| Havana Orchestra - Easy Alfred Publishing
Orchestra - Grade 2.5 SKU: AP.47450S As Recorded by GRAMMY Award Winne...(+)
Orchestra - Grade 2.5 SKU: AP.47450S As Recorded by GRAMMY Award Winner Camila Cabello. Composed by Ali Tamposi, Andrew Watt, Brian Lee, Brittany Hazzard, Camila Cabello, Frank Dukes, Louis Bell, Pharrell, and Young Thug. Arranged by Victor Lopez. Full Orchestra; Performance Music Ensemble; Single Titles. Pop Intermediate String/Full Orchestra. Multicultural; Pop. Score. 16 pages. Alfred Music #00-47450S. Published by Alfred Music (AP.47450S). UPC: 038081547374. English. This jazzy Afro-Cuban clave chart is a fusion of authentic Caribbean flavor and will bring the zest and the spice to your next concert. Nothing beats singing along to a hit from the Billboard Hot 100 Chart! $9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A Pirate's Plunder String Orchestra - Easy FJH
Orchestra String Orchestra - Grade 2 SKU: FJ.ST6499S Score Only. C...(+)
Orchestra String Orchestra - Grade 2 SKU: FJ.ST6499S Score Only. Composed by Neridah Oostenbroek. Series; String Orchestra. FJH Developing Strings. Score. The FJH Music Company Inc #98-ST6499S. Published by The FJH Music Company Inc (FJ.ST6499S). English. Embark on a journey across the high seas with this gusty piece that captures the rogue nature of Caribbean pirates. Featuring contrasting sections and techniques such as harmonics, pizzicato, and double stops, there is never a dull moment. Sure to be a student favorite! About FJH Developing Strings Slightly more advanced than Beginning Strings, this series begins to involve more position work and a slightly more complex rhythmic figures. Rehearsal piano is often provided. Ideal for middle school and smaller high school programs. Grade 2 - 2.5 $6.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A Pirate's Plunder String Orchestra - Easy FJH
Orchestra String Orchestra - Grade 2 SKU: FJ.ST6499 Composed by Neridah O...(+)
Orchestra String Orchestra - Grade 2 SKU: FJ.ST6499 Composed by Neridah Oostenbroek. Series; String Orchestra. FJH Developing Strings. Light Concert; Programmatic. Score and Part(s). The FJH Music Company Inc #98-ST6499. Published by The FJH Music Company Inc (FJ.ST6499). UPC: 241444414514. English. Embark on a journey across the high seas with this gusty piece that captures the rogue nature of Caribbean pirates. Featuring contrasting sections and techniques such as harmonics, pizzicato, and double stops, there is never a dull moment. Sure to be a student favorite! About FJH Developing Strings Slightly more advanced than Beginning Strings, this series begins to involve more position work and a slightly more complex rhythmic figures. Rehearsal piano is often provided. Ideal for middle school and smaller high school programs. Grade 2 - 2.5 $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fiesta Time! Orchestra Belwin
Orchestra - Grade 0.5 SKU: AP.46698S Composed by Victor Lopez. Performanc...(+)
Orchestra - Grade 0.5 SKU: AP.46698S Composed by Victor Lopez. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Very Beginning String Orchestra. Latin; Light Concert. Score. 8 pages. Duration 1:30. Belwin Music #00-46698S. Published by Belwin Music (AP.46698S). UPC: 038081537184. English. Intended to introduce young players to Latin music style, this cheerful and energized composition is guaranteed to be a success as you tour the Caribbean. In addition to being solidly scored, the catchy melody and Latin hand percussion will definitely make this piece---full of spice and sun, and originally written by Victor López---a hit at your earliest concert. Whether you are celebrating Cinco de Mayo or looking for a change of pace, you can't go wrong with Fiesta Time! (1:30). $8.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Havana Orchestra - Easy Alfred Publishing
Orchestra - Grade 2.5 SKU: AP.47450 As Recorded by GRAMMY Award Winner...(+)
