| The Classic Guitar Collection Vol. 1 Guitar Classical guitar [Sheet music] Music Sales
By Harvey Vinson (Editor). For Guitar. Classical. Sheet Music. 96 pages. Publis...(+)
By Harvey Vinson (Editor). For Guitar. Classical. Sheet Music. 96 pages. Published by Music Sales.
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| Warlock The Five Lesser Joys Satb/Org Choral SATB SATB, Organ Music Sales
SATB Choir and Organ SKU: HL.14035285 Composed by Peter Warlock. Music Sa...(+)
SATB Choir and Organ SKU: HL.14035285 Composed by Peter Warlock. Music Sales America. Classical. Choral Score. Music Sales #NOV310462. Published by Music Sales (HL.14035285). The Five Lesser Joys of Mary begins with a conventional Nativity scene - the ox and the ass for warmth, the star, the Wise Men - to verses attributed by Warlock to one Daniel Lawrence Kelleher, editor of Christmas Carols (No. 18 in the second series of Augustan Books of English Poetry) where the anonymous verses were published. The fourth stanza recounts Jesus 'Confounding the doctors, the poor little Child,' while the fifth carries us to Calvary and a singularly lame conclusion as Mary 'Saw Jesus droop over and lie very still, She thought of the good times they had long ago When He'd droop in her arms and she'd singhusheenlo.' Strophically composed, with small variations, Warlock's tenderness seems generic. $3.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Let All Mortal Flesh Keep Silence Choral SATB SATB, Keyboard Carl Fischer
(For SATB Voices with Keyboard). By Anonymous. Arranged by Elizabeth Campbell. S...(+)
(For SATB Voices with Keyboard). By Anonymous. Arranged by Elizabeth Campbell. SATB chorus. For SATB, Keyboard. Choral. Piano/Vocal Score. Standard notation. 10 pages. Published by Carl Fischer
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| The Baroque Guitar Guitar Classical guitar [Sheet music + CD] Music Sales
By Frederick Noad. For Guitar. Baroque, Classical. Sheet Music and Audio CD. 128...(+)
By Frederick Noad. For Guitar. Baroque, Classical. Sheet Music and Audio CD. 128 pages. Published by Music Sales
(1)$32.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Anonymous The Bandit Tenor/Bass & Piano Music Sales
Bass Voice Tenor Piano Accompaniment SKU: HL.14000785 Composed by Anon. M...(+)
Bass Voice Tenor Piano Accompaniment SKU: HL.14000785 Composed by Anon. Music Sales America. Classical. Choral Score. Music Sales #NOV410101. Published by Music Sales (HL.14000785). $3.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| More of These Anon: Ten Anonymous Pieces from the Fitzwilliam Virginal Book 2 Guitars (duet) Music Sales
Guitar Duet SKU: HL.14021848 Arranged for Guitar Duet by John Duarte(+)
Guitar Duet SKU: HL.14021848 Arranged for Guitar Duet by John Duarte. Composed by John W. Duarte. Arranged by John Duarte. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV120109. Published by Music Sales (HL.14021848). 8.5x12.0x0.113 inches. $8.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Blessing of Light Carl Fischer
Choral SAB Choir, Piano SKU: CF.CM9703 Composed by Meredith Tompkins. Mjt...(+)
Choral SAB Choir, Piano SKU: CF.CM9703 Composed by Meredith Tompkins. Mjts. 12 pages. Duration 3 minutes, 40 seconds. Carl Fischer Music #CM9703. Published by Carl Fischer Music (CF.CM9703). ISBN 9781491160107. UPC: 680160918706. Key: D major. English. Traditional Scottish-Irish blessing. Blessing of Light is an excerpt from a Scottish-Irish benediction of anonymous authorship, which may have originated from old Celtic traditions. The rich, poetic language encourages hospitality for both friends and strangers and a charge to cultivate the inner spirit as a beacon of light for others. This SAB-setting offers additional options for soprano or alto divisi and comfortable ranges for men. Drawing primarily from the soundscape of a gently sweeping Mixolydian mode, this piece is designed to remind the listener of the distant past and its connection to our present. Modes have been utilized in many cultures at least since the earliest days of recorded history. Ancient Greek musical modes were revived and explored during the Middle Ages, and are sometimes considered the fathers of the scales we use today in what is often labeled tonal music, or music rooted in Western European musical practices. Blessing of Light is an accessible