composed by Umberto Giordano. Arranged by J. J. Richards. Concert Band. Audio recording available separately (item CL.WFR198). Score and set of parts. Composed 1951. Duration 8 minutes, 59 seconds. C.L. Barnhouse #013-1247-00. Published by C.L. Barnhouse (CL.013-1247-00). A truly stunning arrangement from one of the most beloved band pieces known. This outstanding arrangement of the Giordano classic is skillfully arranged by one of the true masters in J.J. Richards. A real show stopper! $80.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Emblem of Unity [Book + CD] - Intermediate C.L. Barnhouse
(The Music of J. J. Richards). Walking Frog Records CD. Play Along. Grade 3. Aud...(+)
(The Music of J. J. Richards). Walking Frog Records CD. Play Along. Grade 3. Audio CD. Composed 2000
$14.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Choralbearbeitungen und freie Orgelstucke der deutschen Sweelinck-Schule aus der Lubbenauer Tabulatur. Band 2 Organ [Score] Barenreiter
Zehn Kompositionen von Georg W. Druckenmuller, Andreas Duben, Johann Lorentz, He...(+)
Zehn Kompositionen von Georg W. Druckenmuller, Andreas Duben, Johann Lorentz, Heinrich Scheidemann, Samuel Scheidt und J.P. Sweelinck. Edited by Moser, Hans Joachim; Fedtke, Traugott. For Organ. Playing Score. Published by Baerenreiter-Ausgaben (German import).
$39.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Prayer
String Quartet: 2 violins, viola, cello [Set of Parts] Boardman Music Publishing, LLC.
By David Foster And Carole Bayer Sager. Arranged by Carla J. Boardman. For Strin...(+)
By David Foster And Carole Bayer Sager. Arranged by Carla J. Boardman. For String Quartet: 2 violins, viola, and cello. Instrumental version of the vocal tune from the film Quest for Camelot. Contemporary. Set of parts. 16 pages. Published by Boardman Music Publishing, LLC.
(8)$12.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Prayer Percussion Ensemble Alfred Publishing
((For Percussion Ensemble)). Composed by Carol Bayer Sager and David Foster. Arr...(+)
((For Percussion Ensemble)). Composed by Carol Bayer Sager and David Foster. Arranged by Kirk J. Gay. For Multi Percussion Ensemble. Percussion - Ensemble. Alfred's Pop Percussion Ensemble Series. Pop. 26 pages. Published by Alfred Music
$18.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Hoeren Und Spielen Iii Piano solo - Beginner Schott
Piano - very easy SKU: HL.49015391 Ein Weg zum absoluten Gehor. Co...(+)
Piano - very easy SKU: HL.49015391 Ein Weg zum absoluten Gehor. Composed by Naoyuki Taneda and Ruth Taneda. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. 136 pages. Schott Music #ED 7893. Published by Schott Music (HL.49015391). ISBN 9790001081733. 12.0x8.75x0.422 inches. German. Andreas Schuermann. Ruth und Naoyuki Taneda beschaftigen sich seit vielen Jahren mit der Musikerziehung von Kindern ab drei Jahren. In dieser Schule zeigen sie auf, dass es moglich ist, bei Kleinkindern uber das Medium Farbe (farbige Noten) das absolute Gehor zu entwickeln, also jene Horfahigkeit, die bisher als angeborenes Privileg einiger weniger, besonders begnadeter Musiker galt. Die Autoren betrachten den Mythos absolutes Gehor ganz nuchtern und zeigen, welche Moglichkeiten er fur die Musikerziehung am Klavier bietet. Sie weisen damit einen neuen Weg fur den fruhinstrumentalen Unterricht. $41.95 - See more - Buy online | | |
| Ave Maria. Méditation sur le premier Prélude de J.S. Bach 4 Organ Music Distribution Services
Organ SKU: M7.DOHR-98574 Composed by Charles Francois Gounod. Arranged by...(+)
Organ SKU: M7.DOHR-98574 Composed by Charles Francois Gounod. Arranged by Andreas Meisner. Sheet music. Performance score. 5 pages. MDS (Music Distribution Services) #DOHR 98574. Published by MDS (Music Distribution Services) (M7.DOHR-98574). ISBN 9790202005743. $9.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Zwei Jägerlieder op. 103 (1823) Verlag Dohr
