| England's Heritage Concert band [Score and Parts] - Easy Fentone Music
Flex-It Series for Variable Instrumentation Concert Band. Arranged by Colin Cowl...(+)
Flex-It Series for Variable Instrumentation Concert Band. Arranged by Colin Cowles. (Score and Parts). Fentone Play Along Books. Published by Fentone Music.
$32.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Focal Point Exercises Trumpet Charles Colin Music
Composed by Chris Gekker. Sheet music. 95 pages. Charles Colin Corp. #AHW 24...(+)
Composed by Chris Gekker.
Sheet music. 95 pages. Charles
Colin Corp. #AHW 240.
Published by Charles Colin
Corp.
$41.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Theodora Barenreiter
(Oratorio in Three Parts). By George Frideric Handel (1685-1759). Edited by Coli...(+)
(Oratorio in Three Parts). By George Frideric Handel (1685-1759). Edited by Colin Timms. Arranged by Martin Focke. For Soprano Solo, 2 Mezzo-Soprano Solo, Alto Solo, Tenor Solo, Bass Solo, 2 Mixed Choir, Orchestra. Hallische Handel-Ausgabe. Serie I, Band 29. Piano Reduction/Vocal Score; Urtext Edition; Complete Edition (paperbound). HWV 68. Published by Baerenreiter Verlag
(1)$62.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Corners Trumpet Charles Colin Music
Trumpet SKU: M7.AHW-1053 An Approach to Strengthening the Embouchure(+)
Trumpet SKU: M7.AHW-1053 An Approach to Strengthening the Embouchure. Composed by Allan Colin. Sheet music. 36 pages. Charles Colin Corp. #AHW 1053. Published by Charles Colin Corp. (M7.AHW-1053). English. In the introduction to 'Corners' Allan Colin writes: 'If you glance through these pages, do not be fooled by the diatonically simple configuration of notes. The challenge here lies in doing these exercises from top to bottom exactly as specified. The goal is to strengthen weak corner muscles which plague many trumpet players. In your effort to accomplish this it is imperative not to overdo it. As with any practice session where you are trying to straighten out a problem, the 'warm-up' and 'warm-down' exercises are essential The warm-up and warm-down exercises here are geared to prepare you for and relax you from this short but strenuous work-out.' This book is broken up into four sections, including articulations, corner 'close-ups', chromatics, and warm downs, each with an explanation of how to proceed to get the strongest embouchure possible. $15.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Advanced Daily Studies Trombone Charles Colin Music
Trombone SKU: M7.AHW-2013 Composed by Charles Colin. Sheet music. Perform...(+)
Trombone SKU: M7.AHW-2013 Composed by Charles Colin. Sheet music. Performance book. Charles Colin Corp. #AHW 2013. Published by Charles Colin Corp. (M7.AHW-2013). English. This method offers the student a challenging regimen of exercises designed to strengthen the embouchure and increase range and endurance; develop secure finger and tongue coordination; increase facility in transposition. $13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Advanced Daily Studies Trumpet Charles Colin Music
Trumpet SKU: M7.AHW-1006 Composed by Charles Colin. Sheet music. Performa...(+)
Trumpet SKU: M7.AHW-1006 Composed by Charles Colin. Sheet music. Performance book. Charles Colin Corp. #AHW 1006. Published by Charles Colin Corp. (M7.AHW-1006). English. This method offers the student a challenging regimen of exercises designed to strengthen the embouchure and increase range and endurance; develop secure finger and tongue coordination; and increase facility in transposition. $13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| English Folk Tunes for Ukulele Ukulele [Sheet music + Audio access] Schott
Ukulele SKU: HL.49046470 37 Traditional Pieces for Ukulele Book with A...(+)
Ukulele SKU: HL.49046470 37 Traditional Pieces for Ukulele Book with Audio Online. Edited by Colin Tribe. String. Classical, English, Folk. Softcover Audio Online. 64 pages. Schott Music #ED13569D. Published by Schott Music (HL.49046470). ISBN 9781847615008. UPC: 840126931365. 9.0x12.0x0.136 inches. English Folk Tunes for Ukulele presents a collection of 37 pieces for solo fingerstyle ukulele playing. Drawn from the rich tradition of English folk music with tunes covering a range of styles, including some popular, as well as lesserknown pieces, experienced ukulele player and teacher Colin Tribe provides notes on all of the pieces, as well as technical aspects of the playing style. Tablature staves are included alongside standard notation for each tune to simplify the reading of the music and show fretting. German and French translations of all texts are available as pdf downloads from the Schott Music website. Suitable for both beginners as well as more experienced ukulele players. Part of the best selling World Music series, which also includes music from England, Ireland, Scotland, Eastern Europe, America, Argentina, India, China and Korea. $21.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 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 | | |