Orchestra - Grade 2.5 SKU: AP.47450 As Recorded by GRAMMY Award Winner Camila Cabello. Composed by Ali Tamposi, Andrew Watt, Brian Lee, Brittany Hazzard, Camila Cabello, Frank Dukes, Louis Bell, Pharrell, and Young Thug. Arranged by Victor Lopez. Full Orchestra; Performance Music Ensemble; Single Titles. Pop Intermediate String/Full Orchestra. Multicultural; Pop. Score and Part(s). 208 pages. Alfred Music #00-47450. Published by Alfred Music (AP.47450). UPC: 038081547367. English. This jazzy Afro-Cuban clave chart is a fusion of authentic Caribbean flavor and will bring the zest and the spice to your next concert. Nothing beats singing along to a hit from the Billboard Hot 100 Chart! $60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Two Hornpipes String Orchestra [Score and Parts] - Intermediate Hal Leonard
(from Pirates of the Caribbean: Dead Man's Chest). Composed by Skip Henderson. A...(+)
(from Pirates of the Caribbean: Dead Man's Chest). Composed by Skip Henderson. Arranged by Larry Moore. For String Orchestra, Orchestra (Score and Parts). Pop Specials for Strings. Grade 3-4. Published by Hal Leonard
$50.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Muy Caliente! [Book + CD] - Intermediate Sher Music Company
By Rebeca Mauleon, Oscar Stagnaro, Orestes Vilato. Over 70 minutes of smokin" La...(+)
By Rebeca Mauleon, Oscar Stagnaro, Orestes Vilato. Over 70 minutes of smokin" Latin grooves for you to play along with! Book contains complete charts for each track. Afro-Caribbean. CD and Book. Published by Sher Music Company.
(2)$22.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Caribbean Rhapsody Subito Music
Solo Soprano & Tenor Saxophones & Chamber Orchestra SKU: SU.92050315 F...(+)
Solo Soprano & Tenor Saxophones & Chamber Orchestra SKU: SU.92050315 For Solo Soprano & Tenor Saxophones & Chamber Orchestra. Composed by Roberto Sierra. Woodwinds, Saxophone, Chamber Music, Larger Chamber Ensemble. Study Score. Subito Music Corporation #92050315. Published by Subito Music Corporation (SU.92050315). Instrumentation: Ssx, Tsx; 1111; 1110; hp; stgs Duration: 9' Composed: 2016 Published by: Subito Music Publishing Performance materials available on rental only: Subito Music Rental Library. $50.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Lord God, we praise thee all of us (Herr Gott, dich loben alle wir) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, flute, 3 oboes, 3 trumpets, timpani, 2 violins, vio...(+)
SATB vocal soli, SATB choir, flute, 3 oboes, 3 trumpets, timpani, 2 violins, viola, basso continuo SKU: CA.3113019 Cantata for St. Michael. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Complete orchestral parts. Sacred vocal music, Cantatas. Set of Orchestra Parts. Composed 1724. BWV 130. Duration 14 minutes. Carus Verlag #CV 31.130/19. Published by Carus Verlag (CA.3113019). ISBN 9790007207878. Language: German/English. As in all cantatas for St. Michael the chorale cantata Lord God, we praise thee all of us BWV 130 from 1724 is a magnificent composition. Not only in the opening chorus and the final chorale do the three trumpets and timpani play a role, but the first aria In hell the serpent, hot with hate is even accompanied solely by trumpets, timpani and continuo. The second aria, Thou, of cherubim the master, brings an unexpected contrast in which, besides the tenor and continuo, on a solo flute is heard. The original set of parts were separated from each other in the 19th century and today are scattered throughout the world. For the first time, some of the parts were taken into consideration in preparing this edition. Score and parts available separately - see item CA.3113000. $129.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Pirates of the Caribbean: On Stranger Tides String Orchestra [Score and Parts] - Intermediate Hal Leonard
Arranged by James Kazik. Score and Parts. Pop Specials for Strings. Grade 3-4. P...(+)
Arranged by James Kazik. Score and Parts. Pop Specials for Strings. Grade 3-4. Published by Hal Leonard
$55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Music from Pirates of the Caribbean: At World's End String Orchestra [Score and Parts] Hal Leonard
By Hans Zimmer. Arranged by Stephen Bulla. (Score and Parts). Pop Special String...(+)
By Hans Zimmer. Arranged by Stephen Bulla. (Score and Parts). Pop Special String. Published by Hal Leonard.
