| Heumann Sonata Book +cd Piano solo - Easy Schott
Piano (NOTEN+CD) - easy to intermediate SKU: HL.49033329 The nice and ...(+)
Piano (NOTEN+CD) - easy to intermediate SKU: HL.49033329 The nice and easy sonatas of Beethoven to Kabalevsky. Composed by G.D. Heumann. This edition: Paperback/Soft Cover. Sheet music with CD. Edition Schott. Edition with CD. 94 pages. Schott Music #ED9839. Published by Schott Music (HL.49033329). ISBN 9783795757342. 9.25x12.0x0.275 inches. German - English. In this volume, Hans-Gunter Heumann presents a selection of 18 easy popular classical sonatinas, a Kabalevsky sonatina and a jazz sonatina by Eduard Putz. The educational value of these excellent and sensitive sonatina movements lies in the training of melody and form as well as in a versatile technical training.The volume includes works by Andre, Attwood, Beethoven, Benda, Cimarosa, Clementi, Diabelli, Gurlitt, Haslinger, Haydn, Kabalevsky, Kohler, Kuhlau, Mozart, Pleyel, Putz, Scarlatti, Turk and Vanhal. $27.99 - See more - Buy online | | |
| Ensemble Piano solo [Sheet music] Carl Fischer
Music for Piano , 4 Hands. By Johann Anton Andre; Anton Arensky; Carl Reinecke; ...(+)
Music for Piano , 4 Hands. By Johann Anton Andre; Anton Arensky; Carl Reinecke; Daniel Gottlieb Turk; Franz Schubert; Karl Kohn. Edited by Louise Bianchi, Lynn Freeman Olson, Marvin Blickenstaff. Solo piano. For Piano. Music Pathways: A Course for Piano Study. Classical. Soft Cover. 32 pages. Published by Carl Fischer.
$18.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Six Sonatinas 1 Piano, 4 hands [Sheet music] - Intermediate Alfred Publishing
By Johann Anton Andre. Edited by Maurice Hinson. For Piano. Piano Duet (One Pian...(+)
By Johann Anton Andre. Edited by Maurice Hinson. For Piano. Piano Duet (One Piano, Four Hands). Masterwork. Level: Intermediate (grade 4/5). 28 pages. Published by Alfred Publishing.
$7.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Alfred's Group Piano for Adults -- Ensemble Music 1 Piano, 4 hands - Easy Alfred Publishing
Repertoire for Piano Duet, Two Pianos, and Multiple Pianos. Composed by Select...(+)
Repertoire for Piano Duet,
Two Pianos, and Multiple
Pianos. Composed by Selected
by E. L. Lancaster and Kenon
D. Renfrow.
Method/Instruction; Piano -
Alfred's Group Piano for
Adults. Alfred's Group Piano
for Adults. Book. 96 pages.
Alfred Music #00-47850.
Published by Alfred Music
$10.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Vom Musikalischen Denken Schott
SKU: HL.49007124 Gesammelte Vortrage. Composed by Rudi Stephan. Ed...(+)
SKU: HL.49007124 Gesammelte Vortrage. Composed by Rudi Stephan. Edited by Andreas Traub and Rainer Damm. This edition: Paperback/Soft Cover. Book. Edition Schott. Classical. 364 pages. Schott Music #ED 7300. Published by Schott Music (HL.49007124). ISBN 9783795717896. German. Rudolf Stephans Gesammelte Vortrage aus den Jahren 1964-1984 lassen die Grundintentionen seines wissenschaftlichen Arbeitens deutlich hervortreten: das musikalische Werk als individuelle Manifestation musikalischen Denkens zu begreifen. Stets stellt er die Musik selbst in den Mittelpunkt und sucht ihre Gesetzmassigkeiten und Strukturen aufzuspuren, zu beschreiben und zu begrunden. Mit Texten zu musikalischen Grundfragen, zum Schaffen der grossen Komponisten von Bach bis Reger sowie zu Musik und Musikern des 20. Jahrhunderts, ursprunglich konzipiert fur den lebendigen mundlichen Vortrag, bietet dieser Band einen reprasentativen Uberblick uber die Arbeit des bedeutenden Musikforschers. $31.00 - See more - Buy online | | |
| concerto potpourri MDS (Music Distribution Services) (+)
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Robert Schumann: Adagio und Allegro op. 70
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Francis Poulenc: Sonate 1962
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Johann Friedrich Braun: Concerto potpourri
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Johann Sebastian Bach: Sonate g-Moll BWV 1030
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Andreas Pfluger: Storphall
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Witold Lutoslawski: Epitaph
