| Hoops & Anglesduet [Score and Parts] Seesaw Music Corp
French Horn & Percussion SKU: SU.50500150 For French Horn & Percussion...(+)
French Horn & Percussion SKU: SU.50500150 For French Horn & Percussion. Composed by Annette Le Siege. Brass, Horn, Chamber Music, Mixed Ensemble. Score & Parts. Seesaw Music Corp #50500150. Published by Seesaw Music Corp (SU.50500150). Copyright 2005. Published by: Seesaw Music. $32.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| 1st Duet Book 1 Piano, 4 hands Schirmer
Piano Duet. By Various. Arranged by Angela Diller, Elizabeth Quaile. Piano Duet....(+)
Piano Duet. By Various. Arranged by Angela Diller, Elizabeth Quaile. Piano Duet. Size 9x12 inches. 64 pages. Published by G. Schirmer, Inc.
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Christmas Duets BrassWorks4
By Various. Arranged by Hilfiger. For Brass Duet (Bb trumpet, Bb trumpet/french ...(+)
By Various. Arranged by Hilfiger. For Brass Duet (Bb trumpet, Bb trumpet/french horn). Christmas. Published by BrassWorks4
$16.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Untitled [Score] University Of York Music Press
Violin, French Horn Duet, Trombone Octet SKU: BT.MUSM570203673 Composed b...(+)
Violin, French Horn Duet, Trombone Octet SKU: BT.MUSM570203673 Composed by Jo Kondo. Score Only. 44 pages. University of York Music Press #MUSM570203673. Published by University of York Music Press (BT.MUSM570203673). English. Violin, 2 Horns, 8 Trombones. Commissioned by Students' Trombone Ensemble, Tokyo University of Arts. First performance: Tokyo, 1987, Mika Akiba (vln). Kazuyuki Okamoto (cond), Students' Trombone Ensemble of Tokyo University of Arts. $29.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Duet Album Volume 5 (F horn) 2 French horns, Piano Editions Marc Reift (Swiss import) | | |
| Duet Album Volume 7 (F horn) 2 French horns, Piano Editions Marc Reift (Swiss import) | | |
| Johann Sebastian Bach: Arias From Secular Cantatas, Volume II [Score and Parts] Alfred Publishing
Composed by Johann Sebastian Bach (1685-1750). Set of performance parts and full...(+)
Composed by Johann Sebastian Bach (1685-1750). Set of performance parts and full score for soprano voice solo, piano accompaniment, violin (obbligato), flute solo, duet, trio (obbligato), oboe duet (obbligato), oboe d'amore (obbligato) and french horn duet (obbligato). With solo parts and piano accompaniment. Text language German. 144 pages. Published by Alfred Publishing.
$22.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| U.Play.Plus Pops French horn [Part] - Easy Alfred Publishing
(Horn in F). Arranged by Victor LÌ_pez. For Horn in F. A and C Partbook; Mixed ...(+)
(Horn in F). Arranged by Victor LÌ_pez. For Horn in F. A and C Partbook; Mixed Instruments - Flexible Instrumentation. U.Play.Plus. Solo--A, Duet--B/C/D, Trio--C, Quartet--D. Pop/Rock. Grade 2.5; Grade 3. 24 pages. Published by Alfred Music Publishing
$7.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| U.Play.Plus More Pops -- Melody Plus Harmony French horn [Part] - Easy Alfred Publishing
(Horn in F). Arranged by Victor LÌ_pez. For Horn in F. A and C Partbook; Mixed ...(+)
(Horn in F). Arranged by Victor LÌ_pez. For Horn in F. A and C Partbook; Mixed Instruments - Flexible Instrumentation. U.Play.Plus. Solo--A, Duet--B/C/D, Trio--C, Quartet--D. Pop/Rock. Grade 2.5; Grade 3. 24 pages. Published by Alfred Music Publishing
$8.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Just for Two (Christmas) 2 French horns (duet) Eighth Note Publications
Composed by Various. Arranged by David Marlatt. For 2 F Horns. Duet or Duo; Mixe...(+)
Composed by Various. Arranged by David Marlatt. For 2 F Horns. Duet or Duo; Mixed Instruments - Flexible Instrumentation; Part(s). Eighth Note Publications. Renaissance. Duration 00:20:12. Published by Eighth Note Publications
$10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Easy Six for Two 2 French horns (duet) - Easy Kendor Music Inc.