introduction to modal harmony for mixed choirs. Modes are characterized by combinations of half or whole steps that form a unique scale. The Mixolydian scale in this piece, for example, is identical to the major scale with the exception of a lowered (or flatted) 7th scale degree. For ease of use in sight-reading, key signatures are indicated by the melodic tonal center with the chromatically altered lowered 7th. When introducing this piece, it may be beneficial for the conductor to begin with warm-ups or vocalizes utilizing the scales below. Blessing of Light is an excerpt from a Scottish-Irish benediction of anonymous authorship, which may have originated from old Celtic traditions. The rich, poetic language encourages hospitality for both friends and strangers and a charge to cultivate the inner spirit as a beacon of light for others. This SAB-setting offers additional options for soprano or alto divisi and comfortable ranges for men.Drawing primarily from the soundscape of a gently sweeping Mixolydian mode, this piece is designed to remind the listener of the distant past and its connection to our present. Modes have been utilized in many cultures at least since the earliest days of recorded history. Ancient Greek musical modes were revived and explored during the Middle Ages, and are sometimes considered the fathers of the scales we use today in what is often labeled “tonal music,†or music rooted in Western European musical practices.Blessing of Light is an accessible introduction to modal harmony for mixed choirs. Modes are characterized by combinations of half or whole steps that form a unique scale. The Mixolydian scale in this piece, for example, is identical to the major scale with the exception of a lowered (or flatted) 7th scale degree. For ease of use in sight-reading, key signatures are indicated by the melodic tonal center with the chromatically altered lowered 7th. When introducing this piece, it may be beneficial for the conductor to begin with warm-ups or vocalizes utilizing the scales below. $2.75 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Favorite Recorder Tunes - Beautiful Airs and Ballads of the British Isles Recorder - Intermediate Mel Bay
Recorder - Intermediate SKU: MB.30963 Saddle-stitched, Solos and Duets. B...(+)
Recorder - Intermediate SKU: MB.30963 Saddle-stitched, Solos and Duets. British Isles. Book. 44 pages. Mel Bay Publications, Inc #30963. Published by Mel Bay Publications, Inc (MB.30963). ISBN 9781513468204. 8.75x11.75 inches. This exceptional collection of 41 truly beautiful airs and ballads from the British Isles offers both well-known tunes by the prolific blind Irish harpist, Turlough Oâ??Carolan and rarely heard melodies by anonymous composers; all have stood the test of time. Arranged for soprano or tenor recorder, these include Oâ??Carolanâ??s classically influenced â??Lord Inchiquinâ? and â??Eleanor Plunkettâ? as well as â??O Gentle Doveâ? and â??Cuckoo Dearâ?â?? both examples of the strong tradition of song in Wales. Among other tunes, the haunting modal melodies of â??The Dark Slender Boyâ? and â??Enchanted Valleyâ? express the melancholic heart and soul of the British Isles.
A few of these songs have taken on a life of their own in modern times. â??Bonny at Mornâ?, a popular traditional tune of northern England and Scotland, was arranged for soprano voice and harp by the 20th century British composer, Benjamin Britten. â??The Skye Boat Songâ? originally recounted Bonnie Prince Charles Edward Stuartâ??s journey to the Isle of Skye after his defeat at the historic Battle of Culloden. Later, the song evolved into a lilting lullaby and was more recently used as the theme song for the popular Outlander television series.
Departing slightly from recorder notation practice, author Marcia Diehl has judiciously arranged these melodies complete with spare slur markings to aid the amateur player in authentically and musically rendering these tunes. $14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fiddling Fingers Viola [CD] - Beginner Carl Fischer
Beginning Fiddling Lessons for String Classes or Individual Learners (Viola Book...(+)
Beginning Fiddling Lessons for String Classes or Individual Learners (Viola Book - Audio CD Included). By Anonymous. Arranged by Doris Gazda; Janet Farrar-Royce. For Viola. Student Book. 16 pages. Published by Carl Fischer.
