| This Little Light of Mine - SAB Choral 3-part SAB, Piano [Octavo] Hope Publishing Company
Arranged by Joel Raney. For Solo voice or Unison choir, SAB choir, and Piano acc...(+)
Arranged by Joel Raney. For Solo voice or Unison choir, SAB choir, and Piano accompaniment. The Joel Raney Choral Series. Sacred, General, Hymntune, Blues/Gospel, Celebration, Commitment, Dedication, Hymntune, Light, Outreach, Rock'n'Roll, Service, Spiritual. Octavo. 12 pages. Published by Hope Publishing Company.
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| Something's Coming (SATB) Choral SATB SATB Stijl Music
By Jack Curtis Dubowsky. Chorus. For SATB choir (SATB choir). Outreach; Gospel; ...(+)
By Jack Curtis Dubowsky. Chorus. For SATB choir (SATB choir). Outreach; Gospel; Pride; GALA. Sheet music. Composed 2004. Duration 3:30. Published by De Stijl Music
$2.25 $2.1375 (5% off) See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| A Vineyard Grows (Choral Score) [choral score] MorningStar Music Publishers
By K. Lee Scott. Arranged by Scott M. Hyslop. For TBB choir, organ, optional flu...(+)
By K. Lee Scott. Arranged by Scott M. Hyslop. For TBB choir, organ, optional flute, oboe. Easter, Missions/Outreach, Vocation/Ministry, Commitment/Discipleship. Medium. Choral score. Published by MorningStar Music Publishers . choral score. Easter, Missions/Outreach, Vocation/Ministry, Commitment/Discipleship.
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| You That Know the Lord Is Gracious Choral SATB [Octavo] MorningStar Music Publishers
By K. Lee Scott. For SATB choir, optional congregation, organ, brass quartet. Or...(+)
By K. Lee Scott. For SATB choir, optional congregation, organ, brass quartet. Ordination/Installation, Church Anniversary, Missions/Outreach, Stewardship, Commitment/Discipleship, Vocation/Ministry. Medium. Octavo. Published by MorningStar Music Publisher. Octavo. Ordination/Installation, Church Anniversary, Missions/Outreach, Stewardship, Commitment/Discipleship, Vocation/Ministry.
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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 | | |
| Go Forth in His Name Choral SATB [Octavo] Hope Publishing Company
Arranged by John Wilson. For SATB choir. Sacred, Church, Worshipping, Mission, O...(+)
Arranged by John Wilson. For SATB choir. Sacred, Church, Worshipping, Mission, Outreach, General. Octavo. Published by Hope Publishing Company Octavo Sacred, Church, Worshipping, Mission, Outreach, General
$3.25 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Go Therefore and Make Disciples Choral 2-part 2-part, Organ [Octavo] MorningStar Music Publishers
By Carl Schalk. For 2-part mixed choir and organ (2-part). Commitment/Disciplesh...(+)
By Carl Schalk. For 2-part mixed choir and organ (2-part). Commitment/Discipleship, Missions/Outreach. Moderately Easy. Octavo. Published by MorningStar Music Publishers . Octavo. Commitment/Discipleship, Missions/Outreach.
$2.15 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| I Heard the Voice of Jesus Say [Octavo] MorningStar Music Publishers
By Richard Horn. For SAB choir, organ or harp. Missions/Outreach, Vocations/Mini...(+)
By Richard Horn. For SAB choir, organ or harp. Missions/Outreach, Vocations/Ministry. Moderately Easy. Octavo. Published by MorningStar Music Publishers . Octavo. Missions/Outreach, Vocations/Ministry.