By Various. Arranged by Paul M. Stouffer. For 2 french horns. Grade 2. Published...(+)
By Various. Arranged by Paul M. Stouffer. For 2 french horns. Grade 2. Published by Kendor Music Inc
$7.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Learning Music Together Vol. 2 French horn [Sheet music + Audio access] Oldenkamp-Kastelein Publications
Horn SKU: BT.OKP118-229 Horn. Learning Music Together. Method. Boo...(+)
Horn SKU: BT.OKP118-229 Horn. Learning Music Together. Method. Book with Online Audio. Composed 2019. 72 pages. Oldenkamp-Kastelein Publications #OKP118-229. Published by Oldenkamp-Kastelein Publications (BT.OKP118-229). English. Following the huge success of their instrumental method Look, Listen & Learn, Michiel Oldenkamp and Jaap Kastelein have focussed their attention on school bands and devised a completely new method that can be used in both instrumental lessons and class bands or wind ensembles. Learning Music Together is the new method for young wind players and percussionists, aged eight and above. Learning Music Together has been developed in close collaboration with professionals from the class band world, music schools, and academies in the Netherlands and Germany. Learning Music Together combines instrumental lessons with a course for class band. The horn lessons offer horn -specific items such as new notes and technical exercises while at the same time supporting the learning of the class band, with a focus on rhythm, melodic structure and playing music together. The method consists of two volumes. Volume One introduces the first instrumental notes in unison and then develops part-playing with duets. Volume Two builds on the skills taught in the first volume and introduces pieces in three parts.In addition, supplementary material is available on the extensive website, e.g. demo- and accompaniment tracks for all pieces, additional pieces of music (well-known songs) and video tutorials. Learning Music Together is logically structured and illustrated in a child-friendly way - a perfect combination for young musicians!
$19.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Learning Music Together Vol. 1 French horn [Sheet music + Audio access] Oldenkamp-Kastelein Publications
Horn SKU: BT.OKP118-209 Horn. Learning Music Together. Tuition. Bo...(+)
Horn SKU: BT.OKP118-209 Horn. Learning Music Together. Tuition. Book with Online Audio. Composed 2018. 72 pages. Oldenkamp-Kastelein Publications #OKP118-209. Published by Oldenkamp-Kastelein Publications (BT.OKP118-209). English. Following the huge success of their instrumental method Look, Listen & Learn, Michiel Oldenkamp and Jaap Kastelein have focussed their attention on school bands and devised a completely new method that can be used in both instrumental lessons and class bands or wind ensembles. Learning Music Together is the new method for young wind players and percussionists, aged eight and above. Learning Music Together has been developed in close collaboration with professionals from the class band world, music schools, and academies in the Netherlands and Germany. Learning Music Together combines instrumental lessons with a course for class band. The horn lessons offer horn -specific items such as new notes and technical exercises while at the same time supporting the learning of the class band, with a focus on rhythm, melodic structure and playing music together. The method consists of two volumes. Volume One introduces the first instrumental notes in unison and then develops part-playing with duets. Volume Two builds on the skills taught in the first volume and introduces pieces in three parts.In addition, supplementary material is available on the extensive website, e.g. demo- and accompaniment tracks for all pieces, additional pieces of music (well-known songs) and video tutorials. Learning Music Together is logically structured and illustrated in a child-friendly way - a perfect combination for young musicians!