| Encyclopedia of the Pivot System Charles Colin Music
Trombone (trumpet or tuba) SKU: M7.AHW-1101 Original Unabridged Editio...(+)
Trombone (trumpet or tuba) SKU: M7.AHW-1101 Original Unabridged Edition. Composed by Donald and Reinhardt. Sheet music. 270 pages. Charles Colin Corp. #AHW 1101. Published by Charles Colin Corp. (M7.AHW-1101). English. I simply can't say it better than the Doc himself. Read what he says about the Pivot System, then grab some samples, then a physical book shipped right to your home above. From the Forward During the initial or formative years of a player's career, he acquires the mechanical habits which determine the extent of his development invariably by pure chance. If he happens to be numbered among the few fortunate ones who unconsciously utilize their physical factors to advantage, eventually someone will mistakenly refer to him as being a 'natural' or 'born with it.' If, as is more likely the case, he happens to be one whose physical factors clash or function incorrectly, he inadvertently seals his own fate. Either he can give up shortly after high school as most do, or he can continue down the blind alley of his own circumscribed potential. Most of these unfortunates merely resign themselves to a career of mediocrity ('I never had the chops'), shying away (rom the 'lead book' in favor of second, third or fourth parts. A few (even worse) go on mouthpiece jags or scavenger hunts for no pressure systems, etc. , always seeking, but never finding the 'gimmick' which will 'straighten out my chops.' Some, however, after a thorough analysis, adopt the scientific principles which utilize every one of their playing factors with maximum efficiency. These principles are what is called the PIVOT SYSTEM. - Doc Reinhardt. $74.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Artistic Etudes Trumpet Charles Colin Music
Trumpet SKU: M7.AHW-1009 Composed by Aaron Harris and Charles Colin. Shee...(+)
Trumpet SKU: M7.AHW-1009 Composed by Aaron Harris and Charles Colin. Sheet music. 50 pages. Charles Colin Corp. #AHW 1009. Published by Charles Colin Corp. (M7.AHW-1009). English. Dr. Charles Colin and Aaron Harris teamed up to write this wonderful technical study book that includes 40 brand new etudes. These studies are technically demanding, and were designed to develop a sense of style for solo performance. These studies challenge a player's endurance, tonguing, command of articulation, and all around technical facility. This book is a part of the Charles Colin Complete Method, a set of 7 books written to cover all areas of study for the modern trumpeter. $13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Mid Range Etudes for Sightreading Trumpet Charles Colin Music
Trumpet SKU: M7.AHW-304 Low G to High C. Composed by Allan Colin. ...(+)
Trumpet SKU: M7.AHW-304 Low G to High C. Composed by Allan Colin. Sheet music. Performance book. 58 pages. Charles Colin Corp. #AHW 304. Published by Charles Colin Corp. (M7.AHW-304). English. Allan Colin's Mid Range Trumpet Etudes for Sight Reading is a collection of original etudes written from Low G to High C for studio use as sight reading exercises. $21.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Technical Studies Trumpet Charles Colin Music
Trumpet SKU: M7.AHW-1045 Composed by Charles Colin. Sheet music. Performa...(+)
Trumpet SKU: M7.AHW-1045 Composed by Charles Colin. Sheet music. Performance book. Charles Colin Corp. #AHW 1045. Published by Charles Colin Corp. (M7.AHW-1045). English. A graded series of 16 studies designed to develop finger flexibility and tongue and finger coordination. The exercises are to be played in all keys and in a variety of articulations: legato, single, double and triple tongue. From the patterns set forth in the studies, Dr. Colin has developed fifteen virtuosic etudes. $17.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Artistic Etudes Trombone Charles Colin Music
