| 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 | | |
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| Upriver Concert band [Score] Theodore Presser Co.
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Composed by Dan Welcher. Sws. Contemporary. Full score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013. Published by Theodore Presser Company (PR.465000130). ISBN 9781598064070. UPC: 680160600144. 9x12 inches. Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’. In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies.Ihave been a student of the Lewis and Clark expedition, which Thomas Jefferson called the “Voyage of Discovery,†for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri — and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs — hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing — and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes.Ihave written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jefferson’s vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III .The music includes several quoted melodies, one of which is familiar to everyone as the ultimate “river song,†and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzatte’s fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis’ journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Springâ€) and Fisher’s Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jefferson’s Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny. $45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 40 O'Carolan Tunes for All Harps Harp Hal Leonard
Harp Harp, Folk Harp - Difficulty: medium SKU: HL.720640 Composed by Turl...(+)
Harp Harp, Folk Harp - Difficulty: medium SKU: HL.720640 Composed by Turlough O'carolan. Edited by Sylvia Woods. Arranged by S Woods. Harp. Traditional Folk. Harp solo book (spiral bound). With standard notation and introductory text. 112 pages. Published by Hal Leonard (HL.720640). ISBN 9780960299089. UPC: 073999206401. 8.75x11 inches. Arranged for beginning and advanced harpers, this book contains 40 of the best tunes by O'Carolan, the most famous of the Irish harpers and composers who lived from 1670-1738. Each of the 40 tunes has two arrangements: an easy play version and a more difficult version. Each tune includes chord indications that can be used by harpers or other instrumentalists. (1)$22.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Society of Recorder Players Birthday Album Forsyth Publications
Composed by Various Various. For all recorders, solo and ensemble. Moderate to A...(+)
Composed by Various Various. For all recorders, solo and ensemble. Moderate to Advanced. Published by Forsyth Publications
$18.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Ngizocula Choral SATB SATB divisi - Intermediate Walton Music
SATB choir, divisi, piano reduction - Intermediate SKU: GI.WW1855 Compose...(+)
SATB choir, divisi, piano reduction - Intermediate SKU: GI.WW1855 Composed by Thomas Yonke. Cameron LaBarr. Classical. 16 pages. Walton Music #WW1855. Published by Walton Music (GI.WW1855). UPC: 785147033967. IsiZulu. Text by Thomas Yonke. Ngizocula is a dynamic song for more advanced SATB choirs about joy, and the fact that joyfulness can exist even in the midst of trial and tribulation. $3.10 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Voyager Choral SATB SATB, Piano - Intermediate Walton Music
SATB choir, piano reduction - Intermediate SKU: GI.WW1744 Composed by Eri...(+)
SATB choir, piano reduction - Intermediate SKU: GI.WW1744 Composed by Eric William Barnum. Concert, School. Walton Choral. Classical. Octavo. 12 pages. Walton Music #WW1744. Published by Walton Music (GI.WW1744). UPC: 785147017264. English. Text by Thomas Hood. The stars are with the voyager wherever he may be…so love is with the lover's heart. This lovely sentiment in Thomas Hood's text has been thoughtfully treated by composer Eric William Barnum. This unaccompanied work will be a nice challenge for advanced high school choirs and above, offering a wonderful melodic line supported by interesting part-writing. $2.80 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Favorite Movie Solos Piano solo - Advanced Alfred Publishing
Arranged by Dan Coates. For Piano. Book; Piano Collection; Piano Supplemental. D...(+)
Arranged by Dan Coates. For Piano. Book; Piano Collection; Piano Supplemental. Dan Coates Popular Piano Library. Light Concert; Movie; Recital; Wedding. Advanced. 48 pages. Published by Alfred Music Publishing
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Thomas Fats Waller : The Jitterbug Waltz Jazz Ensemble [Score] - Intermediate Alfred Publishing
By Thomas "Fats" Waller. Arranged by Eric Richards. For Jazz Ensemble. Jazz Ense...(+)
By Thomas "Fats" Waller. Arranged by Eric Richards. For Jazz Ensemble. Jazz Ensemble. Premier Jazz Series. Jazz. Conductor Score. 36 pages. Published by Alfred Publishing. Level: 4 (Medium Advanced / Difficult) (grade 4).
$10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Swing Low, Sweet Chariot Choral SATB SATB divisi, A Cappella [Octavo] - Intermediate/advanced Hinshaw Music Inc.