$19.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Hymn-Alongs Vol. 1 - F Horn - Easy Jackman Music Corporation
French horn - Easy SKU: JK.01946 Composed by Various. Arranged by Brent J...(+)
French horn - Easy SKU: JK.01946 Composed by Various. Arranged by Brent Jorgensen. Instrumental Other, Seasonal Music Easter. Christian, Inspirational. Jackman Music Corporation #01946. Published by Jackman Music Corporation (JK.01946). UPC: 093285019461. Hymn-Alongs makes playing hymns and primary songs a blast! It is available for almost any instrument and is designed to be simple enough for developing musicians and fun for those advancing in music. The Accompaniment Book features beautiful, yet simple arrangments for piano, guitar, and voice. Instrumental books are sold separately and can be played together in any combination. All instrument books include a melody part; treble instruments also have a duet part, and bass instruments also include a bass part. See all Hymn-Alongs Vol. 1 products Songs included in this Hymn-Alongs Vol. 1: Come, Follow Me I Love to See the Temple Choose the Right I Am a Child of God Count Your Blessings Called to Serve Joseph Smith's First Prayer Beautiful Savior We Thank Thee O God for a Prophet I'm Trying to Be Like Jesus Families Can Be Together Forever He Sent His Son My Heavenly Father Loves Me Composer: Various Arranger: Brent Jorgensen Difficulty: Easy. $6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Christmas Hymn-Alongs - F Horn [Score] Jackman Music Corporation
French horn - Easyhymn along, hymnalongs, hymnalong, hymn alongs SKU: JK.0199...(+)
French horn - Easyhymn along, hymnalongs, hymnalong, hymn alongs SKU: JK.01998 Composed by Various. Arranged by Brent Jorgensen. Christian, Christmas, Christmas Carols, Contemporary Christian, Gospel, Holiday, Inspirational. Christian, Inspirational. Score. Jackman Music Corporation #01998. Published by Jackman Music Corporation (JK.01998). Presenting the newest addition to the popular Hymn-Alongs series: Christmas Hymn-Alongs! The Hymn-Alongs series includes over 20 different instrumental books. They are simple enough for developing musicians to master, yet beautiful and fun for those advancing in music. The accompaniment book features beautiful, yet simple arrangments for piano, guitar (chord symbols), and voice. The many instrumental books can be played together in any combination. All instrument books include a melody part; treble instruments have a duet part, and bass instruments also include a bass part. View all Christmas Hymn-Alongs products HERE. Songs included in Christmas Hymn-Alongs: Angels We Have Heard on High Away in a Manger Hark! The Herald Angels Sing I Heard the Bells on Christmas Day It Came upon the Midnight Clear Joy to the World O Come, O Come, Emmanuel O Little Town of Bethlehem Oh, Come, All Ye Faithful O Holy Night Silent Night The First Noel We Three Kings What Child Is This? Composer: Various Arranger: Brent Jorgensen Difficulty: Easy hymn along, hymnalongs, hymnalong, hymn alongs. $6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Samen Leren Samenspelen Hoorn in F French horn [Sheet music + Audio access] Educatieve Muziek en Media
Horn SKU: BT.EMM116-049 Samen Leren Samenspelen 1. Method. Book with Onli...(+)
Horn SKU: BT.EMM116-049 Samen Leren Samenspelen 1. Method. Book with Online Audio. Composed 2016. Educatieve Muziek en Media #EMM116-049. Published by Educatieve Muziek en Media (BT.EMM116-049). Dutch. Na het grote succes van de methode Horen, lezen & spelen hebben Michiel Oldenkamp en Jaap Kastelein hun aandacht gericht op lesmateriaal dat gebruikt kan worden in zowel de hoornles als in de orkestklas (blazersklas). Zij bedachten een compleet nieuwe methode voor jonge blazers en slagwerkers vanaf ongeveer 8 jaar oud. De methode is ontwikkeld in nauwe samenwerking met professionals uit de wereld van blazersklassen, muziekscholen en conservatoria in Nederland en Duitsland. Samen leren samenspelen is een methode voor hoornles en orkestklas in één. In de leerlijn voor hoorn ligt de nadruk op hoorn-technische zaken zoals nieuwe noten entechnische oefeningen. Deze lijn ondersteunt de leerlijn voor de orkestklas, waar meer algemene zaken, zoals ritme, melodie, vorm en samenspel aan bod komen. De methode bestaat uit twee delen. In het eerste deel wordt er vanaf de eerste noten toegewerkt naar het spelen van duetten. In het tweede deel ligt de nadruk op het driestemmig samenspelen. Naast het lesboek biedt de uitgebreide website allerlei aanvullend materiaal zoals demo- en begeleidingstracks van alle stukken, aanvullend speelmateriaal en instructie-video’s. De logische opbouw en kindvriendelijke layout met mooie illustraties zorgen ervoor dat deze methode voor kinderen heel motiverend is. $19.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Samen Leren Samenspelen Deel 2 French horn [Sheet music + Audio access] Educatieve Muziek en Media
