| The Violinist’s Daily Warm-Ups and Scale System Violin Carl Fischer
Chamber Music Violin SKU: CF.BF131 Composed by Roland Vamos. With Standar...(+)
Chamber Music Violin SKU: CF.BF131 Composed by Roland Vamos. With Standard notation. 168 pages. Carl Fischer Music #BF131. Published by Carl Fischer Music (CF.BF131). ISBN 9781491153765. UPC: 680160911264. 9 x 12 inches. Inspired by Clarence Cameron White’s book The Violinist’s Daily Dozen, The Violinist’s Daily Sixteen is a collection of daily exercises compiled by Roland Vamos. Intended for student and professional violinists, the collection provides the performer with a variety of exercises for daily warm-ups. Mr. Vamos also focuses on developing dexterity and flexibility in the fingers and joints, the first and fourth fingers in particular. Each of the sixteen exercises is notated for each of the four strings, and Vamos recommends that the exercises be practiced as warm-ups, choosing a different string for each day of practice.Also included with the Daily Sixteen is a comprehensive set of studies for developing fluency with scales and arpeggios. Mr. Vamos’ unique methodology is to begin with major scales and arpeggios, followed by minor scales and arpeggios, all of which are notated in two, three and four octaves. Alternate fingers are provided, as well as a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. It is a remarkably systematic approach to performing scales and arpeggios on the violin and will surely benefit students and professionals alike. ForewordThis short hand-setting set of exercises was inspired by a book entitled The Violinist’s Daily Dozen, conceived by Clarence Cameron White, a prominent African-American violinist, composer and arranger who enjoyed the bulk of his career in the first half of the twentieth century.I have practiced this set of exercises since I was twelve years old. It has served me as a superb warm-up and hand setting tool. Over the years, I have found that there are some aspects of this warm-up routine that were not given sufficient attention or not addressed at all. Consequently, I have expanded the Daily Dozen to create a new work entitled The Violinist’s Daily Sixteen.I have also paid particular attention in this work as to how these exercises are to be practiced. In exercises one and two, I have indicated some notes to be played before the actual written exercises. This is to ensure that the fourth finger will be over the string in a position ready to strike even though it is not being used. Before playing exercises three, four, nine, ten, eleven and twelve, I have indicated silent fingers to be placed on the notes they would be playing if they were being used.I have replaced Mr. White’s grace notes with notes of specific value and have slowed down the exercises so that the first joint (the joint nearest the string) of each finger can move with flexibility and strength. At no time should the first joint buckle.In Mr. White’s version, the last exercise gave the first finger some very valuable backward extensions. In this exercise (number 14 in this book), I caution the student not to move the hand along with the first finger. The hand should remain in position while the first finger independently moves back and forth.It became obvious to me that if the first finger were given the opportunity to develop the dexterity that Mr. White’s twelfth exercise emphasizes, the fourth finger could benefit from an exercise that gives it a forward extension. Consequently, I added another exercise to create a Baker’s Dozen (thirteen).Several years later, I felt that the second and third fingers should also have an exercise to further develop their dexterity…hence exercise fourteen was added to create a “Vamos Dozen.â€Because the first finger did not have sufficient practice in the development of the first joint in the original version, I have added two exercises to precede White’s fifth exercise. After re-working and re-numbering these exercises, I have come up with a total of sixteen exercises. It is my suggestion that these be practiced as a warm-up, choosing a different string each day.—Roland VamosEvanston, Illinois 2017 PrefaceScales are a means of teaching a person the fingerboard on his or her instrument. The fingers move across the strings and are required to make shifts, all in highly organized patterns. Scales and arpeggios are the foundation upon which our repertoire is built. Many scale books have been written; each one being organized in its own specific way. The Flesch Scale System has been a standard for many decades. It is very comprehensive and systematic. From the point of view of establishing similar patterns, it has one drawback: it is organized by starting with a major key, followed by its relative minor, going through the circle of fifths. I believe that it is more profitable to do only major scales with their arpeggios first, going up chromatically, and then follow them in a similar way with the minor scales. In using this approach, the similarities in fingerings between the various scales are more apparent. It is also profitable to have alternate fingerings whenever possible. My approach to scales and arpeggios includes a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. These bowings are not all-inclusive. Whenever a particularly awkward bowing pattern is encountered in the repertoire, it can be practiced as an additional bowing variation in the scales and arpeggios.   I have chosen to introduce the three and four octave scales by teaching two octave scales across the strings in one position going up chromatically through seven positions; starting on the first, second, third, and finally fourth fingers in major and melodic minor.—Roland VamosEvanston, Illinois 2017. $29.99 - 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 | | |
| Finger Positions for the Violin Violin [Sheet music] - Easy Mel Bay
By Tom Gilland. For Violin. Technique. All Styles. Level: Beginning-Intermediate...(+)
By Tom Gilland. For Violin. Technique. All Styles. Level: Beginning-Intermediate. Book. Size 8.5x11. 56 pages. Published by Mel Bay Publications, Inc.