Trombone SKU: M7.AHW-2018 Composed by Charles Colin. Edited by Charles an...(+)
Trombone SKU: M7.AHW-2018 Composed by Charles Colin. Edited by Charles and Colin. Sheet music. Performance book. Charles Colin Corp. #AHW 2018. Published by Charles Colin Corp. (M7.AHW-2018). English. Technically demanding etudes designed to develop a sense of style for solo performance. These studies challenge the player's endurance, tonguing and command and articulation, and all-around technical facility. $13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Advanced Lip Flexibilities Complete Trumpet Charles Colin Music
Trumpet SKU: M7.AHW-1008 Composed by Charles Colin. Sheet music. Performa...(+)
Trumpet SKU: M7.AHW-1008 Composed by Charles Colin. Sheet music. Performance book. Charles Colin Corp. #AHW 1008. Published by Charles Colin Corp. (M7.AHW-1008). English. One of the most widely used trumpet study books, this series of outstanding exercises was developed to enhance range, flexibility, and endurance. The preface, by Dr. Colin, guides the player in preparing himself to play the studies. The studies are progressive in difficulty and take the student in moderate stages through basic warm-up procedures to exercises covering spreading intervals, expanding range, and lip trills. $33.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Rhythm Complete for French Horn French horn Charles Colin Music
Horn SKU: M7.AHW-2153 Composed by Bugs Bower and Charles Colin. Sheet mus...(+)
Horn SKU: M7.AHW-2153 Composed by Bugs Bower and Charles Colin. Sheet music. 50 pages. Charles Colin Corp. #AHW 2153. Published by Charles Colin Corp. (M7.AHW-2153). English. 'Rhythms Complete' By Bugs Bower and Dr. Charles Colin is the most widely used primer in the world for teaching rhythm, syncopation and phrasing, employing a very melodic format of exercises in rhythmic structures and combinations of rhythms. It requires time, practice and repetition to master, however once you can read this in 4/4 and cut time correctly, you will be able to read anything. While written especially for the beginning/intermediate levels, it is also used by advanced players of the french horn as a daily practice book to maintain facility. $18.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Breath Control Trumpet Trumpet Charles Colin Music
Trumpet SKU: M7.AHW-1021 Range And Endurance Developed Through Chromat...(+)
Trumpet SKU: M7.AHW-1021 Range And Endurance Developed Through Chromatic Technique. Composed by Charles Colin. Sheet music. Performance book. Charles Colin Corp. #AHW 1021. Published by Charles Colin Corp. (M7.AHW-1021). English. The title is self-explanatory; the exercises deal with scale studies, scale patterns, pulsations. $13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| 100 Original Warm Ups Trumpet Charles Colin Music
Trumpet SKU: M7.AHW-1013 Composed by Charles Colin. Sheet music. Performa...(+)
Trumpet SKU: M7.AHW-1013 Composed by Charles Colin. Sheet music. Performance book. Charles Colin Corp. #AHW 1013. Published by Charles Colin Corp. (M7.AHW-1013). English. Progressing from intermediate to more advanced levels of difficulty, these studies take the student through long tones, lip slurs and trills, interval and flexibility exercises. Useful for players of all levels. $13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Rhythms Complete All Instruments Charles Colin Music
Melody instruments SKU: M7.AHW-1608 Composed by Bugs Bower and Charles Co...(+)
Melody instruments SKU: M7.AHW-1608 Composed by Bugs Bower and Charles Colin. Sheet music. Performance book, treble clef. Charles Colin Corp. #AHW 1608. Published by Charles Colin Corp. (M7.AHW-1608). English. A wide variety of common jazz rhythms, many in etude form, designed to give the performer instant recognition and accurate response when you run across them in a real playing situation. $20.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| 32 Original Duets 2 Trumpets (duet) Charles Colin Music
2 trumpets SKU: M7.AHW-1209 Composed by Aaron Harris and Bob Nelson. Shee...(+)