$2.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Kid Flix: Music from the Movies Kids Love Hal Leonard
Choral (Performance/Accompanimen t CD) SKU: HL.259564 Express Musical ...(+)
Choral (Performance/Accompaniment CD) SKU: HL.259564 Express Musical for Young Voices. By Meghan Trainor and Shakira. By Alan Silvestri, Bob Harris, Glen Ballard, Lin-Manuel Miranda, Meghan Trainor, Opetaia Foa'i, Paul Francis Webster, Randy Newman, and Sia. Arranged by Janet Day, John Higgins, and Tom Anderson. Music Express Books. Choreography, Elementary, Middle School, Movies, Musicals, Young Choir. CD. Published by Hal Leonard (HL.259564). UPC: 888680725877. 5.0x5.0x0.15 inches. Suggested for grades 4-8, these easily-produced 25-minute Express Musicals are perfect for a short program in the spring or fall, community outreach events, recruiting programs, or as part of a larger concert. Short narrations for up to 39 speakers provide an introduction to each song. The Teacher Edition includes piano/vocal arrangements with choreography notes, reproducible program narration and tips for using the digital lessons provided via My Library. The printed black and white Singer Editions feature vocal lines only to be distributed to each student. Use the full color non-printable Student Edition available via My Library for whole class viewing on your interactive whiteboard or computer to projector, or send to student classroom viewing devices such as iPads or Chromebooks for individual use. To perform with recordings, you have three options. Purchase the Performance/Accompaniment CD for a physical copy of the full performance and accompaniment tracks. Redeem the My Library code found inside the front cover to play or download all of the recordings. The recordings may also be played directly from your digital lesson page. The choreography videos may be viewed directly from your My Library account or from the digital lesson page. Follow the easy directions for using digital lessons and send your classroom into the technology age! $39.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Christ Calls Us Forth Choral SATB [Octavo] Hope Publishing Company
By K. Scott. For SATB choir with optional brass instruments. Choral music. Gener...(+)
By K. Scott. For SATB choir with optional brass instruments. Choral music. General, Christ's Presence, Dedication, Discipleship, Kingdom, Mission, Ordination, Outreach, Promise, Stewardship, Sacred. Choral octavo. Published by Hope Publishing Company
$3.25 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| The Christmas Song - Accompaniment CD (Split) Choral CD Word Music
SKU: WD.080689843129 Composed by Marty Parks. Choral, cantatas. Sacred, C...(+)
SKU: WD.080689843129 Composed by Marty Parks. Choral, cantatas. Sacred, Christian, Christmas. Accompaniment CD (split). Word Music #080689843129. Published by Word Music (WD.080689843129). UPC: 080689843129. What better way to celebrate the season than by singing The Christmas Song! Especially designed for Senior Adult Choirs, this musical traces the message of Christmas from prophecy to the angels' announcement right up to this very day. With accessible vocal ranges, large print and no repeats, The Christmas Song is a 35-minute work featuring an exciting blend of familiar carols, newer songs of the season and well-loved worship songs. All in all, an ideal resource for Christmas worship and community outreach. $99.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Awake, Awake to Love and Work Choral SATB SATB A Cappella [Octavo] - Intermediate MorningStar Music Publishers
By Kenneth Dake. For SATB choir, a cappella. Missions/Outreach. Medium. Oc...(+)
By Kenneth Dake. For SATB
choir, a cappella.
Missions/Outreach. Medium.
Octavo. 7 pages. Published by
MorningStar Music Publishers (
$2.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Christmas! - Choral Book Word Music
SKU: WD.080689533174 Choral, cantatas. Christmas. Book. Word Music #08068...(+)
SKU: WD.080689533174 Choral, cantatas. Christmas. Book. Word Music #080689533174. Published by Word Music (WD.080689533174). UPC: 080689533174.
The word alone rings with an audible exclamation point! It is called that most wonderful time of the year for good reason... Because it is!Spring boarding off of the launch of a new line of contemporary evangelical choral products from Integrity Music, brought to you by Word Music and Church Resources, this new seasonal collection for Children's Worship Choir, simply called, Christmas!, is the freshman release in an exciting new line of Integrity music products for children's choir and children's church resources that will be coming your way via the Word Choral Club and the WordKidz Club. Adapted for children's worship choir from the successful Shout Praises Kids line of products from Integrity Music, Christmas! features 9 arrangements for kids choir, with soloists and scripture narratives. These easy-to-sing, extremely appealing songs and arrangements will be the perfect seasonal offering for your children's worship choir, and can be used as a powerful outreach tool to your community. A balanced blend of new songs, carols and hymns, Christmas! is sure to become a favorite go-to resource for your kid's choir for years to come. $10.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Who Are These Like Stars Appearing: Three Pieces for Organ Organ MorningStar Music Publishers
Composed by Robert J. Powell. Catholic Year C All Saints Day. All Saints/All Sou...(+)
Composed by Robert J. Powell. Catholic Year C All Saints Day. All Saints/All Souls, Missions/Outreach. Published by MorningStar Music Publishers (MN.10-776).
