| 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 | | |
| The Hymn Fake Book - C Edition
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| Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1 Piano solo [Score] Musik Fabrik
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| Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2 Piano solo [Score] - Intermediate Musik Fabrik
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy and Robert Orledge. Rediscoverd Debussy. Christmas. Score. Musik Fabrik #MFCD017B. Published by Musik Fabrik (FA.MFCD017B). 8.27 x 11.69 inches. Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du Silence
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelleas et Melisande in 1893-1902 and the ballet Jeux for Diaghilev's Ballets Russes in 1912-13). Of the rest, many were never started musically (like Siddartha and Orphee-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902-03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908-17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912-13; or Le Martyre de Saint Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy's 'compulsive achievement' could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure's 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to 'write a ballet for him that he would sign' on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andre Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy's lost potential masterpieces from his existing sketches and drafts--then orchestrating them in Debussy's style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher. $48.69 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| 3e Symphonie en ut mineur, op. 78 - Advanced Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5 SKU: BA.BA10303-01 Composed by Camille Saint-Saens. Edited by Michael Stegemann. This edition: Edition of selected works, Urtext edition. Linen. Saint-Saens, Camille. Oevres instrumentales completes I/3. Edition of selected works, Score. Opus 78. Duration 39 minutes. Baerenreiter Verlag #BA10303_01. Published by Baerenreiter Verlag (BA.BA10303-01). ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann. The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.
I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.
You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...
No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.
On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:
Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.
As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.
It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.
When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.
In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!
About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
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| Saga of the Mississippi [Score] Theodore Presser Co.
Orchestra 2 Bassoons, 2 Oboes, 3 Clarinets, 3 Flutes, 3 Trombones, 3 Trumpets, 4...(+)
Orchestra 2 Bassoons, 2 Oboes, 3 Clarinets, 3 Flutes, 3 Trombones, 3 Trumpets, 4 Horns, Bass Drum, Contra-bassoon, Cymbal, English Horn, Percussion: Snare Drum, Strings, Timpani, Tuba SKU: PR.466411770 Composed by Harl Mcdonald. This edition: Study Score. Contemporary. Full score. With Standard notation. 84 pages. Duration 15 minutes. Theodore Presser Company #466-41177. Published by Theodore Presser Company (PR.466411770). UPC: 680160640850. 9 x 12 inches. Mississippi I. Father of Waters: born of the Highlands and the Lakes; the Glaciers, the Mountains, and the Prairies. The picture of your birth is clounded in the ice and mists of ancient ages but your spirit remains our life stream. II. The Red Man knew your bountiful gifts and gave thanks to the Great Spirit on your banks. -- The Spanish and French Fathers brought the glory of Christianity to America on Mississippi. But all men, white and dark; -- Indian, Spaniard, and Negro; Bourbon and Yankee, combined to make Mississippi the heart of America. Saga of the Mississippi Harl McDonald Born near Boulder, Colorado, July 27, 1899 Now living in Philadelphia The original suggestion for a symphonic work on the subject of the Mississippi came indirectly from the late Booth Tarkington who saw in it color and movement and atmosphere translatable into the terms of music. In the course of time, by the mysterious processes of composers' chemistry, it took shape as a tone-poem of two sections, one representing the rise of the great stream from its primeval geologic sources, the other the human history of the river. Mr. McDonald devised the following verbal outline of the general scheme of his diptych: I. Father of Waters: born of the Highlands and the Lakes; the Glaciers, the Mountains, and the Prairies. The picture of your birth is clounded in the ice and mists of ancient ages but your spirit remains our life stream. II. The Red Man knew your bountiful gifts and gave thanks to the Great Spirit on your banks. -- The Spanish and French Fathers brought the glory of Christianity to America on Mississippi. But all men, white and dark; -- Indian, Spaniard, and Negro; Bourbon and Yankee, combined to make Mississippi the heart of America. The first of the two movements, beginning molto andante, is vaguel modal to hint at antiquity. It is built upon the conventional two themes, with an episode, poco piu mosso, misterioso, for prehistoric murk and muck. There are various changes of pace and mood. The second, Allegro ma vigorosamente, prefigures an Indian ceremony. A theme presented by flute, clarinet and bassoon is a Canadian Indian fishing call collected by the late J.B. Beck. A later passage of quasi-Gregorian chant identifies the French and Spanish priests who made the great river their highway. The fishing-call is altered in rhythm and harmony to represent Negro field hands and roustabous. A turbulent close brings all these elemts together in the muddy swirling currents of the Mississippi. The work was begun in the summer of 1945, and was revised and completed in the summer of 1947. Harl McDonald, who is the manager of The Philadelphia Orchestra, has concerned himself with music as an art, as a science and as a business in course of his career. He was born on a cattle ranch in the Rockies, but since his was a musical family, his up-bringing combined piano lessons with ranch life. Years of study and professional experience followed in Los Angeles and in Germany. In 1927 he was appointed lecuter in composition at the University of Pennsylvania and he has since then made is home in Philadelphia. In 1933 under a grant of the Rockefeller FOundation he collaborated with physicists in research dealing with the measurement of instrumental and vocal tone, new scale divisions and the resultant harmonies. In that same year he was named head of the University's music faculty and conductor of its choral organizations. In 1939, having been a member of the Board of Directors for five years, he was appointed manager of The Philadelphia Orchestra. He continus to write, but otherwise his entire attention is now devoted to managerial duties. Chief items in the catalogue of his compositions are four symphonies, three orchestra suites, a half-dozen tone-poems, three concertos and considerable quantity of choral music. $58.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Élégie Guitar Classical guitar [Score] - Intermediate Doberman
Guitar - Intermediate SKU: DY.DO-1522 Composed by Francis Bebey. Arranged...(+)
Guitar - Intermediate SKU: DY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. Les Editions Doberman-Yppan #DO 1522. Published by Les Editions Doberman-Yppan (DY.DO-1522). ISBN 9782897963026. Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France. Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux �tats-Unis. Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO. Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. � Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique. Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même. Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après. Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme. Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français ! Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas. Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.
Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France. We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA. After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department. In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music. Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself. He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter. Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French! Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas. His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001. $4.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Junto a Rodrigo. An Anthology of Contemporary Music for Guitar (Podera, Reghezza, Simoni, Smaili, Ugoletti) Guitar Ut Orpheus
Guitar SKU: UT.CH-289 Edited by Piero Bonaguri. Saddle stitching. Piero B...(+)
Guitar SKU: UT.CH-289 Edited by Piero Bonaguri. Saddle stitching. Piero Bonaguri Collection. Classical. Ut Orpheus #CH 289. Published by Ut Orpheus (UT.CH-289). ISBN 9790215325852. 9 x 12 inches. Giovanni Podera: Fantasia (In memoriam JoaquÃn Rodrigo) Marco Reghezza: Nana Estrellada Marco Simoni: Junto a Rodrigo Marco Smaili: Fronda de la tarde (Homenaje a JoaquÃn Rodrigo) Paolo Ugoletti: Fuga a 4 voci
Following the successful publication of Homenaje a Rodrigo (2015), containing four pieces by Alessandro Spazzoli – one of which was performed in the presence of the composer’s daughter, Cecilia Rodrigo, during her visit to the International Convention in Alessandria –, here is the second volume. It contains more tributes to Rodrigo written on my input by five well-known Italian and Spanish composers, two of whom are also guitarists and have therefore written the fingering for their own pieces. Giovanni Podera plunges us into a typically Rodrigo-like atmosphere with his evocative Fantasia, while the following three compositions are full of direct quotations from pieces also for guitar by the great composer from Valencia. Thus, Marco Simoni, in his expressive Junto a Rodrigo – which also provides the title to the volume – plays with themes taken from Junto al Generalife and from Dos piezas caballerescas for a cello ensemble as well as hinting at reminiscences of Tiento antiguo. As for Marco Smaili, in his impressionistic Fronda de la tarde, he evokes quite evidently Zarabanda lejana and Invocación y Danza, but there are more hidden references to Caminos de Santiago and even to the very famous Concierto de Aranjuez. Marco Reghezza builds his heart-breaking Nana estrellada on a sequence of chords used by Rodrigo in the fantasia ¡Que buen caminito!. On the other hand, there are no direct quotations and echoes of Rodrigo’s way of writing in the Fuga a quattro voci by Paolo Ugoletti. However it was Rodrigo himself who constructed four-part imitative passages for guitar in Pasacalle and in the Ricercare of the Fantasia para un Gentilhombre. The close polyphony of the piece by Ugoletti may be considered as a tribute to this kind of craft shown by Rodrigo who, like Ugoletti, was able to write such dense and idiomatic counterpoint without being a guitar-player. I am pleased that this volume comes out in the imminence of the 20th anniversary of the disappearance of the illustrious Spanish composer who gave so much to the musicians – and not only to them. (Piero Bonaguri)
Muchas gracias por este emotivo y excelente musical homenaje a mi padre. La edición es excelente y la difundiremos con todos nuestros medios por las redes sociales a nuestro alcance. Ha sido un gran trabajo por su parte, fruto de sus grandes conocimientos guitarrÃsticos y su devoción por JoaquÃn Rodrigo. Le reitero mi gratitud y mi felicitación con el ruego transmita a los cinco compositores mi felicitación y deseos de éxito. (Cecilia Rodrigo). $17.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Bartok - For Children Vol 2 Urtext Piano solo G. Henle
Piano SKU: HU.HN1226 Composed by Bela Bartok. Edited by Laszlo Vikarius and Ver...(+)
Piano
SKU: HU.HN1226
Composed by Bela Bartok. Edited by Laszlo Vikarius and Vera Lampert. Piano Solo, Piano and Keyboard, Repertoire, Solos. For Children Vol. 2. Softcover Book. 59 pages. G. Henle #HN1226. Published by G. Henle (HU.HN1226).