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Antonio Pasculli: Concerto uber Themen aus I Vespri Siciliani
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| 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 | | |
| Flute Repertoire 3 Flute The Frederick Harris Music Company
Flute - Advanced Beginner SKU: FH.FLR03 2010 Edition. Composed by ...(+)
Flute - Advanced Beginner SKU: FH.FLR03 2010 Edition. Composed by The Royal Conservatory. Overtones: A Comprehensive Flute Series. Book/Piano Accompaniment/CD. The Frederick Harris Music Company #FLR03. Published by The Frederick Harris Music Company (FH.FLR03). ISBN 978-1-55440-291-5. Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental repertoire and supporting materials such as Studies, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study.This compilation of standard orchestral passages for flute is an indispensable resource for the developing years and beyond. Teachers and students will find this unrivalled volume essential for examination or audition preparation. Sonata in C Major, BWV 1033: Menuet I and Menuet II attr. Johann Sebastian Bach, arr. Stephen Chatman Sonata in G Minor, op. 2, no. 4 (La Lumagne), Third movement: Siciliana Michel Blavet, arr. Kathleen Wood Sonatina, op. 163, no. 1, Second movement Anton Diabelli, arr. Kathleen Wood Sonatina, op. 163, no. 4, Second movement Anton Diabelli, arr. Kathleen Wood Anglois con Variationi Johann Gottlieb Nicolai, arr. Stephen Chatman Sonata in F Major, K 13, Menuetto I and Menuetto II Wolfgang Amadeus Mozart Collage Michael Conway Baker Robo-Tic Kathryn Cernauskas Almost Waltz Robert Fleming Windsurfer's Waltz Adam Gorb Machmad Levavi (My Sweetheart) Sarah Levi-Tanai, arr. Yoav Talmi Ostinato Lowell Liebermann Theme from Fantasie melancolique Mathieu-Andre Reichert Sea Chant Peter Sculthorpe. About Overtones Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental Repertoire and supporting materials such as Etudes, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study and is the official series for those using The Royal Conservatory Music Development program. $31.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Nouveau violon classique - Volume A Violin and Piano [Score] Combre
Violin and piano SKU: LM.P03073 Composed by Henri Classens. Classical. Sc...(+)
Violin and piano SKU: LM.P03073 Composed by Henri Classens. Classical. Score. Editions Combre #P03073. Published by Editions Combre (LM.P03073). ISBN 9790230330732. DIABELLI Anton : Petite piece en Do maj. - LATOUR Jean Theodore : Theme en Sol maj. - GLUCK Christoph Willibald : Divertissement en Sol maj. - GRETRY Andre-Modeste : Ariette en Sol maj. - ARNE Thomas : Menuet en Sol maj. - GURLITT Cornlius : Berceuse en Do maj. - CZERNY Carl : Amusement en Re maj. - PURCELL Henry : Menuet en Sol maj. - BRAHMS Johannes : L'homme au sable en Sol maj. - SCHUMANN Robert : Petite romance en La min. - KUHNAU Johann : Menuet en Sol maj. - GOUNOD Charles : Chanson du soir en Do maj. - SCHUMANN Robert : L'Etranger en Sol maj. - HAENDEL Georg Friedrich : Menuet en Fa maj. - HEROLD Ferdinand : Romance en Sol maj. - DIABELLI Anton : Andante en Fa maj. - DUVAL Francois : Sarabande en Re maj. - PINOLET de MONTECLAIR Michel : Menuet en Re maj. - DUVAL Francois : Sarabande en Sol maj. - SCHUMANN Robert : Marche militaire en Sol maj. - MION Charles-Louis : Air en Si min. - PINOLET de MONTECLAIR Michel : Entree des masques en La maj. - PINOLET de MONTECLAIR Michel : Musette en Do maj. - CZERNY Carl : Sur I'Onde en Do maj. - PINOLET de MONTECLAIR Michel : Les chasseurs en Re maj. $33.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| La Clarinette classique Vol. A Clarinet [Score] Combre
By Jacques Lancelot/Henri Classens. For clarinet and piano. Classical. Score. 31...(+)
By Jacques Lancelot/Henri Classens. For clarinet and piano. Classical. Score. 31 16 pages. Published by Editions Combre
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| Concerto in E Major Trumpet Carl Fischer