Männerchor, Klavier (Waldhörner (3)) SKU: VD.ED23016 Composed by Jo...(+)
Männerchor, Klavier (Waldhörner (3)) SKU: VD.ED23016 Composed by Johann Andreas Amon. Classical. Score, parts. With Text Language: German. Composed 1823. 12 S. Part. + 3 x 1 S. Stimmen pages. Verlag Dohr #ED23016. Published by Verlag Dohr (VD.ED23016). ISBN 9790202010167. 11.69 x 8.26 inches. $15.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Piano Kids Vol. 1 (in German)* Piano solo - Beginner Schott
Piano - very easy SKU: HL.49007899 Die Klavierschule fur Kinder mit Sp...(+)
Piano - very easy SKU: HL.49007899 Die Klavierschule fur Kinder mit Spass und Aktion. Composed by Hans-Gü and nter Heumann. This edition: Saddle stitching. Sheet music. Edition Schott. Diese dreibandige Klavierschule zeichnet sich aus durch einfachen, systematischen Aufbau und verwendet ausschliesslich bekannte, populare Lieder und Stucke. Jetzt in einer uberarbeiteten und erweiterten Neuausgabe (2014) erhaltlich. Classical. 66 pages. Schott Music #ED8301. Published by Schott Music (HL.49007899). ISBN 9783795751623. UPC: 840126938852. 12.0x8.75x0.203 inches. German. Andreas Schuermann. Die beliebte Klavierschule jetzt in der Neuauflage!Seit vielen Jahren erlernen Kinder das Klavierspielen mit Hilfe der 1995 erstmals veroffentlichten Klavierschule Piano Kids. Deshalb erschien es sinnvoll, eine Aktualisierung und Erweiterung dieses bewahrten Lehrwerks vorzunehmen. Durch neue Lieder kommt frischer Wind in den Unterricht und durch zusatzliche klassische Spielstucke werden die Lernschritte noch einfacher. Der Umfang der Neuausgabe 2014 wurde von 64 auf 88 Seiten erweitert. Viele neue farbige Illustrationen unterstutzen die Freude beim Lernen. Die Klavierschule Piano Kids will solides musikalisches Wissen und Konnen vermitteln, Freude an der Musik wecken, attraktive, moderne Spielstucke aus den Bereichen Volks- und Kinderlied, Folklore, Klassik und Pop anbieten, langweilige und trockene Ubungen vermeiden, Musiktheorie verstandlich und spielerisch vermitteln und zum eigenen Improvisieren anregen. Zu jedem Band der Klavierschule gibt es ein Aktionsbuch in dem alle Themen aus der Schule in spielerischer, fantasievoller Form aufgearbeitet und vertieft werden. $20.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Der j!ngste Tag wird bald sein Ziel erreichen Choral SATB SATB, Piano [Vocal Score] Barenreiter
Cantata for the second of Advent. By Georg Philipp Telemann. Edited by Poetzsch,...(+)
Cantata for the second of Advent. By Georg Philipp Telemann. Edited by Poetzsch, Ute. Arranged by K!Hs, Andreas. For Mixed Choir (SATB), Strings, Basso continuo. Piano Reduction/Vocal Score; Urtext Edition. TVWV 1:301. Published by Baerenreiter-Ausgaben (German import). (BA7671 90)
$12.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Was Bleibt? 100 Jahre Neue Musik Schott
SKU: HL.49018899 100 Jahre Neue Musik. Edited by Andreas Meyer. Th...(+)
SKU: HL.49018899 100 Jahre Neue Musik. Edited by Andreas Meyer. This edition: Paperback/Soft Cover. Book. Edition Schott. Die 'Neue Musik' Schonbergs, Strawinskys und Debussys ist uber 100 Jahre alt, die musikalische Avantgarde der 50er und 60er Jahre ebenfalls ein historisches Phanomen. Was bleibt - von der historischen Erinnerung, von Komponisten und Werken, vom Mythos der. German Edition. Softcover. 222 pages. Schott Music #ED 21053. Published by Schott Music (HL.49018899). ISBN 9783795707545. UPC: 841886016484. German. Die Neue Musik Schonbergs, Strawinskys und Debussys ist heute mindestens 100 Jahre alt. Und die musikalische Avantgarde der funfziger und sechziger Jahre ist ebenfalls langst ein historisches Phanomen. Unsere Gegenwart erlebt eine so faszinierende wie problematische Vervielfaltigung musikalischer Kulturen. Was bleibt - von der historischen Erinnerung, von Komponisten und Werken, vom Jahrhundertanspruch und Mythos der Neuen Musik? Experten aus dem In- und Ausland ziehen eine provisorische Bilanz, diskutieren aktuelle Perspektiven und zeigen, wie sich unser Verstandnis des Phanomens in den letzten Jahren gewandelt hat. $42.00 - See more - Buy online | | |