By Spiritual. Arranged by Tesfa Wondemagnegnhu. For SATB choir, divisi, soprano ...(+)
By Spiritual. Arranged by Tesfa Wondemagnegnhu. For SATB choir, divisi, soprano voice solo (A Cappella). Andre Thomas Series. Main Key: A Flat Major. Sacred, Concert. Medium Advanced Jr. High/High School or Medium Adult. Octavo. 16 pages. Duration 3 minutes. Published by Hinshaw Music Inc.
$2.65 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Scalin' and Wailin' Concert band Hal Leonard
Full Score (Score) - 1.5-3 SKU: HL.4006602 Composed by Thomas C. Duffy. B...(+)
Full Score (Score) - 1.5-3 SKU: HL.4006602 Composed by Thomas C. Duffy. BandQuest. Softcover. 14 pages. Duration 235 seconds. Published by Hal Leonard (HL.4006602). UPC: 840126919172. 11.0x17.0x0.049 inches. Scalin' and Wailin' is a flexible, fun piece written with a differentiated instruction model. Three different difficulty levels meet students where they're at in their development and allows space for each to grow. This piece is also ideal for educators and conductors looking for side by side programming - younger ensembles can all play within the easiest group and more advanced ensembles can play within the more difficult groups, all fitting together in one energetic piece. Celebrate BandQuest's 20th anniversary with this special release, and find what works for your ensemble! BandQuest(r), an exciting series of new music and accompanying curricula for band, is a program published by the American Composers Forum. The series was started as a response to feedback from music educators that there is a pressing need for new, fresh band music. The heart of this program is new works written by a diverse group of leading American composers who have created challenging pieces that are a true departure from standard middle school repertoire. Every BandQuest project includes a residency component in which the composer works collaboratively with a middle school as they create their new piece. Many BandQuest pieces are accompanied by an interdisciplinary curriculum designed to assist students as they learn the music and to integrate each piece with non-music studies. Visit www.bandquest.org to learn more about this innovative series, and email bandquest@composersforum.org to request a free downloadable audio catalog. $15.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Jitterbug Waltz Jazz Ensemble [Score and Parts] - Intermediate Alfred Publishing
By Thomas "Fats" Waller. Arranged by Eric Richards. For Jazz Ensemble....(+)
By Thomas "Fats" Waller. Arranged by Eric Richards. For Jazz Ensemble. Jazz Ensemble. Premier Jazz Series. Jazz. Level: 4 (Medium Advanced / Difficult) (grade 4). Conductor Score & Parts. 84 pages. Published by Alfred Publishing.
$55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fyer, Fyer! Choral SATB SATB divisi, A Cappella Hal Leonard
SATB divisi a cappella Choral (SATB a cappella) SKU: HL.1432572 Composed ...(+)
SATB divisi a cappella Choral (SATB a cappella) SKU: HL.1432572 Composed by Brian Sidders. National/Emerson Fred Bock. Octavo. Hal Leonard #NM1092. Published by Hal Leonard (HL.1432572). UPC: 196288203230. “Fyer, fyer!” is a new setting of the Renaissance madrigal text by Thomas Morley, first made famous by Monteverdi's setting. The piece is an installment in Brian Sidders's long-term project of re-setting the texts of historic choral works. Polychords and changing meters depict the combination of excitement and fear that comes with the flames of new love. A perfect choice for advanced ensembles who want a fresh take on a classic choral text! $3.25 - See more - Buy online | | |
| Augusta Read Thomas - Toft Serenade Viola, Piano - Advanced Schirmer
( Augusta Read Thomas - Toft Serenade (Viola and Piano). By Augusta Read T...(+)
(
Augusta Read Thomas - Toft
Serenade
(Viola and Piano). By Augusta
Read Thomas (1964-). String.