Horn SKU: BT.EMM117-069 Hoorn. Samen Leren Samenspelen 2. Method. ...(+)
Horn SKU: BT.EMM117-069 Hoorn. Samen Leren Samenspelen 2. Method. Book with Online Audio. 72 pages. Educatieve Muziek en Media #EMM117-069. Published by Educatieve Muziek en Media (BT.EMM117-069). Dutch. Na het grote succes van de methode Horen, lezen & spelen hebben Michiel Oldenkamp en Jaap Kastelein hun aandacht gericht op lesmateriaal dat gebruikt kan worden in zowel de hoornles als in de orkestklas (blazersklas). Zij bedachten een compleet nieuwe methode voor jonge blazers en slagwerkers vanaf ongeveer 8 jaar oud. De methode is ontwikkeld in nauwe samenwerking met professionals uit de wereld van blazersklassen, muziekscholen en conservatoria in Nederland en Duitsland. Samen leren samenspelen is een methode voor hoornles en orkestklas in één. In de leerlijn voor hoorn ligt de nadruk op hoorn-technische zaken zoals nieuwe noten entechnische oefeningen. Deze lijn ondersteunt de leerlijn voor de orkestklas, waar meer algemene zaken, zoals ritme, melodie, vorm en samenspel aan bod komen. De methode bestaat uit twee delen. In het eerste deel wordt er vanaf de eerste noten toegewerkt naar het spelen van duetten. In het tweede deel ligt de nadruk op het driestemmig samenspelen. Naast het lesboek biedt de uitgebreide website allerlei aanvullend materiaal zoals demo- en begeleidingstracks van alle stukken, aanvullend speelmateriaal en instructie-video’s. De logische opbouw en kindvriendelijke layout met mooie illustraties zorgen ervoor dat deze methode voor kinderen heel motiverend is. $19.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Samen Leren Samenspelen Vlaams Deel 2 French horn [Sheet music + Audio access] Oldenkamp-Kastelein Publications
Horn SKU: BT.OKP117-129 Hoorn. Samen Leren Samenspelen Vlaams 2. M...(+)
Horn SKU: BT.OKP117-129 Hoorn. Samen Leren Samenspelen Vlaams 2. Method. Book with Online Audio. 72 pages. Oldenkamp-Kastelein Publications #OKP117-129. Published by Oldenkamp-Kastelein Publications (BT.OKP117-129). Na het grote succes van de methode Horen, lezen & spelen hebben Michiel Oldenkamp en Jaap Kastelein hun aandacht gericht op lesmateriaal dat gebruikt kan worden in zowel de hoornles als in de orkestklas (blazersklas). Zij bedachten een compleet nieuwe methode voor jonge blazers en slagwerkers vanaf ongeveer 8 jaar oud. De methode is ontwikkeld in nauwe samenwerking met professionals uit de wereld van blazersklassen, muziekscholen en conservatoria in Nederland en Duitsland. Samen leren samenspelen is een methode voor hoornles en orkestklas in één. In de leerlijn voor hoorn ligt de nadruk op hoorn-technische zaken zoals nieuwe noten entechnische oefeningen. Deze lijn ondersteunt de leerlijn voor de orkestklas, waar meer algemene zaken, zoals ritme, melodie, vorm en samenspel aan bod komen. De methode bestaat uit twee delen. In het eerste deel wordt er vanaf de eerste noten toegewerkt naar het spelen van duetten. In het tweede deel ligt de nadruk op het driestemmig samenspelen. Naast het lesboek biedt de uitgebreide website allerlei aanvullend materiaal zoals demo- en begeleidingstracks van alle stukken, aanvullend speelmateriaal en instructie-video’s. De logische opbouw en kindvriendelijke layout met mooie illustraties zorgen ervoor dat deze methode voor kinderen heel motiverend is. $19.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Divenire Score Piano Solo, Harp (duet), String Ensemble French Horn and Piano Hal Leonard
Composed by Ludovico Einaudi. Music Sales America. Hal Leonard #CH69850. Pub...(+)
Composed by Ludovico Einaudi.
Music Sales America. Hal
Leonard #CH69850. Published by
Hal Leonard
$33.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sacred Duets for All Flexible Instrumentation [Sheet music] Alfred Publishing
(From the Renaissance to the Romantic Periods). Arranged by William Ryden. For H...(+)
(From the Renaissance to the Romantic Periods). Arranged by William Ryden. For Horn in F. Mixed Instruments - Flexible Instrumentation. Sacred Instrumental Ensembles for All. 24 pages. Published by Alfred Publishing.
