| Cinq Melodies Populaires Grecques (Five Greek Folk Melodies) Piano, Voice Alfred Publishing
Voice and Piano SKU: AP.36-M181291 Composed by Maurice Ravel. Performance...(+)
Voice and Piano SKU: AP.36-M181291 Composed by Maurice Ravel. Performance Music Ensemble; Solo Voice with Piano. Ludwig Masters. Score and Part(s). Alfred Music #36-M181291. Published by Alfred Music (AP.36-M181291). UPC: 660355185809. English. Maurice Ravel (1875-1937) wrote the first of his CINQ MÉLODIES POPULAIRES GRECQUES (Five Greek Folk Melodies) in 1904 at the urgent request of Pierre Aubry, who wished to illustrate a lecture he was giving on Greek folksong. Initially given five folksongs from which to choose, Ravel supplied a piano accompaniment for them in only thirty-six hours. Having impressed those who supplied the original five, three more were produced, which Ravel also quickly set to piano accompaniment, in a style imitative of the Mediterranean lands, but remaining distinctly French in its execution. The five melodies in this collection were selected from those eight. Ravel had started orchestrating all five as well, completing two, leaving Manuel Rosenthal to complete the remaining three. Songs in the collection: I. Le Réveil de la Mariée (Wake Up, My Dear), II. Là -bas, vers l'église (Out There, Where the Church Tower), III. Quel galant m'est comparable (Which Gallant Can Compare With Me?), IV. Chanson des cueilleuses de lentisques (Song of the Lentisk Gatherers), and V. Tout gai! (Be Gay!). The Ravel/Rosenthal orchestrations have been edited by Clinton Nieweg in an edition available from E.F. Kalmus. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $5.99 - See more - Buy online | | |
| Five Pieces (Fünf Stücke), Op. 10 [Score] LudwigMasters Publications
Chamber; Orchestra Detailed Instrumentation: 1dPicc.1.1(dBcl)+Eb Cl.0: 1.1.1.0: ...(+)
Chamber; Orchestra Detailed Instrumentation: 1dPicc.1.1(dBcl)+Eb Cl.0: 1.1.1.0: Perc(4).Hrmm.Clst.Mdln.Gtr.Hp: Str(1.0.1.1.1) SKU: AP.36-A932301 Composed by Anton Webern. Large Chamber Ensemble; Performance Music Ensemble; Single Titles. Kalmus Chamber Library. Score. LudwigMasters Publications #36-A932301. Published by LudwigMasters Publications (AP.36-A932301). ISBN 9781638879435. UPC: 735816461621. English. Similar to Anton Webern's (1883-1945) Bagatelles in it's use of twelve tones and brevity, Fünf Stücke (Five Pieces) is composed of five short pieces for chamber orchestra written between 1911 and 1913. Webern conducted the premiere in Zurich in 1926. Inspired by Mahler, Webern included harmonium, mandolin, guitar, celesta, bells and cowbells to this small orchestration. 1dPicc.1.1(dBcl)+Eb Cl.0: 1.1.1.0: Perc(4).Hrmm.Clst.Mdln.Gtr.Hp: Str(1.0.1.1.1). These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $15.00 - See more - Buy online | | |
| Five Pieces (Fünf Stücke), Op. 10 LudwigMasters Publications
Chamber; Orchestra Detailed Instrumentation: 1dPicc.1.1(dBcl)+Eb Cl.0: 1.1.1.0: ...(+)
Chamber; Orchestra Detailed Instrumentation: 1dPicc.1.1(dBcl)+Eb Cl.0: 1.1.1.0: Perc(4).Hrmm.Clst.Mdln.Gtr.Hp: Str(1.0.1.1.1) SKU: AP.36-A932390 Composed by Anton Webern. Large Chamber Ensemble. Kalmus Chamber Library. Score and Part(s). LudwigMasters Publications #36-A932390. Published by LudwigMasters Publications (AP.36-A932390). UPC: 735816365882. English. Similar to Anton Webern's (1883-1945) Bagatelles in it's use of twelve tones and brevity, Funf Stucke (Five Pieces) is composed of five short pieces for chamber orchestra written between 1911 and 1913. Webern conducted the premiere in Zurich in 1926. Inspired by Mahler, Webern included harmonium, mandolin, guitar, celesta, bells and cowbells to this small orchestration. 1dPicc.1.1(dBcl)+Eb Cl.0: 1.1.1.0: Perc(4).Hrmm.Clst.Mdln.Gtr.Hp: Str(1.0.1.1.1). These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $70.00 - See more - Buy online | | |
| Five Flower Songs, Op. 47 Choral SATB SATB A Cappella Boosey and Hawkes
By Benjamin Britten. (SATB A Cappella). Boosey and Hawkes Large Choral. Size 7....(+)
By Benjamin Britten. (SATB A Cappella). Boosey and Hawkes Large Choral. Size 7.25x10.25 inches. 44 pages. Published by Boosey and Hawkes.