(5)$50.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Music from Pirates of the Caribbean: Dead Man's Chest String Orchestra [Score and Parts] - Intermediate Hal Leonard
By Hans Zimmer. Arranged by Ted Ricketts. Pop Special String. Size 9x12 inches. ...(+)
By Hans Zimmer. Arranged by Ted Ricketts. Pop Special String. Size 9x12 inches. Published by Hal Leonard.
$50.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Lord God, we praise thee all of us (Herr Gott, dich loben alle wir) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, flute, 3 oboes, 3 trumpets, timpani, 2 violins, vio...(+)
SATB vocal soli, SATB choir, flute, 3 oboes, 3 trumpets, timpani, 2 violins, viola, basso continuo SKU: CA.3113005 Cantata for St. Michael. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas. Choral Score. Composed 1724. BWV 130. 4 pages. Duration 14 minutes. Carus Verlag #CV 31.130/05. Published by Carus Verlag (CA.3113005). ISBN 9790007170554. Language: German/English. As in all cantatas for St. Michael the chorale cantata Lord God, we praise thee all of us BWV 130 from 1724 is a magnificent composition. Not only in the opening chorus and the final chorale do the three trumpets and timpani play a role, but the first aria In hell the serpent, hot with hate is even accompanied solely by trumpets, timpani and continuo. The second aria, Thou, of cherubim the master, brings an unexpected contrast in which, besides the tenor and continuo, on a solo flute is heard. The original set of parts were separated from each other in the 19th century and today are scattered throughout the world. For the first time, some of the parts were taken into consideration in preparing this edition. Score available separately - see item CA.3113000. $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Pirates Of The Caribbean
Strings Orchestra [Score and Parts] Hal Leonard
Arranged by Ted Ricketts. Pop Special String. Size 9x12 inches. Published by Hal...(+)
Arranged by Ted Ricketts. Pop Special String. Size 9x12 inches. Published by Hal Leonard.
(6)$55.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Liebesbriefe 6 Voice/piano Schott
Soprano voice and orchestra (2 (2. auch Picc.) * 2 * 2 * 2 - 4 * 2 * 0 * 0 - P. ...(+)
Soprano voice and orchestra (2 (2. auch Picc.) * 2 * 2 * 2 - 4 * 2 * 0 * 0 - P. S. (Trgl. * Crot. * Beck. * Pferdeschellen * Rohrengl. * Tamb. * Bong. * 2 Tomt. [h./t.] * Glsp. * Xyl.) - Cemb. * Hfe. - Str.) SKU: HL.49006793 Aus dem 16. und 18. Jahrhundert. Composed by Heinrich Sutermeister. Sheet music. Edition Schott. Classical. Piano reduction. Composed 1979. 44 pages. Duration 20'. Schott Music #ED 6913. Published by Schott Music (HL.49006793). ISBN 9790001073059. German. $41.95 - See more - Buy online | | |
| MOZART Opera Arias for Mezzo-Soprano and Orchestra Mezzo-Soprano voice Music Minus One
For Vocal Mezzo-Soprano. Includes a printed vocal score on high-quality ivory pa...(+)
For Vocal Mezzo-Soprano. Includes a printed vocal score on high-quality ivory paper, with informative liner notes; and a CD G graphics-enabled compact disc with complete versions (with soloist) followed by stereo orchestral accompaniments to each piece, minus the soloist. Published by Music Minus One.