$9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A Charles Dickens Christmas Concert band [Score and Parts] - Easy Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-050-5 Composed by traditional Engl...(+)
Concert band - Grade 3 SKU: MH.1-59913-050-5 Composed by traditional English carols. Arranged by William Ryden. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 6:30. Published by Manhattan Beach Music (MH.1-59913-050-5). ISBN 9781599130507. Charles Dickens certainly would have known the three carols in A CHARLES DICKENS CHRISTMAS. They were among the best-known and best-loved carols of the Victorian Era, and were a staple of the repertoire of roving waits, or carollers, that appear in his novels. Today this music is as familiar as Santa Claus and Tiny Tim. THE FIRST NOWELL was first collected in Christmas Carols, Ancient and Modern by William Sandys in 1833. It is most probably 200 years older than that. The Oxford Book of Carols contains nine verses, which makes it an ideal processional for Christmas or Epiphany (the feast commemorating the coming of the Magi). COVENTRY CAROL, or Lully, Lullay, comes from the medieval tradition of mystery and miracle plays. In 1534 the Pageant of the Shearman and Tailors Guild included a scene in which the mothers of Jewish children sang this haunting lullaby after hearing the horrifying order: Herod the king, In his raging, All young children to slay. The music is anonymous; the text believed to be by Robert Croo. ANGELS WE HAVE HEARD ON HIGH is probably of French origin, but the English long ago adopted it as their own. Besides the French text, Les Anges dans nos compagnes, it is known in several versions and by several titles, including Angels from the Realms of Glory, When the Crimson Sun Had Set, and Westminster Carol. It belongs to a category known as macaronic carols, which mix vernacular verses with Latin refrains - in this instance, Gloria in Excelsis Deo (Glory be to God on High). Ensemble instrumentation: 1 Piccolo, 8 Flute, 2 Oboe, 1 Bassoon 1, 1 Bassoon 2, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 1 Eb Alto Clarinet, 3 Bb Bass Clarinet & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 1 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1, 2 F Horn 2, 2 Trombone 1, 2 Trombone 2, 2 Trombone 3, 3 Euphonium (Bass Clef), 2 Euphonium (Treble Clef), 5 Tubas, 1 Timpani, 2 Bells & Chimes, 3 Percussion 1: small triangle, suspended cymbal, crash cymbal, snare drum, bass drum, 2 Percussion 2: large triangle, finger cymbals. $75.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Greensleeves to a Ground Descent (Soprano) Recorder, Piano - Intermediate Schott
14 Divisions. Composed by Anonymous. Edited by Kathryn Bennetts and Peter Bowm...(+)
14 Divisions. Composed by
Anonymous. Edited by Kathryn
Bennetts and Peter Bowman.
Arranged by Yeo Yat-Soon.
This edition: Saddle
stitching. Sheet music.
Schott Student Edition.
Classical. Softcover. 20
pages. Schott Music #SE
1048. Published by Schott
Music
$13.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Classical Music For Children: 58 Easy Pieces For Guitar Edition With Cd Guitar [Sheet music + CD] - Easy Schott
Guitar - easy SKU: HL.49019327 58 Easy Pieces for Guitar. Arranged...(+)
Guitar - easy SKU: HL.49019327 58 Easy Pieces for Guitar. Arranged by Martin Hegel. This edition: Saddle stitching. Sheet music with CD. Guitar. Dieses Heft enthalt alles, was man fur den Gitarrenunterricht braucht: 58 leichte originale Gitarrenstucke von Aguado, Mertz, Diabelli, Carulli, Sor oder Carcassi, aber auch leicht spielbare Bearbeitungen der klassischen Musik aus den Bereichen Orchesterm. Softcover with CD. 46 pages. Schott Music #ED21305. Published by Schott Music (HL.49019327). ISBN 9783795747558. UPC: 841886018204. 9.0x12.0x0.2 inches. This volume contains everything needed for guitar lessons: 58 easy original guitar pieces by Aguado, Mertz, Diabelli, Carulli, Sor or Carcassi, but also easy-to-play arrangements of classical music from the fields of orchestral music, chamber music or opera. Among them are themes from Vivaldi's Four Seasons, from Handel's Music for the Royal Fireworks, Mozart's Magic Flute, Beethoven's Symphony No. 9 or Verdi's Chorus of the Hebrew Slaves. It is this volume's concern to make classical masterpieces of concert literature accessible to children by means of such rather easy arrangements and make them enjoy classical music. All pieces are recorded on the accompanying CD to make it easier for the pupils to study and master the works. $22.99 - See more - Buy online | | |
| Fiddling Fingers Cello [Sheet music + CD] Carl Fischer
Beginning Fiddling Lessons for String Classes or Individual Learners (Cello Book...(+)
Beginning Fiddling Lessons for String Classes or Individual Learners (Cello Book - Audio CD Included). By Anonymous. Arranged by Doris Gazda; Janet Farrar-Royce. For Cello. Student Book. 16 pages. Published by Carl Fischer.
$9.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Renaissance and Baroque Guitar Duets. 2 guitars 2 Guitars (duet) Classical guitar [Sheet music + CD] Music Minus One
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