$19.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| War Requiem, Op. 66 Choral [Vocal Score] Boosey and Hawkes
By Benjamin Britten. (CHORAL SCORE). Boosey and Hawkes Large Choral. Size 6.8x1...(+)
By Benjamin Britten. (CHORAL SCORE). Boosey and Hawkes Large Choral. Size 6.8x10.5 inches. 80 pages. Published by Boosey and Hawkes.
$38.00 - 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 | | |
| Much Ado About Nothing: Three Pieces for Small Orchestra Concert band LudwigMasters Publications
Concert Band; Orchestra 1.1.2.1: 2.2.1.0: Timp.Perc(2): Harm: Str (9-8-7-6-5 in ...(+)
Concert Band; Orchestra 1.1.2.1: 2.2.1.0: Timp.Perc(2): Harm: Str (9-8-7-6-5 in set) SKU: AP.36-A929590 Arranged by Erich Wolfgang Korngold, R. Mark Rogers, and ed./arr. Leo Artok. Full Orchestra. Kalmus Masterworks Library. Masterwork. Score and Part(s). LudwigMasters Publications #36-A929590. Published by LudwigMasters Publications (AP.36-A929590). UPC: 735816239411. English. When Max Reinhardt was engaged to direct a German language production of Shakespeare's Much Ado About Nothing at the Vienna Volksbühne in 1918, he asked Korngold to compose the incidental music. The production, under the German title Viel Lärmen um Nichts did not open until May 6, 1920 at the Schönbrunn Palace Theater. In the pit, the composer led members of the Vienna Philharmonic, performing no less than 18 pieces of music. In the meantime, due to the tardy premiere of the play, Korngold had already extracted a five-movement orchestral suite which garnered much praise when performed three months before the play's opening night. The five movements included: 1. the Overture; 2. Scene in the Bridal Chamber; 3. Holzapfel und Schlehwein (a mock-serious scene); 4. Intermezzo (Garden Scene); and 5. Hornpipe. When the play moved to Vienna's Burgtheater (more than 80 performances) and later to the Rezidenz Theater in Munich, the music continued to attract much attention. Demand for the music was such that Korngold arranged the suite into versions for violin and piano (four pieces), and for solo piano (three pieces). German composer-arranger Leo Artok (1885-1935) arranged the most popular three items (1. Hornpipe; 2. Garden Scene; and 3. In the Bridal Chamber) for small orchestra, which were then published by Schott in 1926. This newly engraved edition of the Artok arrangement, offered with a new full score for the first time, has been completed by R. Mark Rogers. All editions noted above are available from the publisher. Instrumentation: 1.1.2.1: 2.2.1.0: Timp.Perc(2).Harm: Str (9.8.7.6.5 in set). These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $80.00 - See more - Buy online | | |
| Much Ado About Nothing: Three Pieces for Small Orchestra Concert band [Score] LudwigMasters Publications
Concert Band; Orchestra 1.1.2.1: 2.2.1.0: Timp.Perc(2): Harm: Str (9-8-7-6-5 in ...(+)
Concert Band; Orchestra 1.1.2.1: 2.2.1.0: Timp.Perc(2): Harm: Str (9-8-7-6-5 in set) SKU: AP.36-A929501 Arranged by Erich Wolfgang Korngold, R. Mark Rogers, and ed./arr. Leo Artok. Full Orchestra. Kalmus Masterworks Library. Masterwork. Score. LudwigMasters Publications #36-A929501. Published by LudwigMasters Publications (AP.36-A929501). ISBN 9781638875192. UPC: 735816239497. English. When Max Reinhardt was engaged to direct a German language production of Shakespeare's Much Ado About Nothing at the Vienna Volksbühne in 1918, he asked Korngold to compose the incidental music. The production, under the German title Viel Lärmen um Nichts did not open until May 6, 1920 at the Schönbrunn Palace Theater. In the pit, the composer led