12.2 x 9.3 x 0.2 inches.
$27.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Bartok - For Children Vol 1 Urtext Piano solo G. Henle
Piano SKU: HU.HN1225 Composed by Bela Bartok. Edited by Laszlo Vikarius and Ver...(+)
Piano
SKU: HU.HN1225
Composed by Bela Bartok. Edited by Laszlo Vikarius and Vera Lampert. Piano Solo, Piano and Keyboard, Repertoire, Solos. For Children Vol. 1. Softcover Book. 63 pages. G. Henle #HN1225. Published by G. Henle (HU.HN1225).
$27.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Melodic Highlights Trumpet [Sheet music + CD] - Intermediate Beriato Music
Trumpet - intermediate SKU: BT.BMI11050528-400 For Trumpet. Compos...(+)
Trumpet - intermediate SKU: BT.BMI11050528-400 For Trumpet. Composed by Bert Appermont. Book with CD. Composed 2011. 24 pages. Beriato Music #BMI11050528-400. Published by Beriato Music (BT.BMI11050528-400). ISBN 9789043141673. 9x12 inches. International. With this collection, you can enjoy highlights from the work of Belgian composer Bert Appermont. The pieces have been carefully selected by the composer himself, who has paid special attention to playability, and has looked for melodies that appeal to a large audience. The melodies have been arranged according to levels of difficulty and are suitable for use in music lessons or for concert performances. The pieces Innocence and Song of Hope have been provided with a second part, so that they can be performed as duets with accompaniment. The book comes with a CD containing a demo version as well as a play-long track for each piece. The piano accompaniments have beenprovided on the CD as printable PDFs!
De hoogtepunten uit het werk van Bert Appermont, die vanwege de vertrouwd klinkende en mooie melodieën zeer geliefd zijn! De goed speelbare stukken werden voor deze uitgave door de uit België afkomstige componist geselecteerd. Zezijn op moeilijkheidsgraad gerangschikt en vormen een perfecte aanvulling op elke instrumentale methode. De cd bevat demo- en play-alongversies van alle stukken evenals printklare pdf-bestanden van de pianobegeleidingen.
Die Höhepunkte aus dem Werk des belgischen Komponisten Bert Appermont, die die aufgrund ihrer vertraut wirkenden Klangsprache und der schönen melodischen Linien sehr beliebt sind! Die Stücke wurden vom Komponisten selbst ausgewählt, der gut spielbare Melodien wählte, die auch ein breites Publikum ansprechen. Sie wurden nach Schwierigkeitsgrad angeordnet und eignen sich ausgezeichnet für den Instrumentalunterricht. Zwei Stücke sind als Duette ausnotiert. Die CD enthält Demo- und Mitspielversionen aller Stücke sowie PDFs der Klavierbegleitungen zum Ausdrucken.
Melodic Highlights vous permettra d‘apprécier les plus beaux thèmes des oeuvres de Bert Appermont, dont le style d‘écriture repose sur l‘emploi de lignes mélodiques captivantes et accessibles. Les pièces rassemblées dans ce recueil ont été sélectionnées par le compositeur lui-même, qui aura prêté une attention toute particulière leur degré de difficulté. Le CD joint comporte une version intégrale puis une version ‘accompagnement pour chacune des pièces, une solution fort idéale pour étudier chez soi, mais aussi pour jouer sous les feux de la rampe (la version papier des accompagnements de piano sont gravés sur le CD sous la forme de fichier PDF télécharger).
Bert Appermont, compositore belga noto per la scrittura melodica, ha raccolto le sue opere migliori in questa collana per fiati. Si tratta di melodie facili da eseguire e apprezzate dal pubblico. Bert Appermont propone i brani, due dei quali da eseguire in duo (tutti perfetti anche per lo studio), in ordine crescente di difficolt . Il CD contiene una versione demo e una play-along, mentre gli accompagnamenti al piano sono scaricabili in formato PDF. $26.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Melodic Highlights [Sheet music + CD] - Intermediate Beriato Music
Bb Euphonium TC/BC - intermediate SKU: BT.BMI11050533-400 For Bb Eupho...(+)
Bb Euphonium TC/BC - intermediate SKU: BT.BMI11050533-400 For Bb Euphonium TC/BC. Composed by Bert Appermont. Book with CD. Composed 2011. 40 pages. Beriato Music #BMI11050533-400. Published by Beriato Music (BT.BMI11050533-400). ISBN 9789043141659. 9x12 inches. International. With this collection, you can enjoy highlights from the work of Belgian composer Bert Appermont. The pieces have been carefully selected by the composer himself, who has paid special attention to playability, and has looked for melodies that appeal to a large audience. The melodies have been arranged according to levels of difficulty and are suitable for use in music lessons or for concert performances. The pieces Innocence and Song of Hope have been provided with a second part, so that they can be performed as duets with accompaniment. The book comes with a CD containing a demo version as well as a play-long track for each piece. The piano accompaniments have beenprovided on the CD as printable PDFs!