$14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Foundation Studies for the Violoncello, Book 1 Carl Fischer
Chamber Music Solo Cello SKU: CF.BF128 60 Studies (from Opp. 45, 54, 7...(+)
Chamber Music Solo Cello SKU: CF.BF128 60 Studies (from Opp. 45, 54, 74). Composed by Franz Wohlfahrt. Edited by Richard Hughey. Arranged by K Aiqouni. Score and part(s). With Standard notation. 56 pages. Carl Fischer Music #BF128. Published by Carl Fischer Music (CF.BF128). ISBN 9781491153413. UPC: 680160910915. Wohlfahrt’s Foundation Studies have long been successful tools forviolinists and violists in mastering the technical difficulties of theirinstruments. Originally conceived for a complete comprehension offirst position on the violin and viola, Richard Hughey presents thisnew edition for cello students. Transcribing these etudes for the cellopresents new challenges for the performer. Particular passages, forexample, require the student to make use of the second and eventhird positions. The fingerings chosen for these passages reflectthese shifting positions in a coherent and logical way. Trainedcomprehensively in both cello and conducting, Hughey shares hiswealth of experience and knowledge in Wohlfahrt’s FoundationStudies for the Violoncello. The violin etudes and exercises of Franz Wohlfahrt havebeen and continue to be used by violin and recently violateachers the world over. Franz was the son of HeinrichWohlfahrt (1797, Kößnitz–1883, Leipzig), a noted pianoteacher who also published many studies for piano thatwere very successful with younger students. Heinrichdeveloped a keen sense for the pedagogical development ofchildren and composed excellent studies accordingly. Withthe education of his sons Robert (1826, Weimar–deathdate unknown) and Franz (1833, Frauenpriesnitz–1884,Leipzig), he passed these pedagogical abilities to the nextgeneration.In the preface to his Violin Studies Opus 45, FranzWohlfahrt wrote:The study of the violin presents certain difficultiesfor beginners which are frequently the cause of a suddendecrease in the pupil’s zeal and ambition, even before he hasmastered the first fundamentals.The blame for this is commonly laid on the teacher,who is called incapable or negligent; losing sight of thefact that the pupil began his studies without the slightestnotion, not merely of the difficulties to be encountered,but also of the regular and diligent effort indispensable forovercoming them.It is important, therefore, to smooth these first severitiesby showing their usefulness and making them agreeable; tothis end my Violin Method was published and the presentexercises have been written, which latter may be consideredas forming a supplement to the former.If practiced carefully and intelligently, they will serve asa solid foundation for the technique of any player ambitiousto become an artist.These studies have been successful tools for violinistsand violists to begin to master the technical difficulties oftheir instruments. Clearly conceived for a more completecomprehension of the use of the first position on the violinand similarly for the viola, presenting these etudes forthe cello presents a new challenge. As ongoing violinistsand violists can use the fourth finger to play the note ofthe next higher open string, this is not possible on thecello. To perform these exercises on the cello, particularlyreaching the “E†on the A-string, requires the studentto make use of the second and even third positions. Thefingerings chosen for these passages reflect the necessityof shifting to these positions. This is of great advantage,as a new set of studies now can be used by the studentto practice shifting to and from those positions and thusincreases technical proficiency in the second and thirdpositions of the cello. $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Sassmannshaus Tradition: Early Start on the Violin, Volume 3
2 Violins (duet) [Sheet music] - Easy Barenreiter
Elementary duets: Dances and other pieces in various keys. By Egon Sassmannshaus...(+)
Elementary duets: Dances and other pieces in various keys. By Egon Sassmannshaus; Kurt Sassmannshaus. American English translation: Kurt Sassmannshaus; Illustrations: Charlotte Panowsky. For Violin. Take advantage of our exclusive introductory offer now and save 25% off the regular price - this special price is available for a limited time only. Baerenreiter's Sassmannshaus. Original German title: Fruher Anfang auf der Geige - Band 3; Fruhes Duospiel - Tanze und Spielstucke in verschiedenen Tonarten. Instructional Method. Method book. Text language: English. 71 pages. Published by Baerenreiter Verlag (German import).
(1)$21.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Early Start on the Violin, Volume 2 Violin Barenreiter
A violin method for children. Composed by Egon Saßmannshaus and Kurt Sassmann...(+)
A violin method for children.
Composed by Egon Saßmannshaus
and Kurt Sassmannshaus.
Stapled. With a Chinese text
booklet. Performance score.
Baerenreiter Verlag #BA10754.
Published by Baerenreiter
Verlag
$21.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Above The First Position Violin Carl Fischer | | |
| Sixty Studies for the Violin Violin Alfred Publishing
Composed by Franz Wohlfahrt. String - Violin. Book. Alfred Music #06-827739....(+)
Composed by Franz Wohlfahrt.
String - Violin. Book. Alfred
Music #06-827739. Published
by Alfred Music
$9.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Finger Exercises for the Violin, Book Two Violin C. Harvey Publications | | |
| 3rd and 5th Position String Builder Violin Alfred Publishing
By Samuel Applebaum. For Violin. String Orchestra Method/Supplement. Book. 32 pa...(+)
By Samuel Applebaum. For Violin. String Orchestra Method/Supplement. Book. 32 pages. Published by Alfred Publishing.