(1)$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Lord God, we praise thee all of us (Herr Gott, dich loben alle wir) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, flute, 3 oboes, 3 trumpets, timpani, 2 violins, vio...(+)
SATB vocal soli, SATB choir, flute, 3 oboes, 3 trumpets, timpani, 2 violins, viola, basso continuo SKU: CA.3113014 Cantata for St. Michael. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Basso continuo. Sacred vocal music, Cantatas. Single Part, basso continuo. Composed 1724. BWV 130. 12 pages. Duration 14 minutes. Carus Verlag #CV 31.130/14. Published by Carus Verlag (CA.3113014). ISBN 9790007207861. Text language: German/English. As in all cantatas for St. Michael the chorale cantata Lord God, we praise thee all of us BWV 130 from 1724 is a magnificent composition. Not only in the opening chorus and the final chorale do the three trumpets and timpani play a role, but the first aria In hell the serpent, hot with hate is even accompanied solely by trumpets, timpani and continuo. The second aria, Thou, of cherubim the master, brings an unexpected contrast in which, besides the tenor and continuo, on a solo flute is heard. The original set of parts were separated from each other in the 19th century and today are scattered throughout the world. For the first time, some of the parts were taken into consideration in preparing this edition. Score and part available separately - see item CA.3113000. $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Music from Pirates of the Caribbean String Orchestra [Score and Parts] - Easy Hal Leonard
By Klaus Badelt. Arranged by Larry Moore. Easy Pops Specials For Strings. Size 9...(+)
By Klaus Badelt. Arranged by Larry Moore. Easy Pops Specials For Strings. Size 9x12 inches. Published by Hal Leonard.
$40.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sea Shanty Play-Alongs for Violin Violin SATB, Orchestra Alfred Publishing
Violin SKU: AP.20306US Ten Sea Shanties to play along. From Aloha 'Oe,...(+)
Violin SKU: AP.20306US Ten Sea Shanties to play along. From Aloha 'Oe, La Paloma, Santiana via Sloop John B., The Drunken Sailor to The Wellerman and many more.. Composed by Arranged by Vahid Matejko. Play-Along. Tango Play-alongs. Book; CD; Digital Download. 36 pages. Alfred Music #00-20306US. Published by Alfred Music (AP.20306US). ISBN 9783947998548. UPC: 038081558318. German. It is not only the great success of Nathan Evans' re-release of The Wellerman on social media that is responsible for the great popularity of sea shanties and naval songs. Such songs create a unique mood, a touch of adventure and wanderlust for the big, wide world. Hardly anyone can elude it and with Vahid Matejko's Sea Shanty Play-Alongs there are now the most beautiful sea shanties and naval songs skillfully arranged as an instrumental play-along series for recorder, flute, clarinet, saxophone, trumpet (opt. baritone T.C.), trombone (opt. baritone B.C.), violin, and accordion (piano). The varied arrangements have a wide stylistic range and offer echoes from rock, Latin, funk, big band to orchestral and Caribbean influences. Thus, each song has its own musical and instrumental appeal, to which the parts and/or solos specially composed by arranger Vahid Matejko also contribute. The original polyphonic choral vocals are replaced by polyphonic instrumental backings. Each of the ten titles was recorded live by excellent professional musicians and is available in two different versions: — a demo-track which features a live violin performance by Julia Carola Jech, the female world music violinist and specialist for tango music and — a minus-one mix for you to play-along. $10.50 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Lord God, we praise thee all of us (Herr Gott, dich loben alle wir) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, flute, 3 oboes, 3 trumpets, timpani, 2 violins, vio...(+)