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano, S.49. Composed by Johann Hummel. Edited by Elisa Koehler. Set of Score and Parts. With Standard notation. 36+8 pages. Carl Fischer Music #W2682. Published by Carl Fischer Music (CF.W2682). ISBN 9781491144954. UPC: 680160902453. 9 x 12 inches. Key: E major. Edited by Elisa Koehler, Associate Professor and Chair of the Music Department at Goucher College, this new edition of Johann Nepomuk Hummel's Concerto in E Major for trumpet in E and piano presented in its original key. The concerto by Johann Nepomuk Hummel (1778–1837)holds a unique place in the trumpet repertoire. Like theconcerto by Joseph Haydn (1732–1809) it was written forthe Austrian trumpeter Anton Weidinger (1766–1852) andhis newly invented keyed trumpet, performed a few timesby Weidinger, and then forgotten for more than 150 yearsuntil it was revived in the twentieth century. But unlikeHaydn’s concerto in Eb major, Hummel’s Concerto a Trombaprincipale (1803) was written in the key of E major for atrumpet pitched in E, not E≤. This difference of key proved tobe quite a conundrum for trumpeters and music publishersin the twentieth century. The first modern edition, publishedby Fritz Stein in 1957, transposed the concerto down onehalf step into the key of E≤ to make it more playable on atrumpet in Bb, which had become the standard instrumentfor trumpeters by the middle of the twentieth century.Armando Ghitalla made the first recording of the Hummel in1964 in the original key of E (on a C-trumpet) after editinga performing edition in 1959 in the transposed key of E≤ (forBb trumpet) published by Robert King Music. Needless tosay, the trumpet had changed dramatically in terms of design,manufacture, and cultural status between 1803 and 1957, andthe notion of classical solo repertoire for the modern trumpetwas still in its formative stages when the Hummel concertowas reborn.These factors conspired to create confusion regarding thenumerous interpretative challenges involved in performingthe Hummel concerto according to the composer’s originalintentions on modern trumpets. For those seeking the bestscholarly information, a facsimile of Hummel’s originalmanuscript score was published in 2011 with a separatevolume of analytical commentary by Edward H. Tarr,1 whoalso published the first modern edition of the concertoin the original key of E major (Universal Edition, 1972).This present edition—available in both keys: Eb and Emajor—strives to build a bridge between scholarship andperformance traditions in order to provide viable options forboth the purist and the practitioner.Following the revival of the Haydn trumpet concerto, acase could be made that some musicians were influencedby a type of normalcy bias that resulted in performancetraditions that attempted to make the Hummel morelike the Haydn by putting it in the same key, insertingunnecessary cadenzas, and adding trills where they mightnot belong.2 Issues concerning tempo and ornamentationposed additional challenges. As scholarship and performancepractice surrounding the concerto have become betterknown, trumpeters have increasingly sought to performthe concerto in the original key of E major—sometimes onkeyed trumpets—and to reconsider more recent performancetraditions in the transposed key of Eb.Regardless of the key, several factors need to be addressedwhen performing the Hummel concerto. The most notoriousof these is the interpretation of the wavy line (devoid of a “tr†indication), which appears in the second movement(mm. 4–5 and 47–49) and in the finale (mm. 218–221). InHummel’s manuscript score, the wavy line resembles a sinewave with wide, gentle curves, rather than the tight, buzzingappearance of a traditional trill line. Some have argued that itmay indicate intense vibrato or a fluttering tremolo betweenopen and closed fingerings on a keyed trumpet.3 In Hummel’s1828 piano treatise, he wrote that a wavy line without a “trâ€sign indicates uneigentlichen Triller oder den getrillertenNoten [“improper†trills or the notes that are trilled], andrecommends that they be played as main note trills that arenot resolved [ohne Nachschlag].4 Hummel’s piano treatisewas published twenty-five years after he wrote the trumpetconcerto, and his advocacy for main note trills (rather thanupper note trills) was controversial at the time, so trumpetersshould