De hoogtepunten uit het werk van Bert Appermont, die vanwege de vertrouwd klinkende en mooie melodieën zeer geliefd zijn! De goed speelbare stukken werden voor deze uitgave door de uit België afkomstige componist geselecteerd. Zezijn op moeilijkheidsgraad gerangschikt en vormen een perfecte aanvulling op elke instrumentale methode. De cd bevat demo- en play-alongversies van alle stukken evenals printklare pdf-bestanden van de pianobegeleidingen.
Die Höhepunkte aus dem Werk des belgischen Komponisten Bert Appermont, die die aufgrund ihrer vertraut wirkenden Klangsprache und der schönen melodischen Linien sehr beliebt sind! Die Stücke wurden vom Komponisten selbst ausgewählt, der gut spielbare Melodien wählte, die auch ein breites Publikum ansprechen. Sie wurden nach Schwierigkeitsgrad angeordnet und eignen sich ausgezeichnet für den Instrumentalunterricht. Zwei Stücke sind als Duette ausnotiert. Die CD enthält Demo- und Mitspielversionen aller Stücke sowie PDFs der Klavierbegleitungen zum Ausdrucken.
Melodic Highlights vous permettra d‘apprécier les plus beaux thèmes des oeuvres de Bert Appermont, dont le style d‘écriture repose sur l‘emploi de lignes mélodiques captivantes et accessibles. Les pièces rassemblées dans ce recueil ont été sélectionnées par le compositeur lui-même, qui aura prêté une attention toute particulière leur degré de difficulté. Le CD joint comporte une version intégrale puis une version ‘accompagnement pour chacune des pièces, une solution fort idéale pour étudier chez soi, mais aussi pour jouer sous les feux de la rampe (la version papier des accompagnements de piano sont gravés sur le CD sous la forme de fichier PDF télécharger).
Bert Appermont, compositore belga noto per la scrittura melodica, ha raccolto le sue opere migliori in questa collana per fiati. Si tratta di melodie facili da eseguire e apprezzate dal pubblico. Bert Appermont propone i brani, due dei quali da eseguire in duo (tutti perfetti anche per lo studio), in ordine crescente di difficolt . Il CD contiene una versione demo e una play-along, mentre gli accompagnamenti al piano sono scaricabili in formato PDF. $25.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Melodic Highlights Oboe [Sheet music + CD] - Intermediate Beriato Music
Oboe - intermediate SKU: BT.BMI11050526-400 For Oboe. Composed by ...(+)
Oboe - intermediate SKU: BT.BMI11050526-400 For Oboe. Composed by Bert Appermont. Book with CD. Composed 2011. 24 pages. Beriato Music #BMI11050526-400. Published by Beriato Music (BT.BMI11050526-400). ISBN 9789043141604. 9x12 inches. International. With this collection, you can enjoy highlights from the work of Belgian composer Bert Appermont. The pieces have been carefully selected by the composer himself, who has paid special attention to playability, and has looked for melodies that appeal to a large audience. The melodies have been arranged according to levels of difficulty and are suitable for use in music lessons or for concert performances. The pieces Innocence and Song of Hope have been provided with a second part, so that they can be performed as duets with accompaniment. The book comes with a CD containing a demo version as well as a play-long track for each piece. The piano accompaniments have beenprovided on the CD as printable PDFs!
De hoogtepunten uit het werk van Bert Appermont, die vanwege de vertrouwd klinkende en mooie melodieën zeer geliefd zijn! De goed speelbare stukken werden voor deze uitgave door de uit België afkomstige componist geselecteerd. Zezijn op moeilijkheidsgraad gerangschikt en vormen een perfecte aanvulling op elke instrumentale methode. De cd bevat demo- en play-alongversies van alle stukken evenals printklare pdf-bestanden van de pianobegeleidingen.
Die Höhepunkte aus dem Werk des belgischen Komponisten Bert Appermont, die die aufgrund ihrer vertraut wirkenden Klangsprache und der schönen melodischen Linien sehr beliebt sind! Die Stücke wurden vom Komponisten selbst ausgewählt, der gut spielbare Melodien wählte, die auch ein breites Publikum ansprechen. Sie wurden nach Schwierigkeitsgrad angeordnet und eignen sich ausgezeichnet für den Instrumentalunterricht. Zwei Stücke sind als Duette ausnotiert. Die CD enthält Demo- und Mitspielversionen aller Stücke sowie PDFs der Klavierbegleitungen zum Ausdrucken.