2 trumpets SKU: M7.AHW-1209 Composed by Aaron Harris and Bob Nelson. Sheet music. 67 pages. Charles Colin Corp. #AHW 1209. Published by Charles Colin Corp. (M7.AHW-1209). English. Bob Nelson and Aaron Harris' '32 Original Duets,' from the Charles Colin Complete Modern Method includes Sixty-Six pages of classically oriented duets written for the intermediate-level player to develop independence and confidence in ensemble playing. If you are familiar with Bob Nelson's great collection of Advanced Duets and the great etude books of Aaron Harris you will have a very good idea of what to expect here. Very idiomatically written, very accessible and easy to read, and a great compliment to the contemporary duet literature for the trumpet. $22.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Finger Reinforcement Trumpet Charles Colin Music
Trumpet SKU: M7.AHW-1011 Composed by Charles Colin. This edition: Ring/Sp...(+)
Trumpet SKU: M7.AHW-1011 Composed by Charles Colin. This edition: Ring/Spiral binding. Sheet music. Charles Colin Corp. #AHW 1011. Published by Charles Colin Corp. (M7.AHW-1011). English. 28 exercises focusing on finger reinforcement. Plus Trumpet Style and Development a Trumpet Lesson in the form of an Essay. $12.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Finger Flexibilities Trumpet Charles Colin Music
Trumpet SKU: M7.AHW-1018 For Trumpet. Composed by Allan Colin. She...(+)
Trumpet SKU: M7.AHW-1018 For Trumpet. Composed by Allan Colin. Sheet music. 26 pages. Charles Colin Corp. #AHW 1018. Published by Charles Colin Corp. (M7.AHW-1018). English. Given the many demanding disciplines involved in achieving a solid 'sound' on the trumpet, it's easy to understand why most trumpet methods concentrate on breath control/ support, range and endurance- and attention to air/finger coordination is often overlooked. The purpose of these exercises is to challenge and develop greater finger strength, speed and flexibility. For best results, practice these exercises in strict tempo - with a metronome - making sure that you push the valves down firmly. As you master, increase tempo in small increments. Always keep your air stream supported and sing through the entire exercise. Remember, the last note is as important (if not, more) as the first! $13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Trumpet Mutes and How to Use Them Trumpet Charles Colin Music
Trumpet SKU: M7.AHW-312 Composed by Allan Colin and Louise Baranger. This...(+)
Trumpet SKU: M7.AHW-312 Composed by Allan Colin and Louise Baranger. This edition: Ring/Spiral binding. Sheet music. Performance book. 15 pages. Charles Colin Corp. #AHW 312. Published by Charles Colin Corp. (M7.AHW-312). English. After the hundreds of books that we have published and distributed over the decades, we had yet to include something devoted to the subject of trumpet mutes, which are such important tools for all trumpeters. Thanks to Louise Baranger, who states, 'The importance of owning good mutes cannot be stressed enough', we have produced this booklet which ought to have a place in any trumpet player's library. $13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Complete Encyclopedia of Scales All Instruments Charles Colin Music
Melody instrument SKU: M7.AHW-1616 Teachers - Composers - Arrangers(+)
Melody instrument SKU: M7.AHW-1616 Teachers - Composers - Arrangers. Edited by Charles Colin and Don Schaeffer. Sheet music. 309 pages. Charles Colin Corp. #AHW 1616. Published by Charles Colin Corp. (M7.AHW-1616). English. The most complete practical scale theory book on the market. In treble clef, but intended for every instrument, including trumpet, trombone, tuba, and french horn. $83.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Range of Articulation Trumpet Charles Colin Music
Trumpet SKU: M7.AHW-198 Composed by Allan Colin. Edited by Dominic Derass...(+)
Trumpet SKU: M7.AHW-198 Composed by Allan Colin. Edited by Dominic Derasse. Sheet music. 30 pages. Charles Colin Corp. #AHW 198. Published by Charles Colin Corp. (M7.AHW-198). English. This book includes an array of 30 studies to futher develop and explore the artistry of articulation. These studies present an interesting challenge in articulation because of their variety. The edited slurs and markings should be viewed as a way to increase the challenges presented in the music. In practicing these, I would recommend first playing them as marked and then explore some 'freedom' of interpretation and modify the articulations as you see fit. This way of practicing should increase your ability to respond to the diversity of music that you will encounter in performance. $14.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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