consider all of the available options when formingtheir own interpretation of the wavy line.Unlike Haydn, Hummel did not include any fermatas wherecadenzas could be inserted in his trumpet concerto. The endof the first movement, in particular, includes something likean accompanied cadenza passage (mm. 273–298), a featureHummel also included at the end of the first movement ofhis Piano Concerto No. 5 in Ab Major, Op. 113 (1827). Thethird movement includes a quote (starting at m. 168) fromCherubini’s opera, Les Deux Journées (1802), that diverts therondo form into a coda replete with idiomatic fanfares andvirtuosic figuration.5 Again, no fermata appears to signal acadenza, but the obbligato gymnastics in the solo trumpetpart function like an accompanied cadenza.Other necessary considerations include tempo choicesand ornamentation. Hummel did not include metronomemarkings to quantify his desired tempi for the movements,but clues may be gleaned through the surface evidence(metric pulse, beat values, figuration) and from the stratifiedtempo table that Hummel included in his 1828 piano treatise,where the first movement’s “Allegro con spirito†is interpretedas faster than the “Allegro†(without a modifier) of the finale.6In the realm of ornamentation, Hummel includes severalturns and figures that are open to interpretation. This editionincludes Hummel’s original symbols (turns and figuration)along with suggested realizations to provide musicians withoptions for forming their own interpretation.Finally, trumpeters are encouraged to listen to Mozart pianoconcerti as an interpretive context for Hummel’s trumpetconcerto. Hummel was a noted piano virtuoso at the end ofthe Classical era, and he studied with Mozart in Vienna asa young boy. Hummel also composed his own cadenzas forsome of Mozart’s piano concerti, and the twenty-five-year-oldcomposer imitated Mozart’s orchestral gestures and melodicfiguration in the trumpet concerto (most notably in the secondmovement, which resembles the famous slow movement ofMozart’s Piano Concerto No. 21 in C Major, K. 467). $34.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Spruchmotetten. Heft 3 Choral SATB SATB [Vocal Score] Barenreiter
(8 Kompositionen des 16. und 17. Jahrhunderts fur das Kirchenjahr vom Tag der Da...(+)
(8 Kompositionen des 16. und 17. Jahrhunderts fur das Kirchenjahr vom Tag der Darstellung des Herrn (2. Februar) bis Pfingstmontag). Edited by Konrad Ameln; Harald Kummerling. For Mixed Choir. Chor-Archiv. Singing Score
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| Oxford Book Of Flexible Anthems
Choral SATB [Vocal Score] Oxford University Press
A Clare Benediction Composed by John Rutter A Prayer Of St Richard Of Chicheste...(+)
A Clare Benediction Composed by John Rutter
A Prayer Of St Richard Of Chichester Composed by L. J. White
Alleluia Composed by William Boyce
Author Of Life Divine Composed by Cecilia Mcdowall
Be Still For The Presence Of The Lord Composed by David Evans; Arranged by Richard Shephard
Bread Of The World Composed by Scottish Traditional; Arranged by Alan Bullard
Brightest And Best Composed by Malcolm Archer
Christ Is The World's True Light Composed by W. K. Stanton
Christ The Lord Is Risen Again Composed by Richard Shephard
Christians Shout For Joy And Gladness Composed by Johann Sebastian Bach
Come Down, O Love Divine Composed by Hilary Tadman-robins
Plainsong: Creator Of The Stars Arranged by John Scott
Drop, Drop Slow Tears Composed by Kerry Andrew
Evening Service In C Composed by Frank Henry Shera
Fairest Lord Jesus Composed by Martin How
Gabriel To Mary Came Composed by 14th Century Irish; Arranged by Alan Bullard
Give Thanks To God Composed by Botswanan Traditional; Arranged by Alan Bullard
God Be In My Head Composed by Armstrong Gibbs
God In Mine Eternity Composed by Alan Bullard
God So Loved The World Composed by Alan Bullard
God That Madest Earth And Heaven Composed by Welsh Traditional; Arranged by David Thorne
Hail, Virgin Mary (Ave Maria) Composed by Franz Liszt
Hark, The Glad Sound Composed by David Thorne
Harvest Carol Composed by Ian Ray
He Is Risen Composed by Cecil Cope
Hide Not Thy Face Composed by Richard Farrant
see all...