$10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Gather the People Choral SATB Brookfield Press
Composed by Lee Dengler. Brookfield Choral Series. General Worship, Sacred. O...(+)
Composed by Lee Dengler.
Brookfield Choral Series.
General Worship, Sacred.
Octavo. 12 pages. Published
by Brookfield Press
$2.10 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Take My Life, and Let It Be Choral SATB SATB, Organ [octavo] MorningStar Music Publishers
Composed by Philip Lawson. For SATB choir and organ. Confirmation, Missions/Outr...(+)
Composed by Philip Lawson. For SATB choir and organ. Confirmation, Missions/Outreach, Vocation/Ministry, Commitment/Discipleship. Moderately Easy. Octavo. Published by MorningStar Music Publishers
$1.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Who Is This Who Comes from Nowhere Choral SATB SATB, Organ - Intermediate MorningStar Music Publishers
SATB choir, organ - Intermediate SKU: MN.50-9050 Composed by Bret Heim. M...(+)
SATB choir, organ - Intermediate SKU: MN.50-9050 Composed by Bret Heim. Missions/Outreach, Commitment/Discipleship. Octavo. MorningStar Music Publishers #50-9050. Published by MorningStar Music Publishers (MN.50-9050). UPC: 688670590504. Text: Jaroslav J. Vajda. Jaroslav Vajda text on Church's mission and discipleship. Music unfolds patiently, with change of key casting larger text questions into relief. 3 stanzas Unison, one SATB. Gentle descant compliments Vajda's paraphrase of Beatitudes for final stanza. Discipleship/Church Mission. $2.65 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| How Beautiful Are the Feet [Octavo] MorningStar Music Publishers
By Richard Peek, G.F. Handel. For keyboard (Unison Treble Voices or Unison Voice...(+)
By Richard Peek, G.F. Handel. For keyboard (Unison Treble Voices or Unison Voices or Solo). Choral Music. Choral. Missions. Missions/Outreach, Epiphany. Medium. Octavo. Published by MorningStar Music Publishers
$2.15 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| African Processional Choral TTBB TTBB A Cappella Pavane Publishing
By David Montoya. (TTBB a cappella). Pavane Choral. Sacred. Size 7x10.5 inches....(+)
By David Montoya. (TTBB a cappella). Pavane Choral. Sacred. Size 7x10.5 inches. 12 pages. Published by Pavane Publishing.
$2.35 $2.2325 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Cornerstone Choral Word Music
Composed by Marty Parks. Modern Christian: Sacred. Anthem (Preview). Published b...(+)
Composed by Marty Parks. Modern Christian: Sacred. Anthem (Preview). Published by Word Music (WD.080689250231).
$2.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Go, Tell It! - Bulk CD (10-pak) Word Music
SKU: WD.080689783722 Composed by Marty Parks. Choral, cantatas. Modern Ch...(+)
SKU: WD.080689783722 Composed by Marty Parks. Choral, cantatas. Modern Christian. Bulk CD (10-pak). Word Music #080689783722. Published by Word Music (WD.080689783722). UPC: 080689783722. Christmas is meant to be shared! Though it's a profoundly life-changing event, if we keep it to ourselves, we've lost the essence of Jesus' Great Commission. We need to take this ancient, beloved story and, with God's help, breathe into it fresh life and relevance. And that is exactly what Go, Tell It does. This exciting new Christmas musical for seniors from master arranger Marty Parks balances the power of its message with the ease of its preparation. (Large print! No repeats!) Marty has carefully selected and voiced the best of the traditional and contemporary songs of the season and woven them together with a convicting script for a single narrator. With its outreach focus, this musical is especially suited for a presentation in your community at a shopping mall, retirement home, or hospital. This year, don't just share the Christmas story, become part of it: Proclaim it! Sing and shout it! Go, Tell It! $69.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| God, Who Built This Wondrous Planet Choral SATB - Intermediate MorningStar Music Publishers
Composed by Alfred V. Fedak. Year A Easter6; Catholic Year A Easter6. Reformatio...(+)
Composed by Alfred V. Fedak. Year A Easter6; Catholic Year A Easter6. Reformation , Church Anniversary, Building Dedication, Homecoming Sunday, Missions/Outreach. Choral score. Published by MorningStar Music Publishers (MN.50-6009).