members of the Vienna Philharmonic, performing no less than 18 pieces of music. In the meantime, due to the tardy premiere of the play, Korngold had already extracted a five-movement orchestral suite which garnered much praise when performed three months before the play's opening night. The five movements included: 1. the Overture; 2. Scene in the Bridal Chamber; 3. Holzapfel und Schlehwein (a mock-serious scene); 4. Intermezzo (Garden Scene); and 5. Hornpipe. When the play moved to Vienna's Burgtheater (more than 80 performances) and later to the Rezidenz Theater in Munich, the music continued to attract much attention. Demand for the music was such that Korngold arranged the suite into versions for violin and piano (four pieces), and for solo piano (three pieces). German composer-arranger Leo Artok (1885-1935) arranged the most popular three items (1. Hornpipe; 2. Garden Scene; and 3. In the Bridal Chamber) for small orchestra, which were then published by Schott in 1926. This newly engraved edition of the Artok arrangement, offered with a new full score for the first time, has been completed by R. Mark Rogers. All editions noted above are available from the publisher. Instrumentation: 1.1.2.1: 2.2.1.0: Timp.Perc(2).Harm: Str (9.8.7.6.5 in set). These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $30.00 - See more - Buy online | | |
| Serenade No. 5 in D, K. 204/213a Orchestra [Set of Parts] LudwigMasters Publications
Orchestra 2.2.0.1: 2.2.0.0: Str (4-4-3-3-3 in set): Solo Violin in set SKU: A...(+)
Orchestra 2.2.0.1: 2.2.0.0: Str (4-4-3-3-3 in set): Solo Violin in set SKU: AP.36-A183248 Composed by Wolfgang Amadeus Mozart. Full Orchestra. Kalmus Orchestra Library. Part(s). LudwigMasters Publications #36-A183248. Published by LudwigMasters Publications (AP.36-A183248). ISBN 9798892704335. UPC: 659359535086. English. Wolfgang Amadeus Mozart (1756-1791) wrote the SERENADE No. 5 in D Major, K. 204/213a on August 5, 1775 for ceremonies at the University of Salzburg. Concurrently writing his five violin concertos, the composer chose to feature a solo violin in three of the movements. While it retains a seven-part structure, an impromptu violin concerto is cleverly couched within the work. As he did with most of his serenades for orchestra, Mozart crafted a symphony using the other four movements. Instrumentation: 2.2.0.1: 2.2.0.0: Str (4-4-3-3-3 in set): Solo Violin in set. Reprint edition. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $5.50 - See more - Buy online | | |
| Shepherd's Hey Concert band [Score] - Beginner FJH
Concert Band Concert Band - Grade 0.5 SKU: FJ.B1520S Score Only. A...(+)
Concert Band Concert Band - Grade 0.5 SKU: FJ.B1520S Score Only. Arranged by Chip De Stefano. Concert Band. FJH Starter Series. Masterwork Arrangement; Multicultural. Score. Duration 1:15. The FJH Music Company Inc #98-B1520S. Published by The FJH Music Company Inc (FJ.B1520S). English. This amazing arrangement retains the wonderful character of Grainger's setting while using only six notes! Performable at a variety of tempi while still being effective, this delightful addition to the repertoire is an ideal way to introduce your youngest students to the music of Percy Grainger. About FJH Starter Series Introduction to Beginning Band - Ideal for the first several months of instruction. These pieces are a comfortable length for students (about a half page of music) and are playable with as few as five instruments. All instruments are limited to a 6-note diatonic range. Several supplemental exercises are included to help teach different elements of each piece. Grade .5 $5.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Woodpecker Convention Concert band [Score] - Beginner FJH