Holy, Holy, Holy, Holy Is The Lord Composed by Franz Schubert; Arranged by Alan Bullard
Holy, Holy, Holy! Lord God Almighty Composed by Alan Smith
Hosanna To The Son Of David Composed by Georg Philipp Telemann
Irish Blessing Composed by Bob Chilcott
Jesu, Lamb Of God, Redeemer (Ave Verum Corpus) Composed by Edward Elgar
Jesus Christ The Apple Tree Composed by English Traditional; Arranged by Alan Bullard
Jubilate (Let Us Praise You) Composed by Wolfgang Amadeus Mozart
Lamb Of God (Agnus Dei) Composed by Samuel Webbe
Let All Mortal Flesh Keep Silence Composed by Stephen Cleobury
Like The Murmur Of The Dove's Song Composed by Alan Smith
Lord, In Thy Mercy Composed by Felix Bartholdy Mendelssohn
Magnificat And Nunc Dimittis In C Composed by F. H. Shera
Never Weather-beaten Sail Composed by Thomas Campion; Arranged by Alan Bullard
Now The Green Blade Riseth Composed by French Traditional; Arranged by Alan Bullard
O Breath Of Life Composed by English Traditional; Arranged by Alan Bullard
O For A Closer Walk With God Composed by Charles Villiers Stanford
O God Of Mercy Composed by Simon Lole
O God, Your Goodness Composed by Ludwig Van Beethoven
O Praise God In His Holiness Composed by John Weldon
Panis Angelicus Composed by Cesar Auguste Franck
Peace Between Nations Composed by Christopher Wiggins
Pie Jesu Composed by Gabriel Faure
Praise To The Trinity Composed by Hildegard Of Bingen
Psalm 150 Composed by Bob Chilcott
Rejoice In The Lord Always Composed by Christopher Wiggins
Shout For Joy Composed by African Traditional; Arranged by Alan Bullard
Star Of Wonder Composed by Alan Bullard
The Eternal Gifts Of Christ The King Composed by Guidetti/henry G. Ley
The Heavens Sing Praises To God Composed by Ludwig Van Beethoven
The Lord Ascendeth Composed by Michael Praetorius
The Lord Bless You And Keep You Composed by John Rutter
The Lord's My Shepherd Composed by Bob Chilcott
The Peace Of God Composed by Alan Bullard
The True And Living Bread Composed by David Blackwell
There Is No Rose Composed by Andrew Smith
Thou Visitest The Earth Composed by Maurice Greene
To Be A Pilgrim Composed by Nick Burt
Were You There? Composed by American Spiritual; Arranged by Peter Hunt
Where All Charity And Love Are (Ubi Caritas) Arranged by Alan Bullard
Wondrous Cross Composed by Philip Wilby
The Oxford Book of Flexible Anthems by Alan Bullard (1947-). For flexible instrumentation. Mixed Voices. Sacred. Paperback. 296 pages. Published by Oxford University Press
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| Short Cello Pieces Cello, Piano Bosworth
Short Cello Pieces by Hywel Davies. Music Sales America. Film and TV. 64 pages. ...(+)
Short Cello Pieces by Hywel Davies. Music Sales America. Film and TV. 64 pages. Bosworth and Co. #BOE005186. Published by Bosworth and Co.