Melodic Highlights vous permettra d‘apprécier les plus beaux thèmes des oeuvres de Bert Appermont, dont le style d‘écriture repose sur l‘emploi de lignes mélodiques captivantes et accessibles. Les pièces rassemblées dans ce recueil ont été sélectionnées par le compositeur lui-même, qui aura prêté une attention toute particulière leur degré de difficulté. Le CD joint comporte une version intégrale puis une version ‘accompagnement pour chacune des pièces, une solution fort idéale pour étudier chez soi, mais aussi pour jouer sous les feux de la rampe (la version papier des accompagnements de piano sont gravés sur le CD sous la forme de fichier PDF télécharger).
Bert Appermont, compositore belga noto per la scrittura melodica, ha raccolto le sue opere migliori in questa collana per fiati. Si tratta di melodie facili da eseguire e apprezzate dal pubblico. Bert Appermont propone i brani, due dei quali da eseguire in duo (tutti perfetti anche per lo studio), in ordine crescente di difficolt . Il CD contiene una versione demo e una play-along, mentre gli accompagnamenti al piano sono scaricabili in formato PDF. $26.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Melodic Highlights Clarinet [Sheet music + CD] - Intermediate Beriato Music
Clarinet - intermediate SKU: BT.BMI11050527-400 For Clarinet. Comp...(+)
Clarinet - intermediate SKU: BT.BMI11050527-400 For Clarinet. Composed by Bert Appermont. Book with CD. Composed 2011. 24 pages. Beriato Music #BMI11050527-400. Published by Beriato Music (BT.BMI11050527-400). ISBN 9789043141666. 9x12 inches. International. With this collection, you can enjoy highlights from the work of Belgian composer Bert Appermont. The pieces have been carefully selected by the composer himself, who has paid special attention to playability, and has looked for melodies that appeal to a large audience. The melodies have been arranged according to levels of difficulty and are suitable for use in music lessons or for concert performances. The pieces Innocence and Song of Hope have been provided with a second part, so that they can be performed as duets with accompaniment. The book comes with a CD containing a demo version as well as a play-long track for each piece. The piano accompaniments have beenprovided on the CD as printable PDFs!
De hoogtepunten uit het werk van Bert Appermont, die vanwege de vertrouwd klinkende en mooie melodieën zeer geliefd zijn! De goed speelbare stukken werden voor deze uitgave door de uit België afkomstige componist geselecteerd. Zezijn op moeilijkheidsgraad gerangschikt en vormen een perfecte aanvulling op elke instrumentale methode. De cd bevat demo- en play-alongversies van alle stukken evenals printklare pdf-bestanden van de pianobegeleidingen.
Die Höhepunkte aus dem Werk des belgischen Komponisten Bert Appermont, die die aufgrund ihrer vertraut wirkenden Klangsprache und der schönen melodischen Linien sehr beliebt sind! Die Stücke wurden vom Komponisten selbst ausgewählt, der gut spielbare Melodien wählte, die auch ein breites Publikum ansprechen. Sie wurden nach Schwierigkeitsgrad angeordnet und eignen sich ausgezeichnet für den Instrumentalunterricht. Zwei Stücke sind als Duette ausnotiert. Die CD enthält Demo- und Mitspielversionen aller Stücke sowie PDFs der Klavierbegleitungen zum Ausdrucken.
Melodic Highlights vous permettra d‘apprécier les plus beaux thèmes des oeuvres de Bert Appermont, dont le style d‘écriture repose sur l‘emploi de lignes mélodiques captivantes et accessibles. Les pièces rassemblées dans ce recueil ont été sélectionnées par le compositeur lui-même, qui aura prêté une attention toute particulière leur degré de difficulté. Le CD joint comporte une version intégrale puis une version ‘accompagnement pour chacune des pièces, une solution fort idéale pour étudier chez soi, mais aussi pour jouer sous les feux de la rampe (la version papier des accompagnements de piano sont gravés sur le CD sous la forme de fichier PDF télécharger).
Bert Appermont, compositore belga noto per la scrittura melodica, ha raccolto le sue opere migliori in questa collana per fiati. Si tratta di melodie facili da eseguire e apprezzate dal pubblico. Bert Appermont propone i brani, due dei quali da eseguire in duo (tutti perfetti anche per lo studio), in ordine crescente di difficolt . Il CD contiene una versione demo e una play-along, mentre gli accompagnamenti al piano sono scaricabili in formato PDF. $25.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Melodic Highlights Alto Saxophone [Sheet music + CD] - Intermediate Beriato Music
Alto Saxophone - intermediate SKU: BT.BMI11050529-400 For Alto Saxopho...(+)
Alto Saxophone - intermediate SKU: BT.BMI11050529-400 For Alto Saxophone. Composed by Bert Appermont. Book with CD. Composed 2011. 24 pages. Beriato Music #BMI11050529-400. Published by Beriato Music (BT.BMI11050529-400). ISBN 9789043141680. 9x12 inches. International. With this collection, you can enjoy highlights from the work of Belgian composer Bert Appermont. The pieces have been carefully selected by the composer himself, who has paid special attention to playability, and has looked for melodies that appeal to a large audience. The melodies have been arranged according to levels of difficulty and are suitable for use in music lessons or for concert performances. The pieces Innocence and Song of Hope have been provided with a second part, so that they can be performed as duets with accompaniment. The book comes with a CD containing a demo version as well as a play-long track for each piece. The piano accompaniments have beenprovided on the CD as printable PDFs!