G. Schirmer #ED 4494.
Published by G. Schirmer
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| O Nata Lux Choral SATB SATB A Cappella Boosey and Hawkes
Choral (SATB a cappella) SKU: HL.48024856 SATB a cappella. Compose...(+)
Choral (SATB a cappella) SKU: HL.48024856 SATB a cappella. Composed by Rhiannon Randle. Boosey & Hawkes Sacred Choral. Classical. Octavo. 8 pages. Boosey & Hawkes #M060136658. Published by Boosey & Hawkes (HL.48024856). ISBN 9781784545598. UPC: 840126910803. 7.5x10.25x0.03 inches. From one of the UK's bright, emerging choral composers, Rhiannon Randle, is this sublime setting of the familiar Latin text. O nata lux is a personal reflection on the compelling and timeless choral atmosphere depicted by the famous Thomas Tallis setting of these words. Dedicated to the memory of Randle's late grandmother, the work balances a sense of intimate prayer and meditation with a spiritual declamation of the “light born of light.†To see hope and new life in despair and death - for in the darkness we have seena great light - chimes as much with the season of Advent as it does with personal loss. The lilting homophony of the opening is characterised by light tenuti, intended to provide a sense of gentle ebb and flow, almost as if to accentuate the natural emphases of speech. This then broadens into a polyphonic cascade, which hints at Bruckner as much as paying homage to Tallis's own setting. O nata lux is an exciting addition to the Contemporary Choral Series, suitable for intermediate to advanced choirs looking to support and program new music by outstanding young composers. $3.50 - See more - Buy online | | |
| Give Me That Old Time Religion Choral SATB SATB A Cappella [Octavo] - Intermediate Hinshaw Music Inc.
(Spiritual). Arranged by Marques Garrett. For SATB choir, soprano voice solo (a ...(+)
(Spiritual). Arranged by Marques Garrett. For SATB choir, soprano voice solo (a cappella). Andre Thomas Series. Main Key: G Major. Spiritual, Concert and Sacred. Difficulty: Medium Advanced (Jr. High/High School) or Medium (Adult). Octavo. 8 pages. Durati
$2.15 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Gospel Hymns with a Velvet Touch Piano solo - Advanced Alfred Publishing
(10 Elegant Settings of Beloved Hymns). Arranged by Thomas Fettke. For Piano. Bo...(+)
(10 Elegant Settings of Beloved Hymns). Arranged by Thomas Fettke. For Piano. Book; Piano Collection; Piano Supplemental. Sacred Performer Collections. Gospel; Hymn; Sacred. Early Advanced. 40 pages. Published by Alfred Music
$13.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Popular Performer -- Great Standards and Love Songs Piano solo - Advanced Alfred Publishing
(Featuring the Lyrics of Alan and Marilyn Bergman). Arranged by Mary K. Sallee. ...(+)
(Featuring the Lyrics of Alan and Marilyn Bergman). Arranged by Mary K. Sallee. For Piano. Artist/Personality; Book; Piano - Personality Book; Piano Supplemental. Popular Performer Series. Love; Standard. Advanced. 44 pages. Published by Alfred Music
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Advanced Independence and Polyrhythms Drums [DVD] Hudson Music
(Ultimate Drum Lessons Series). By Various. For Drum. DVD. DVD. Hudson Music #HD...(+)
(Ultimate Drum Lessons Series). By Various. For Drum. DVD. DVD. Hudson Music #HDDVDAI21. Published by Hudson Music
$14.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Christmas Music (Split-Channel Accompaniment CD) Choral SATB Lillenas Publishing Co.
SATB choir - Moderately Advanced SKU: LP.MU-9219T For Pageant, Concert...(+)
SATB choir - Moderately Advanced SKU: LP.MU-9219T For Pageant, Concert, and Worship Service. Arranged by Thomas Fettke. Choral. Multicultural, Christmas and Sacred. Split-channel accompaniment CD. Published by Lillenas Publishing Company (LP.MU-9219T). UPC: 765762009820. Split-channel accompaniment CD can be used for both rehearsal and performance. Each contains the instrumental accompaniment on one channel, vocals on the other. For performance purposes, only the accompaniment channel is normally used. Includes multiple r. $95.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Jazz Standards For Piano Piano solo [Sheet music] - Intermediate Hal Leonard
Arranged by Thomas Coppola. Piano Solo Mixed Folio (Intermediate to advanced pia...(+)
Arranged by Thomas Coppola. Piano Solo Mixed Folio (Intermediate to advanced piano arrangements with no lyrics). Size 9x12 inches. 40 pages. Published by Hal Leonard
(7)$9.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Gordon Saunders: Classical Duets Music Sales
Recorder and Windensemble SKU: HL.14006974 Composed by Gordon Saunders. M...(+)