$7.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Spielbuch 1 Schott
French Horn SKU: HL.49006975 German Text. Composed by Michael Hoel...(+)
French Horn SKU: HL.49006975 German Text. Composed by Michael Hoeltzel. This edition: Saddle stitching. Sheet music. Edition Schott. Classical, Instruction. Performance Book. 32 pages. Schott Music #ED 7122. Published by Schott Music (HL.49006975). ISBN 9790001074711. UPC: 073999638578. 9.0x12.0x0.125 inches. Die in diesem Band enthaltenen Spielstucke, Lieder, Duette und Kanons sind als Begleitheft zum ersten Band der Hornschule von M. Hoeltzel (ED 6912) gedacht, konnen jedoch auch unabhangig davon als Spielbuch fur Anfanger genutzt werden. Der Tonumfang wird zunachst eng begrenzt und auch bis zum Schluss nur langsam gesteigert, so dass der Schuler musikalisch vergnugliches und technisch relativ einfaches Material in die Hande bekommt, das aber mit all seinen versteckten und offenen, kleineren und grosseren Tucken stets seine ganze Aufmerksamkeit fordert und ihn auf unterhaltsame Weise ein Stuckchen weiterbringen mochte. $20.99 - See more - Buy online | | |
| Suite Breve Dans Le Gout Classique Euphonium, Piano (duet) [Score and Parts] Billaudot
(Original Pour Tuba Francais Et Piano, Pour Euphonium Ou Saxhorn Et Piano - (Ori...(+)
(Original Pour Tuba Francais Et Piano, Pour Euphonium Ou Saxhorn Et Piano - (Original for French Tuba and Piano, for Euphonium or Saxhorn and Piano)). By Alfred Desenclos (1912-1971). For Euphonium / Saxhorn, Piano. Philippe Fritsch. Advanced. Score and part(s). Standard notation. Duration 11 minutes. Published by Gerard Billaudot Editeur
$45.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Empty Sky, Mootwingee [Score] University Of York Music Press
Flute, Trombone, French Horn, Cello, Percussion Duet, Piano Duet SKU: BT.MUSM...(+)
Flute, Trombone, French Horn, Cello, Percussion Duet, Piano Duet SKU: BT.MUSM570200290 Composed by David Lumsdaine. Score Only. University of York Music Press #MUSM570200290. Published by University of York Music Press (BT.MUSM570200290). English. For Flute, Tenor Trombone (or Horn), Cello, 2 Percussonists, and 2 Pianists. Published in 1986. Commissioned by Flederman, and first performed in Sydney, 1986. Score. $29.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Gilbert Amy: Alpha-beth Bassoon, Piano (duet) [Score] Heugel
Flute, Oboe, Clarinet, Horn, Bassoon and Piano SKU: BT.ALHE31819 Composed...(+)
Flute, Oboe, Clarinet, Horn, Bassoon and Piano SKU: BT.ALHE31819 Composed by Gilbert Amy. Classical. Score Only. 40 pages. Heugel & Cie #ALHE31819. Published by Heugel & Cie (BT.ALHE31819). French. For flute, oboe, clarinet, horn, bassoon and piano. $36.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Aria (book/download Card Al30688) Oboe, Piano (duet) Leduc, Alphonse
SKU: HL.48186455 Composed by Eugene Bozza. Leduc. Post-1900. Softcover. 5...(+)
SKU: HL.48186455 Composed by Eugene Bozza. Leduc. Post-1900. Softcover. 5 pages. Alphonse Leduc #AL30697. Published by Alphonse Leduc (HL.48186455). UPC: 888680828639. 9x12 inches. “Born to an Italian father and a French mother, Eugène Bozza (1905-1991) divided his music studies between the Academia Santa Cecilia in Rome and the Conservatoire de Paris, where he was taught by Henri Büsser and Henri Rabaud. His chamber music compositions reveal a marked predilection for wind instruments, as reflected in Fantaisie pastorale for oboe and piano (1939) and New-Orléans for bass saxhorn and piano (1944). During his stay a few years earlier at the Villa Medici in Rome (1936), Bozza had written his Aria Pour Saxophone Alto Et Piano ' a free adaptation of the third movement of Johann Sebastian Bach's Organ Pastorale in F major BWV 590. This expansive and nostalgic melody, which unfolds over a regular meter, has become one of the most widely played SaxoEphone pieces in the world. Having enjoyed such success, Éditions Leduc has decided to supplement its republication with an audio version that will enable saxoEphonists to carry out 'full-scale' practice.&rdquo. $17.20 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Ronda's First Suite [Score] Tuba-Euphonium Press
French horn and tuba SKU: TE.TEP10980 Composed by Rodger Vaughan. Mixed d...(+)
French horn and tuba SKU: TE.TEP10980 Composed by Rodger Vaughan. Mixed duet. Score. Published by Tuba-Euphonium Press (TE.TEP10980). $15.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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