SATB vocal soli, SATB choir, flute, 3 oboes, 3 trumpets, timpani, 2 violins, viola, basso continuo SKU: CA.3113012 Cantata for St. Michael. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Violin 2. Sacred vocal music, Cantatas. Single Part, Violin 2. Composed 1724. BWV 130. 4 pages. Duration 14 minutes. Carus Verlag #CV 31.130/12. Published by Carus Verlag (CA.3113012). ISBN 9790007207847. Text language: German/English. As in all cantatas for St. Michael the chorale cantata Lord God, we praise thee all of us BWV 130 from 1724 is a magnificent composition. Not only in the opening chorus and the final chorale do the three trumpets and timpani play a role, but the first aria In hell the serpent, hot with hate is even accompanied solely by trumpets, timpani and continuo. The second aria, Thou, of cherubim the master, brings an unexpected contrast in which, besides the tenor and continuo, on a solo flute is heard. The original set of parts were separated from each other in the 19th century and today are scattered throughout the world. For the first time, some of the parts were taken into consideration in preparing this edition. Score and part available separately - see item CA.3113000. $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Lord God, we praise thee all of us (Herr Gott, dich loben alle wir) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, flute, 3 oboes, 3 trumpets, timpani, 2 violins, vio...(+)
SATB vocal soli, SATB choir, flute, 3 oboes, 3 trumpets, timpani, 2 violins, viola, basso continuo SKU: CA.3113003 Cantata for St. Michael. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Herr Gott, dich loben alle wir. Sacred vocal music, Cantatas. Vocal score. Composed 1724. BWV 130. 24 pages. Duration 14 minutes. Carus Verlag #CV 31.130/03. Published by Carus Verlag (CA.3113003). ISBN 9790007061296. Language: German/English. As in all cantatas for St. Michael the chorale cantata Lord God, we praise thee all of us BWV 130 from 1724 is a magnificent composition. Not only in the opening chorus and the final chorale do the three trumpets and timpani play a role, but the first aria In hell the serpent, hot with hate is even accompanied solely by trumpets, timpani and continuo. The second aria, Thou, of cherubim the master, brings an unexpected contrast in which, besides the tenor and continuo, on a solo flute is heard. The original set of parts were separated from each other in the 19th century and today are scattered throughout the world. For the first time, some of the parts were taken into consideration in preparing this edition. Score available separately - see item CA.3113000. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Pirates of the Caribbean: Dead Man's Chest String Orchestra [Score and Parts] - Easy Hal Leonard
By Hans Zimmer. Arranged by Robert Longfield. Easy Pops Specials For Strings. Si...(+)
By Hans Zimmer. Arranged by Robert Longfield. Easy Pops Specials For Strings. Size 9x12 inches. Published by Hal Leonard.
(1)$40.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Lord God, we praise thee all of us (Herr Gott, dich loben alle wir) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, flute, 3 oboes, 3 trumpets, timpani, 2 violins, vio...(+)
SATB vocal soli, SATB choir, flute, 3 oboes, 3 trumpets, timpani, 2 violins, viola, basso continuo SKU: CA.3113013 Cantata for St. Michael. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Viola. Sacred vocal music, Cantatas. Single Part, Viola. Composed 1724. BWV 130. 4 pages. Duration 14 minutes. Carus Verlag #CV 31.130/13. Published by Carus Verlag (CA.3113013). ISBN 9790007207854. Text language: German/English. As in all cantatas for St. Michael the chorale cantata Lord God, we praise thee all of us BWV 130 from 1724 is a magnificent composition. Not only in the opening chorus and the final chorale do the three trumpets and timpani play a role, but the first aria In hell the serpent, hot with hate is even accompanied solely by trumpets, timpani and continuo. The second aria, Thou, of cherubim the master, brings an unexpected contrast in which, besides the tenor and continuo, on a solo flute is heard. The original set of parts were separated from each other in the 19th century and today are scattered throughout the world. For the first time, some of the parts were taken into consideration in preparing this edition. Score and part available separately - see item CA.3113000. $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Lord God, we praise thee all of us (Herr Gott, dich loben alle wir) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, flute, 3 oboes, 3 trumpets, timpani, 2 violins, vio...(+)