Concert Band Concert Band - Grade 0.5 SKU: FJ.B1855S Wood Block Featur...(+)
Concert Band Concert Band - Grade 0.5 SKU: FJ.B1855S Wood Block Feature. Composed by Timothy Loest. Concert Band. FJH Starter Series. Light Concert; Novelty. Score. The FJH Music Company Inc #98-B1855S. Published by The FJH Music Company Inc (FJ.B1855S). English. Embark on a scenic birdwatching adventure in this clever wood block feature. Discover the sounds of the forest, complete with singing birds and drumming woodpeckers. This one is sure to be the hit of your next concert and the talk of the town. Curiously creative, easily accessible, and definitely memorable! About FJH Starter Series Introduction to Beginning Band - Ideal for the first several months of instruction. These pieces are a comfortable length for students (about a half page of music) and are playable with as few as five instruments. All instruments are limited to a 6-note diatonic range. Several supplemental exercises are included to help teach different elements of each piece. Grade .5 $6.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Im Freien (Out of Doors), Sz. 81 Piano solo LudwigMasters Publications
Solo Piano SKU: AP.36-60760005 Composed by Bela Bartok. Piano, Solo, Unac...(+)
Solo Piano SKU: AP.36-60760005 Composed by Bela Bartok. Piano, Solo, Unaccompanied, Book. Master Piano Series. Book. LudwigMasters Publications #36-60760005. Published by LudwigMasters Publications (AP.36-60760005). ISBN 9798888521670. UPC: 676737910259. English. Hungarian composer, pianist and ethnomusicologist Béla Bartók (1881-1945) wrote this collection of five fairly difficult piano pieces in 1926, his 'piano year.' Although often referred to as a suite, IM FREIEN (OUT OF DOORS) appears to have not been thought of as a suite by Bartók himself. The work is a rarity also in that Bartók's works did not commonly use programmatic titles: 1. With Drums and Pipes, 2. Barcarolla, 3. Musettes, 4. Musiques Nocturnes, 5. The Chase. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $9.99 - See more - Buy online | | |
| Furiant Concert band - Beginner FJH
Concert Band Concert Band - Grade 0.5 SKU: FJ.B1785 Composed by Jack Wild...(+)
Concert Band Concert Band - Grade 0.5 SKU: FJ.B1785 Composed by Jack Wilds. Concert Band. FJH Starter Series. Inspired by Dvorak's Slavonic Dance No. 1, this fiery piece provides an engaging opportunity to explore this Eastern European dance form. The dramatic shifts in style, accents and dynamics pair with an exciting accelerando and grand pause before coming to. Masterwork Arrangement. Score and Part(s). Duration 1:20. The FJH Music Company Inc #98-B1785. Published by The FJH Music Company Inc (FJ.B1785). UPC: 241444405086. English. Inspired by Dvorák's Slavonic Dance No. 1, this fiery piece provides an engaging opportunity to explore this Eastern European dance form. The dramatic shifts in style, accents and dynamics pair with an exciting accelerando and grand pause before coming to a thrilling close. Unbelievable writing using just six notes! About FJH Starter Series Introduction to Beginning Band - Ideal for the first several months of instruction. These pieces are a comfortable length for students (about a half page of music) and are playable with as few as five instruments. All instruments are limited to a 6-note diatonic range. Several supplemental exercises are included to help teach different elements of each piece. Grade .5 $45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fortitude Concert band [Score] - Beginner FJH