$2.65 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| On Each Continent We Worship Hope Publishing Company
Instrumental Parts SKU: HP.C6398P Composed by Victor Johnson. Piano Accom...(+)
Instrumental Parts SKU: HP.C6398P Composed by Victor Johnson. Piano Accompaniment. Choral Parts. 12 pages. Hope Publishing Company #C6398P. Published by Hope Publishing Company (HP.C6398P). UPC: 763628263980. Victor Johnson. World communion anthem This rhythmic, upbeat, global anthem has a wonderful message of unity. Suitable for Eucharist, Christ the King, and World Communion Sundays, or any worship service accentuating unity and global outreach. $22.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| I Wonder Hope Publishing Company
Choral Children's Voices, Congregation SKU: HP.C6206 Composed by Heather ...(+)
Choral Children's Voices, Congregation SKU: HP.C6206 Composed by Heather Sorenson. Piano with Unison Choir (optional solo). Congregation. Outreach, General Worship, Adults & Children, God - Grace, Grace, Justice & Peace, Peace on Earth. Octavo. 12 pages. Hope Publishing Company #C6206. Published by Hope Publishing Company (HP.C6206). UPC: 763628162061. Herb Frombach. Matthew 5:9, Matthew 5:14-16, Matthew 38-48, Matthew 6:9-15, Luke 6:27-31, John 14:27, Roman 12:9-21, I Corinthians 13:13. Original anthem Who doesn't wonder if peace will ever come? This earnest prayer for peace is a thoughtful, provocative anthem which features both children and adult choirs. The inclusion of the Prayer of St. Francis, Lord, make me an instrument of peace, a messenger of hope for all to hear, draws us in and expands the message to include the whole world. $3.25 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| As Jesus Gave, So May I Give Choral SATB SATB, Piano Lorenz Publishing Company
SATB choir, piano SKU: LO.10-5225L Composed by David Bailes. Arranged by ...(+)
SATB choir, piano SKU: LO.10-5225L Composed by David Bailes. Arranged by Larry Shackley. Choral. Sacred Anthem, Eastertide, General, Missions. Octavo. Lorenz Publishing Company #10/5225L. Published by Lorenz Publishing Company (LO.10-5225L). ISBN 9780787763848. Perfect for services focusing on missions and outreach, this anthem by Larry Shackley urges believers to be grateful for their blessings and to share them with others in need. Jesus has given His great blessing, More than our minds can conceive. Grace from His hand as He has promised. Given to all who will receive.. $2.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Work of Christmas Begins Choral TTBB Hal Leonard
Choral (TTBB Choir) SKU: HL.204795 Timothy Seelig Choral Series. C...(+)
Choral (TTBB Choir) SKU: HL.204795 Timothy Seelig Choral Series. Composed by Steve Huffines. Voices Rising. Christmas Sacred, Christmas/Advent Sacred. Octavo. Duration 4800 seconds. Published by Hal Leonard (HL.204795). UPC: 888680658366. 6.75x10.5 inches. “To find the lost, to heal the broken, to feed the hungry...†– this is the work of Christmas, as depicted in this deeply felt piece that will be especially strong for community groups with a tradition of holiday outreach. $2.25 - See more - Buy online | | |
| Shout to the North Choral SATB SATB [Octavo] Hope Publishing Company
By Smith, Martin. Arranged by Lloyd Larson. (SATB). God's Attributes/Character,...(+)
By Smith, Martin. Arranged by Lloyd Larson. (SATB). God's Attributes/Character, Praise and Worship, Contemporary and Sacred. Print Music Single (SATB). Published by Hope Publishing Company.
$3.25 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Christ Calls Us Forth [Set of Parts] Hope Publishing Company
By K. Scott. For brass instruments. Choral music. General, Christ's Presence, De...(+)
By K. Scott. For brass instruments. Choral music. General, Christ's Presence, Dedication, Discipleship, Kingdom, Mission, Ordination, Outreach, Promise, Stewardship, Sacred. Brass parts. Published by Hope Publishing Company
$34.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
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