De hoogtepunten uit het werk van Bert Appermont, die vanwege de vertrouwd klinkende en mooie melodieën zeer geliefd zijn! De goed speelbare stukken werden voor deze uitgave door de uit België afkomstige componist geselecteerd. Zezijn op moeilijkheidsgraad gerangschikt en vormen een perfecte aanvulling op elke instrumentale methode. De cd bevat demo- en play-alongversies van alle stukken evenals printklare pdf-bestanden van de pianobegeleidingen.
Die Höhepunkte aus dem Werk des belgischen Komponisten Bert Appermont, die die aufgrund ihrer vertraut wirkenden Klangsprache und der schönen melodischen Linien sehr beliebt sind! Die Stücke wurden vom Komponisten selbst ausgewählt, der gut spielbare Melodien wählte, die auch ein breites Publikum ansprechen. Sie wurden nach Schwierigkeitsgrad angeordnet und eignen sich ausgezeichnet für den Instrumentalunterricht. Zwei Stücke sind als Duette ausnotiert. Die CD enthält Demo- und Mitspielversionen aller Stücke sowie PDFs der Klavierbegleitungen zum Ausdrucken.
Melodic Highlights vous permettra d‘apprécier les plus beaux thèmes des oeuvres de Bert Appermont, dont le style d‘écriture repose sur l‘emploi de lignes mélodiques captivantes et accessibles. Les pièces rassemblées dans ce recueil ont été sélectionnées par le compositeur lui-même, qui aura prêté une attention toute particulière leur degré de difficulté. Le CD joint comporte une version intégrale puis une version ‘accompagnement pour chacune des pièces, une solution fort idéale pour étudier chez soi, mais aussi pour jouer sous les feux de la rampe (la version papier des accompagnements de piano sont gravés sur le CD sous la forme de fichier PDF télécharger).
Bert Appermont, compositore belga noto per la scrittura melodica, ha raccolto le sue opere migliori in questa collana per fiati. Si tratta di melodie facili da eseguire e apprezzate dal pubblico. Bert Appermont propone i brani, due dei quali da eseguire in duo (tutti perfetti anche per lo studio), in ordine crescente di difficolt . Il CD contiene una versione demo e una play-along, mentre gli accompagnamenti al piano sono scaricabili in formato PDF. $26.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| A Soldier's Carol Choral SATB SATB A Cappella Schirmer
Composed by Ronald Perera. Advanced/Collegiate. Catholic Year A The Nativity of ...(+)
Composed by Ronald Perera. Advanced/Collegiate. Catholic Year A The Nativity of Our Lord. Secular, Christmas, 21st Century. Octavo. Duration 4 minutes, 40 seconds. Published by E.C. Schirmer Publishing (EC.8320).
$2.85 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Empuries (Partitura) Editorial de Musica Boileau
Orchestra and Cobla SKU: BO.B.3260 Composed by Josep Ma Ruera. Instrument...(+)
Orchestra and Cobla SKU: BO.B.3260 Composed by Josep Ma Ruera. Instrumental Sets. Duration 40:52. Published by Editorial de Musica Boileau (BO.B.3260). ISBN 9788480207584. English comments: Empuries is the result of the interest Ruera showed throughout his life for the culture and music of ancient Greece. As he himself writes in the introduction to the composition: The motives behind this work were inspired by contemplating and analysing the melos of ancient Greece. The few melodies that have been discovered from those far-off times inspired the composer of Empuries to create this work, conceived with the Greek modal system in mind, and adapted to modern instruments and tastes. The tetrachord and pentachords of these forms are the very bases of this work. The descending drift of the cadence, the harmonic priority of the upper and lower notes of the tetrachords and the displacement of these chords to different acoustic levels, make it impossible to specify the classic concept of a set tonality which, within the improvised musical working of the piece, leads to a naturally intertonal or atonal piece of music. Empuries came to light in 1971, when it won group A of the Ciutat de Barcelona prize. But one must, in fact, go back to the 1930s to find its true origins. Ruera made his first foray into the theme of ancient Greece with the sardana, Empuries, la grega, with which he won first prize in the Jocs Florals in Girona, in 1931. Shortly afterwards, he wrote a piece of organ music entitled Bucolics, in the Greek modal style, which was destroyed during the Spanish civil war. Ruera continued to work on the theme and in 1936 he presented his work Tres moviments simfonics, for a big band, inspired by the ancient Greek modes, at the XIV International Festival of the ISCM held in Barcelona. The work was chosen to debut in the festival's opening concert on 19 April 1936 at Palacio de Bellas Artes in Barcelona. In 1959, Ruera won the Pau Casals Prize at the Jocs Florals de la Llengua Catalana, held at the Sorbonne in Paris, for his work, Empuries: poema per a cobla i orquestra, which would later become the fourth movement of Empuries. Nine years later, in 1968, Barcelona City Orchestra, conducted by Antoni Ros Marba, gave the first ever performance of the symphonic poem Pastoral, written to be the first movement of Empuries, in Granollers. The final step was when he finally completed the work, won the Ciutat de Barcelona prize, opened in Granollers on 2 May 1976 and recorded it for the Columbia de Barcelona label in 1977. Anna Maria Piera