Concert Band Concert Band - Grade 0.5 SKU: FJ.B1651S Score Only. C...(+)
Concert Band Concert Band - Grade 0.5 SKU: FJ.B1651S Score Only. Composed by Williams Owens. Concert Band. FJH Starter Series. Form: March. Score. Duration 1:20. The FJH Music Company Inc #98-B1651S. Published by The FJH Music Company Inc (FJ.B1651S). English. Bring your beginning musicians to the forefront with fortitude! Your students will quickly embrace this fresh concert march and greatly benefit from its endless teaching opportunities. Advanced snare drum and optional timpani parts are at the ready to enhance your performance even further. Big-time excitement with only six notes! About FJH Starter Series Introduction to Beginning Band - Ideal for the first several months of instruction. These pieces are a comfortable length for students (about a half page of music) and are playable with as few as five instruments. All instruments are limited to a 6-note diatonic range. Several supplemental exercises are included to help teach different elements of each piece. Grade .5 $5.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Jammin' Jazz Standards String Quartet: 2 violins, viola, cello [Score] - Intermediate LudwigMasters Publications
Violin 1, Violin 2, Viola, Cello - Grade 4 SKU: AP.36-52703303 Arranged b...(+)
Violin 1, Violin 2, Viola, Cello - Grade 4 SKU: AP.36-52703303 Arranged by Bert Ligon, Bud Caputo, Martin Norgaard, Matt Turner, and Thom Sharp. Performance Music Ensemble; String Quartet. Ludwig Masters. Score. LudwigMasters Publications #36-52703303. Published by LudwigMasters Publications (AP.36-52703303). ISBN 9781621567455. UPC: 660355097294. English. Arrangers Bud Caputo, Bert Ligon, Martin Norgaard, Matt Turner and Thom Sharp bring you jazz in the string quartet world! These seven standards are ideal for students and professionals alike. Includes: It's Only A Paper Moon (Ligon); It Had To Be You (Norgaard); Bye Bye Blackbird (Caputo); Blue Moon (Turner); Take Five (Ligon); How High The Moon (Sharp); and A Day In The Life Of A Fool (Ligon). These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $9.95 - See more - Buy online | | |
| Magnolia Suite Piano solo LudwigMasters Publications
Piano Solo SKU: AP.36-M398291 Composed by Robert Nathaniel Dett. Piano So...(+)
Piano Solo SKU: AP.36-M398291 Composed by Robert Nathaniel Dett. Piano Solo. Ludwig Masters. Book. LudwigMasters Publications #36-M398291. Published by LudwigMasters Publications (AP.36-M398291). UPC: 654690637635. English. Robert Nathaniel Dett was a Canadian-American Black composer, organist, pianist, choral director, and music professor. Born and raised in Canada until the age of 11, he moved to the United States with his family and had most of his professional education and career there. The Magnolia Suite for solo piano is in five movements: 1. Magnolias (D Major), 2. The Deserted Cabin (B minor), 3. My Lady Love (A Major), 4. Mammy (D flat Major), The Place Where the Rainbow Ends (G flat Major). These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $13.99 - See more - Buy online | | |
| Structuring Comprehensive and Unified Sequential Music Curriculums GIA Publications
A Concise Overview. Composed by Edwin E. Gordon. Music Learning Theory (M...(+)
A Concise Overview. Composed by Edwin E. Gordon. Music Learning Theory (MLT). Music Education. Book. 68 pages. GIA Publications #8986. Published by GIA Publications (GI.G-8986).
$9.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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