| Con Te Partirò (Time to Say Goodbye) Flute Quartet: 4 flutes - Easy De Haske Publications
Flute Quartet - early intermediate SKU: BT.DHP-1196076-070 As performe...(+)
Flute Quartet - early intermediate SKU: BT.DHP-1196076-070 As performed by Andrea Bocelli. Arranged by Eric J. Hovi. De Haske Flute Series. Classical. Set (Score and Parts). Composed 2019. De Haske Publications #DHP 1196076-070. Published by De Haske Publications (BT.DHP-1196076-070). ISBN 9789043158428. Who doesnââ¬â¢t know the Italian tenor Andrea Bocelli and his signature song ââ¬ËCon te Partiròââ¬â¢ that made him world famous? This colourful version is perfect for flute quartet, and provides an active and enjoyable part for each of the four players. This arrangement will bring colour to your concert and is great fun to play!
Wie kent niet de Italiaanse tenor Andrea Bocelli en zijn song ââ¬ËCon te Partiròââ¬â¢, waarmee hij over de hele wereld beroemd werd? Deze kleurrijke versie is speelbaar voor fluitkwartet en heeft wat moois te bieden voor alle spelers. Dit arrangement brengt kleur in uw concert en is heerlijk om te spelen!
Wer kennt nicht den italienischen Tenor Andrea Bocelli und seine Erkennungsmelodie Con te partiròââ¬Å, die ihn weltberühmt machte? Diese lebendige Version eignet sich gut für Flötenquartett und bietet für alle Mitspieler schöne Stimmen. Dieses Arrangement bringt Farbe in Ihr Konzert und macht viel Spaß!
Qui ne connaît pas le ténor italien Andrea Bocelli et la chanson ë Con te partirò û (ë Avec toi je partirai û), qui a établi sa renommée mondiale ? Destinée quatuaor de fl te, cette version étincelante comprend des parties intéressantes pour tous les musiciens. Un arrangement très agréable jouer qui apportera des couleurs vos concerts! $25.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Con Te Partirò (Time to Say Goodbye) [Score and Parts] - Easy De Haske Publications
5-Part Flexible Band and Opt. Piano - Grade 2.5 SKU: BT.DHP-1196075-015 <...(+)
5-Part Flexible Band and Opt. Piano - Grade 2.5 SKU: BT.DHP-1196075-015 As performed by Andrea Bocelli. Arranged by Eric J. Hovi. De Haske Flexible Series. Classical. Set (Score & Parts). Composed 2019. 6 pages. De Haske Publications #DHP 1196075-015. Published by De Haske Publications (BT.DHP-1196075-015). Who doesn’t know the Italian tenor Andrea Bocelli and his signature song ‘Con te Partirò’ that made him world famous? This colourful version is accessible for smaller, mixed-ability ensembles, and provides an enjoyable part for all players. This arrangement will bring colour to your concert and is great fun to play!
Wie kent niet de Italiaanse tenor Andrea Bocelli en zijn song ‘Con te Partirò’, waarmee hij over de hele wereld beroemd werd? Deze kleurrijke versie is speelbaar voor kleinere ensembles van gemengd niveau en heeft wat moois te bieden voor alle spelers. Dit arrangement brengt kleur in uw concert en is heerlijk om te spelen!
Wer kennt nicht den italienischen Tenor Andrea Bocelli und seine Erkennungsmelodie Con te partirò“, die ihn weltberühmt machte? Diese lebendige Version eignet sich gut für kleinere Ensembles mit gemischtem Schwierigkeitsgrad und bietet für alle Mitspieler schöne Stimmen. Dieses Arrangement bringt Farbe in Ihr Konzert und macht viel Spaß!