Comentarios del Espanol: La obra Empuries es fruto del interes que el maestro Ruera demostro a lo largo de su vida por la cultura y la musica de la antigua Grecia. Como el mismo escribe en la cabecera de la composicion: Los motivos generadores de esta obra estan inspirados en la contemplacion y en el analisis del melos de la antigua Grecia. Las pocas melodias que hasta el momento se han podido descubrir de aquellos tiempos remotos sugieren al autor de Empuries la realizacion de esta obra, concebida pensando en el sistema modal griego, adaptado a los instrumentos y gustos modernos. Los tetracordes y pentacordes de dichas modalidades son las celulas en las que se basa la obra. El sentido descendiente de la cadencia, la prioridad armonica de la notas extremas de los tetracordes y el desplazamiento de estos acordes a varias alturas acusticas, hacen que no sea posible precisar el clasico concepto de una tonalidad determinada y que lleven, dentro del funcionamiento contrapuntistico, a una musica naturalmente intertonal o atonal. Empuries vio la luz en el ano 1971, ganando el Premio Ciutat de Barcelona, grupo A, pero en realidad tenemos que retroceder hasta los anos 30 para encontrar sus verdaderos origenes. La primera incursion en el tema de la antigua Gracia la hizo con la sardana Empuries, la grega, con la que gano el primer premio en los Jocs Florals de Gerona del ano 1931. Poco despues escribio una pieza para organo titulada Bucolics, en el estilo modal griego, que fue destruida durante la Guerra Civil espanola. Ruera continuo trabajando en el tema y en el ano 1936 presento su obra Tres moviments simfonics, en version para gran banda, inspirada en las antiguas modalidades griegas, en el XIV Festival Internacional de la SIMC que se celebro en Barcelona. La obra fue escogida para ser estrenada en el concierto inaugural de dicho festival, el 19 de abril de 1936, en el Palacio de Bellas Artes de Barcelona. En el 1959, Ruera gano el Premio Pau Casals en los Jocs Florals de la Llengua Catalana celebrados en la Sorbona de Paris con la obra Empuries: poema per a cobla i orquestra, que sera con el paso del tiempo el cuarto movimiento de Empuries. Nueve anos mas tarde, en 1968, la Orquestra Ciutat de Barcelona, bajo la direccion de Antoni Ros Marba, interpreto en Granollers la primera audicion del poema sinfonico Pastoral, pensado como primer movimiento de Empuries. El ultimo eslabon fue terminar definitivamente la obra, ganar el Premio Ciutat de Barcelona, estrenarla en Granollers el 2 de mayo de 1976 y grabarla para la casa discografica Columbia de Barcelona, en 1977. $42.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Three Inventions Harpsichord [Score] Theodore Presser Co.
Chamber Music Harpsichord SKU: PR.110418390 Composed by Eric Ewazen. Full...(+)
Chamber Music Harpsichord SKU: PR.110418390 Composed by Eric Ewazen. Full score. 11 pages. Duration 10 minutes. Theodore Presser Company #110-41839. Published by Theodore Presser Company (PR.110418390). ISBN 9781491134603. UPC: 680160685158. Eric Ewazen’s THREE INVENTIONS were inspired by Bach’s Two-part Inventions, yet they sound thoroughly like Ewazen. Composed for harpsichord (with a piano adaptation following later), Ewazen’s inventions maintain a pure “one note per hand†texture until their final chord, with strong-but-free imitative counterpoint between the two voices. While Ewazen may be best known for his wind music, he is a pianist himself, and composers’ works for their own instrument are a direct insight into how they write for their own performances. The piano adaptation of THREE INVENTIONS is also available as a separate publication. THREE INVENTIONS was written for my dear friend Maria Rojas, who premiered the work on a faculty recital at Juilliard. Maria is both a pianist and a harpsichordist, and I first met her when she gave a demonstration of the harpsichord for the students in my theory classes.I’ve always been captivated by Bach’s series of Two-Part and Three-Part Inventions. With the Two-Part Inventions, I’m amazed how Bach could create such wonderful intricacy and counterpoint with only two voices. I consequently modeled my inventions after the counterpoint of Bach, involving the traditional contrapuntal devices he used: imitation, development, harmonic and modal shifts, fragmentation, and sequence, essentially creating a dialog between two completely equal voices conversing with each other!Bach wrote 15 Two-Part Inventions (as well as 15 Three-Part Inventions, not to mention the 48 preludes and fugues in The Well-Tempered Clavier!), and that’s just the start of his voluminous repertoire for the keyboard! I was happy just to write three!!!Each of my inventions has a distinctive mood. The first is in a relaxed, yet cheerful C Major tonality (as a nod to Bach’s Invention No. 1 in C Major); the second is heartfelt and lyrical; and the third invention (involving a Gigue rhythm in the compound meter of 12/8) is energetic, and full of life and spontaneity. The third is primarily in a minor tonality, resulting in a feeling of drama, bringing the THREE INVENTIONS to an exciting finale. $14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sympathy for the Drummer Biography [Book]
Why Charlie Watts Matters. By Charlie Watts and The Rolling Stones. Book. ...(+)
Why Charlie Watts Matters. By
Charlie Watts and The Rolling
Stones. Book.