Recorder and Windensemble SKU: HL.14006974 Composed by Gordon Saunders. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV120532. Published by Music Sales (HL.14006974). ISBN 9780853606079. Twenty-four graded pieces from the 13th to 18th centuries transcribed for alto (treble) and tenor recorder. Selected and transcribed by Gordon Saunders. Suitable for players of moderate to advanced level. $17.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Viola Technique Viola The Frederick Harris Music Company
Viola - Preparatory-Advanced SKU: FH.VAT Viola Series, 2013 Edition(+)
Viola - Preparatory-Advanced SKU: FH.VAT Viola Series, 2013 Edition. Composed by The Royal Conservatory. Viola Series, 2013 Edition. Book. The Frederick Harris Music Company #VAT. Published by The Frederick Harris Music Company (FH.VAT). ISBN 978-1-55440-573-2. This groundbreaking series for viola offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring virtuoso. Representing all major style periods and a variety of genres, Viola Series, 2013 Edition offers all the music and tools needed to support a comprehensive course of study from the beginner to advanced levels. This thoughtful progression of scales and arpeggios will encourage agility, accuracy, and intonation from the Preparatory Level through Level 10 in one complete volume. Each technical exercise builds on skills from the previous level and provides a continual challenge from students throughout their course of study. Legato Pieces in a Slower Tempo: Grant Us Peace (Dona nobis pacem) - Anonymous arr. Jason Gray Waltz (from The Merry Widow) - Lehar, Franz arr. Janice Tucker Rhoda Bring a Torch, Jeannette, Isabella! (Un flambeau, Jeannette, Isabelle!) - French carol arr. Christine Donkin Largo (from Symphony No. 9 [New World]) - Dvorak, Antonin arr. Jason Noble L'elephant (The Elephant) - Saint-Saens, Camille arr. Jason Gray Spy Movie - Blackwell, David and Kathy Blackwell Sakura (Cherry Blossoms) - Japanese folk song arr. Stephen Chatman Text a Message - Lumsden, Caroline and Ben Attwood The Ash Grove (Llynn Onn) - Welsh folk song arr. Forrest Kinney Energetic Pieces in a Faster Tempo Menuet II (from Music for the Royal Fireworks, HWV 351) - Handel, George Frideric arr. Jason Noble Li'l Liza Jane - American folk song arr. Forrest Kinney The King's March, T 432 - Clarke, Jeremiah arr. Jason Noble Now Is the Month of Maying - Morley, Thomas arr. Christine Donkin Lannigan's Ball - Irish jig arr. Christine Donkin Caterpillar! Caterpillar! - Russian folk song arr. Akiko Kinney Brazilian Breeze - Birston, Harold Dantz - Peuerl, Paul arr. Jason Gray Turkey in the Straw - American minstrel song arr. Forrest Kinney German Dance, K 600 - Mozart, Wolfgang Amadeus arr. Jason Noble Spider Dance - Cowles, Colin Mango Walk - Jamaican folk song arr. Christine Donkin. $29.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| O Great Beyond Choral SATB SATB divisi - Advanced GIA Publications
SATB choir, divisi, soprano voice solo, piano reduction - Advanced SKU: GI.G-...(+)
SATB choir, divisi, soprano voice solo, piano reduction - Advanced SKU: GI.G-9288 Composed by Thomas LaVoy. Evoking Sound. Music Education. Octavo. 40 pages. GIA Publications #9288. Published by GIA Publications (GI.G-9288). UPC: 785147928805. English. Text Source: From The Gardener, 1913. Text by Rabindranath Tagore. O Great Beyond was commissioned by JAM (the John Armitage Memorial) and first performed by the BBC Singers and Nicholas Cleobury on July 8th, 2016, as part of the JAM on the Marsh festival. The text is taken from The Gardener, a collection of verse by the Bengali poet Rabindranath Tagore (1861–1941). Published one year after Tagore’s Nobel Prize-winning collection of spiritual poems, Gitanjali (1912), The Gardener contains poems that were written much earlier in his career. Tagore retrospectively described this collection as the “lyrics of love and life.†The musical narrative of O Great Beyond is meant to mirror the stages of love portrayed in The Gardener, culminating in the desire for a “Beautiful End†in the final movement. —Thomas LaVoy  . $2.60 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Generations -- Baby Boomers (1964?1974), Book 2 (Piano Collection) Piano, Voice - Intermediate Alfred Publishing
(25 Songs That Defined the Times). Arranged by Victor Labenske. For Piano. Book;...(+)
(25 Songs That Defined the Times). Arranged by Victor Labenske. For Piano. Book; Piano Collection; Piano Supplemental. Generations. Advanced. 112 pages. Published by Alfred Music Publishing
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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