Qui ne connaît pas le ténor italien Andrea Bocelli et la chanson « Con te partirò » (« Avec toi je partirai »), qui a établi sa renommée mondiale ? Destinée de petits ensembles de niveaux variables, cette version étincelante comprend des parties intéressantes pour tous les musiciens. Un arrangement très agréable jouer qui apportera des couleurs vos concerts ! $90.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Con Te Partirò (Time to Say Goodbye) [Score] - Easy De Haske Publications
5-Part Flexible Band and Opt. Piano - Grade 2.5 SKU: BT.DHP-1196075-215 <...(+)
5-Part Flexible Band and Opt. Piano - Grade 2.5 SKU: BT.DHP-1196075-215 As performed by Andrea Bocelli. Arranged by Eric J. Hovi. De Haske Flexible Series. Classical. Score Only. Composed 2019. 8 pages. De Haske Publications #DHP 1196075-215. Published by De Haske Publications (BT.DHP-1196075-215). Who doesn’t know the Italian tenor Andrea Bocelli and his signature song ‘Con te Partirò’ that made him world famous? This colourful version is accessible for smaller, mixed-ability ensembles, and provides an enjoyable part for all players. This arrangement will bring colour to your concert and is great fun to play!
Wie kent niet de Italiaanse tenor Andrea Bocelli en zijn song ‘Con te Partirò’, waarmee hij over de hele wereld beroemd werd? Deze kleurrijke versie is speelbaar voor kleinere ensembles van gemengd niveau en heeft wat moois te bieden voor alle spelers. Dit arrangement brengt kleur in uw concert en is heerlijk om te spelen!
Wer kennt nicht den italienischen Tenor Andrea Bocelli und seine Erkennungsmelodie Con te partirò“, die ihn weltberühmt machte? Diese lebendige Version eignet sich gut für kleinere Ensembles mit gemischtem Schwierigkeitsgrad und bietet für alle Mitspieler schöne Stimmen. Dieses Arrangement bringt Farbe in Ihr Konzert und macht viel Spaß!
Qui ne connaît pas le ténor italien Andrea Bocelli et la chanson « Con te partirò » (« Avec toi je partirai »), qui a établi sa renommée mondiale ? Destinée de petits ensembles de niveaux variables, cette version étincelante comprend des parties intéressantes pour tous les musiciens. Un arrangement très agréable jouer qui apportera des couleurs vos concerts ! $18.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 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 | | |
| Time to Say Goodbye (Con Te Partiro) Concert band - Easy De Haske Publications
Score and Parts Concert Band (Score & Parts) SKU: HL.4005858 Flexible ...(+)
Score and Parts Concert Band (Score & Parts) SKU: HL.4005858 Flexible Concert Band, Grade 2.5 Score and Parts. By Andrea Bocelli. Arranged by Eric J. Hovi. De Haske Concert Band. Classical. Softcover. Duration 220 seconds. De Haske Publications #DHP1196075015. Published by De Haske Publications (HL.4005858). UPC: 888680932480. 9.0x12.0 inches. Who doesn't know the Italian tenor Andrea Bocelli and his signature song Con te Partiro that made him world famous? This colourfulversion is accessible for smaller, mixed-ability ensembles, and provides an enjoyable part for all players. This arrangement will bring colour to your concert and is great fun to play! $78.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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Andrea Ramsey Choral Series.
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Piano - very easy SKU: M7.DUX-1291 Klaviervorschule. Composed by Andrea Wieser. Sheet music with Online video. Method. 52 pages. Edition Dux Verlag #DUX 1291. Published by Edition Dux Verlag (M7.DUX-1291). ISBN 9783868493832. German. Die Vorschule 'Jahreszeiten-Hits für sehr junge Klavierkids' von Andrea Wieser ist entwickelt für die Jüngsten am Klavier. Das Spielen nach Tastenbildern und nach Gehör sowie die leicht zu erfassende Vornotation führen zu schnellen und guten Erfolgserlebnissen. Kurze Online-Videos helfen beim Lernen der mehr als 30 Kinderlieder. Der spielerische Wechsel zum bekannten Notensystem und das erste sehr leichte Begleiten der Lieder garantieren den nahtlosen Übergang zu den gängigen Klavierschulen. $24.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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