Biography/Composers &
Musicians. Softcover.
Published by Rowman &
Littlefield
$16.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| O what joy you have (O wie selig seid ihr doch, ihr Frommen) Organ Carus Verlag
SATB vocal soli, SATB choir, congregation, 2 violins, viola, cello, contrabass, ...(+)
SATB vocal soli, SATB choir, congregation, 2 violins, viola, cello, contrabass, organ SKU: CA.5040514 Chorale cantata. Composed by Max Reger. Edited by Gunther Massenkeil. German title: O wie selig seid ihr doch. Sacred vocal music, Mourning, death. Single Part, Cello. Composed 1903. Op. WoO V/4 Nr. 2. 2 pages. Duration 15 minutes. Carus Verlag #CV 50.405/14. Published by Carus Verlag (CA.5040514). ISBN 9790007081744. Key: D minor. Language: German/English. The choral cantatas are Reger's most personal and most substantial contribution to one of the principal categories of Protestant church music, and they are only major works in this field by one of the foremost composers of his time. This is true despite the fact that Reger himself does not appear to have considered the cantatas to figure among his principal compositions, as he gave them no opus numbers. In contrast to the three other chorale cantatas of Reger which exist in a definitive form, there is no record of the place or date of the first performance of O wie selig, or indeed of any performance of it during the composer's lifetime. Score and part available separately - see item CA.5040500. $3.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| O what joy you have (O wie selig seid ihr doch, ihr Frommen) Organ Carus Verlag
SATB vocal soli, SATB choir, congregation, 2 violins, viola, cello, contrabass, ...(+)
SATB vocal soli, SATB choir, congregation, 2 violins, viola, cello, contrabass, organ SKU: CA.5040512 Chorale cantata. Composed by Max Reger. Edited by Gunther Massenkeil. German title: O wie selig seid ihr doch. Sacred vocal music, Mourning, death. Single Part, Violin 2. Composed 1903. Op. WoO V/4 Nr. 2. 2 pages. Duration 15 minutes. Carus Verlag #CV 50.405/12. Published by Carus Verlag (CA.5040512). ISBN 9790007081720. Key: D minor. Language: German/English. The choral cantatas are Reger's most personal and most substantial contribution to one of the principal categories of Protestant church music, and they are only major works in this field by one of the foremost composers of his time. This is true despite the fact that Reger himself does not appear to have considered the cantatas to figure among his principal compositions, as he gave them no opus numbers. In contrast to the three other chorale cantatas of Reger which exist in a definitive form, there is no record of the place or date of the first performance of O wie selig, or indeed of any performance of it during the composer's lifetime. Score and part available separately - see item CA.5040500. $3.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| O what joy you have (O wie selig seid ihr doch, ihr Frommen) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra Carus Verlag
SATB vocal soli, SATB choir, congregation, 2 violins, viola, cello, contrabass, ...(+)
SATB vocal soli, SATB choir, congregation, 2 violins, viola, cello, contrabass, organ SKU: CA.5040515 Chorale cantata. Composed by Max Reger. Edited by Gunther Massenkeil. German title: O wie selig seid ihr doch. Sacred vocal music, Mourning, death. Single Part, Double Bass. Composed 1903. Op. WoO V/4 Nr. 2. 2 pages. Duration 15 minutes. Carus Verlag #CV 50.405/15. Published by Carus Verlag (CA.5040515). ISBN 9790007081751. Key: D minor. Language: German/English. The choral cantatas are Reger's most personal and most substantial contribution to one of the principal categories of Protestant church music, and they are only major works in this field by one of the foremost composers of his time. This is true despite the fact that Reger himself does not appear to have considered the cantatas to figure among his principal compositions, as he gave them no opus numbers. In contrast to the three other chorale cantatas of Reger which exist in a definitive form, there is no record of the place or date of the first performance of O wie selig, or indeed of any performance of it during the composer's lifetime. Score and part available separately - see item CA.5040500. $3.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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