SATB vocal soli, SATB choir, flute, 3 oboes, 3 trumpets, timpani, 2 violins, viola, basso continuo SKU: CA.3113049 Cantata for St. Michael. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Organ. Sacred vocal music, Cantatas. Single Part, Organ. Composed 1724. BWV 130. 16 pages. Duration 14 minutes. Carus Verlag #CV 31.130/49. Published by Carus Verlag (CA.3113049). ISBN 9790007207885. Language: German/English. As in all cantatas for St. Michael the chorale cantata Lord God, we praise thee all of us BWV 130 from 1724 is a magnificent composition. Not only in the opening chorus and the final chorale do the three trumpets and timpani play a role, but the first aria In hell the serpent, hot with hate is even accompanied solely by trumpets, timpani and continuo. The second aria, Thou, of cherubim the master, brings an unexpected contrast in which, besides the tenor and continuo, on a solo flute is heard. The original set of parts were separated from each other in the 19th century and today are scattered throughout the world. For the first time, some of the parts were taken into consideration in preparing this edition. Score and part available separately - see item CA.3113000. $20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Lord God, we praise thee all of us (Herr Gott, dich loben alle wir) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, flute, 3 oboes, 3 trumpets, timpani, 2 violins, vio...(+)
SATB vocal soli, SATB choir, flute, 3 oboes, 3 trumpets, timpani, 2 violins, viola, basso continuo SKU: CA.3113011 Cantata for St. Michael. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Violin 1. Sacred vocal music, Cantatas. Single Part, Violin 1. Composed 1724. BWV 130. 4 pages. Duration 14 minutes. Carus Verlag #CV 31.130/11. Published by Carus Verlag (CA.3113011). ISBN 9790007207830. Text language: German/English. As in all cantatas for St. Michael the chorale cantata Lord God, we praise thee all of us BWV 130 from 1724 is a magnificent composition. Not only in the opening chorus and the final chorale do the three trumpets and timpani play a role, but the first aria In hell the serpent, hot with hate is even accompanied solely by trumpets, timpani and continuo. The second aria, Thou, of cherubim the master, brings an unexpected contrast in which, besides the tenor and continuo, on a solo flute is heard. The original set of parts were separated from each other in the 19th century and today are scattered throughout the world. For the first time, some of the parts were taken into consideration in preparing this edition. Score and part available separately - see item CA.3113000. $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Pirates of the Caribbean - At Worlds End String Orchestra [Score and Parts] Hal Leonard
By Hans Zimmer. Arranged by Robert Longfield. (Score and Parts). Easy Pops Spec...(+)
By Hans Zimmer. Arranged by Robert Longfield. (Score and Parts). Easy Pops Specials For Strings. Published by Hal Leonard.
$40.00 - 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 | | |
| Marche funebre Carus Verlag
Orchestra 2 oboes, 2 clarinets, bassoon, contrabassoon, 2 horns, 2 trumpets, 3 t...(+)
Orchestra 2 oboes, 2 clarinets, bassoon, contrabassoon, 2 horns, 2 trumpets, 3 trombones, percussion, 2 violins, viola, cello, double bass SKU: CA.1650209 Composed by Luigi Cherubini. Edited by Oliver Schwarz-Roosmann. 1x 16.502/21 oboe 1, 1x 16.502/22 oboe 2, 1x 16.502/23 clarinet 1, 1x 16.502/24 clarinet 2, 1x 16.502/25 bassoon 1, 1x 16.502/26 bassoon 2, 1x 16.502/27 double bassoon, 1x 16.502/31 horn 1, 1x 16.502/32 horn 2, 1x 16.502/33 trumpet 1, 1x 16.502/34 trumpet. Harmony parts. Mourning, death. Set of Orchestra Parts. 32 pages. Duration 7 minutes. Carus Verlag #CV 16.502/09. Published by Carus Verlag (CA.1650209). Language: all languages. Cherubini's Marche funebre is in the tradition of the funeral music of the French Revolution. The work was composed in 1820 on the occasion of the solemn funeral services for Charles Ferdinand of Bourbon, the Duke of Berry, who was the victim of an assassination when leaving the Paris Opera. In the piece the regular, penetrating beat of the tam tams and the drum roll which follows, the dark-sounding colors and the painful dissonances leave their mark on the funeral march, which suggests that for a performance this work could be combined with either of Cherubini's settings of the Requiem text. Score and parts available separately - see item CA.1650200. $37.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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