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| The Piano Player -- Wintertide Collection Piano solo - Intermediate Faber Music Limited
Piano - Intermediate SKU: AP.12-0571542042 A seasonal selection of 20 ...(+)
Piano - Intermediate SKU: AP.12-0571542042 A seasonal selection of 20 wintry pieces, ideal for the intermediate pianist. Collections; Piano Collection; Piano Supplemental. The Piano Player Series. Christmas; Classical; Traditional; Winter. Book. 64 pages. Faber Music #12-0571542042. Published by Faber Music (AP.12-0571542042). ISBN 9780571542048. English. Howard Blake; Antonio Vivaldi; Gustav Holst; Christina Rossetti; Chilly Gonzales; Traditional; Mykola Leontovych; Arcangelo Corelli; Michael Praetorius; Franz Xaver Gruber; Johann Sebastian Bach; Sergei Prokofiev; Franz Liszt; Pyotr Ilyich Tchaikovsky. The Piano Player: Wintertide Collection presents 20 seasonal and wintry pieces of classical music, specially arranged for intermediate solo piano. Contents include Carol Of The Bells by Mykola Leontovych, Sleigh Ride by Leroy Anderson, Dance of the Sugar Plum Fairy by Pyotr Ilyich Tchaikovsky and Sinfonia from Christmas Oratorio by J.S. Bach. The cover features Edward Bawden's watercolor Great Bardfield, 1955, and a double-side color print provides the full artwork as a beautiful collectible.
With its gorgeous presentation, superb musical selection, adept pianistic arrangements and helpful fingering, it is very easy to recommend this publication to late intermediate and more advanced players everywhere. The Wintertide Collection really is a fabulous gift, and one that will bring joy for many winters to come! Andrew Eales, November 2023, pianodao.com. $13.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Cello Repertoire Level 4 Cello - Easy The Frederick Harris Music Company
Cello - Early Intermediate SKU: FH.VC4 Cello Series, 2013 Edition....(+)
Cello - Early Intermediate SKU: FH.VC4 Cello Series, 2013 Edition. Composed by The Royal Conservatory. Cello Series, 2013 Edition. Book/CD. The Frederick Harris Music Company #VC4. Published by The Frederick Harris Music Company (FH.VC4). ISBN 978-1-55440-540-4. This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. Supporting a balanced course of study, this series organizes repertoire into nine volumes from the Preparatory Level through Level 8. Each level offers music from a range of styles and compositional eras, including standard literature, new arrangements of familiar tunes, and music written for cellists, by cellists. These selections provide the flexibility to choose pedagogically appropriate material suited to each individual, and to motivate students to fully develop their musicianship and technique. Concertos, Sonatas, and Suites: Sonata in D Major - Caldara, Antonio arr. Gyoergy Orban - First Movement: Adagio - Second Movement: Allegro Sonatina in D Minor, WoO 43a - Beethoven, Ludwig van Sonatina in G Minor - Matz, Rudolf - Second Movement Sonata in F Major, op. 1, no. 1 - Marcello, Benedetto - Third Movement: Largo - Fourth Movement: Allegro Concertino No. 3 in A Major - Breval, Jean-Baptiste arr. L.-R. Feuillard Concert Repertoire: The Easy Winners - Joplin, Scott arr. Forrest Kinney Orientale, op. 50, no. 9 - Cui, Cesar Bonjour tristesse - Hart, Paul Hip Hip Bourree - Jacobson, Julian Elfentanz - Jenkinson, Ezra arr. Carey Cheney Chanson de matin, op. 15, no. 2 - Elgar, Edward Cello Sonata in G Minor, op. 65 - Chopin, Frederic - Third Movement: Largo The Swan Sees his Reflection - Forsyth, Malcolm Spanish Dance - Adorian, Andrew Baby Blackbird, Fly Now - Silverman, Adam B. Unaccompanied Repertoire: Suite for Violoncello (Lights and Shadows) - Matz, Rudolf - Second Movement: Cantabile - Eighth Movement: Finale giocoso Ricercar No. 1 - Gabrielli, Domenico Suite NO. 1 in G Major, BWV 1007 - Bach, Johann Sebastian - Seventh Movement: Gigue. $35.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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