(1)$6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Sassmannshaus Tradition: Early Start on the Violin, Volume 2
Violin [Sheet music] - Beginner Barenreiter
A violin method for children. By Egon Sassmannshaus; Kurt Sassmannshaus. Ameri...(+)
A violin method for children. By Egon Sassmannshaus; Kurt Sassmannshaus. American English translation: Kurt Sassmannshaus; Illustrations: Charlotte Panowsky. For Violin. Take advantage of our exclusive introductory offer now and save 25% off the regular price - this special price is available for a limited time only. Baerenreiter's Sassmannshaus. Original German title: Fruher Anfang auf der Geige - Band 2; Eine Violinschule fur Kinder. Instructional Method. Method book. Text language: English. 64 pages. Published by Baerenreiter Verlag (German import).
(3)$21.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Early Start on the Violin, Volume 1 Violin Barenreiter
(A violin method for children age four and older). By Egon Sassmannshaus; Kurt S...(+)
(A violin method for children age four and older). By Egon Sassmannshaus; Kurt Sassmannshaus. For violin. This edition: Stapled. Barenreiter's Sassmannshaus. With a French text supplement. Instructional. Performance score, Teaching material. Text Language: English/French. 64/11 pages. Published by Baerenreiter Verlag
$21.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The ABCs of Violin for the Absolute Beginner DVD Violin [DVD] - Beginner Carl Fischer
By Janice Tucker Rhoda. For Violin. Merchandise. Duration 1:00:00. Published by ...(+)
By Janice Tucker Rhoda. For Violin. Merchandise. Duration 1:00:00. Published by Carl Fischer.
(9)$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Belwin String Builder, Book Iii Violin
Violin [Sheet music] Belwin
By Samuel Applebaum. Edited by Thom Proctor. String method/supplement (Violin). ...(+)
By Samuel Applebaum. Edited by Thom Proctor. String method/supplement (Violin). Level: book 3. 36 pages. Published by Belwin.
$7.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Violin Technique, Volume 1 Violin [Score] Barenreiter
By Zdenek Gola. For violin. This edition: Volume 1. Stapled. Score. Text: Czech,...(+)
By Zdenek Gola. For violin. This edition: Volume 1. Stapled. Score. Text: Czech, German, English. 82 pages. Published by Baerenreiter Verlag
$26.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| BELWIN STRING BUILDER - Violin - Book 2
Violin [Sheet music] Belwin
Violin. Composed by Samuel Applebaum. Method/Instruction; String Orchestra Metho...(+)
Violin. Composed by Samuel Applebaum. Method/Instruction; String Orchestra Method/Supplement. Belwin Course for Strings. Book. 32 pages. Belwin Music #00-EL01550. Published by Belwin Music
$9.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Double Stop Beginnings for the Violin, Book One Violin C. Harvey Publications
Composed by Cassia Harvey. For violin. 33 pages. Published by C. Harvey Publicat...(+)
Composed by Cassia Harvey. For violin. 33 pages. Published by C. Harvey Publications
$9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Nifty Shifts for Violin Violin - Intermediate Faber Music Limited
By Mary Cohen. For Violin. Book; String - Violin Studies or Collection. Faber Ed...(+)
By Mary Cohen. For Violin. Book; String - Violin Studies or Collection. Faber Edition. Intermediate. Published by Faber Music
$10.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Knowing the Notes for Violin Violin [Sheet music] C. Harvey Publications
By Cassia Harvey. Edited by Judith Harvey. For violin. Instructional; string tec...(+)
By Cassia Harvey. Edited by Judith Harvey. For violin. Instructional; string techniques. Method book. 33 pages
$9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Sassmannshaus Tradition: Early Start on the Violin, Volume 4
Violin [Sheet music] - Easy Barenreiter
A violin method for children. By Egon Sassmannshaus; Kurt Sassmannshaus. America...(+)
A violin method for children. By Egon Sassmannshaus; Kurt Sassmannshaus. American English translation: Kurt Sassmannshaus; Illustrations: Charlotte Panowsky. For Violin. Take advantage of our exclusive introductory offer now and save 25% off the regular price - this special price is available for a limited time only. Baerenreiter's Sassmannshaus. Original German title: Fruher Anfang auf der Geige - Band 4; Eine Violinschule fur Kinder. Instructional Method. Method book. Text language: English. 72 pages. Published by Baerenreiter Verlag (German import).
$21.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fingerboard Geography for Violin, Volume 1
Violin [Sheet music] Alfred Publishing
An Intonation, Note-reading, Theory, Shifting System. By Barbara Barber. For Vio...(+)
An Intonation, Note-reading, Theory, Shifting System. By Barbara Barber. For Violin. String - Violin Studies or Collection. Book. Published by Alfred Publishing.
$21.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Foundation Studies for the Violin, Vol. 1 Violin [Sheet music + DVD] Carl Fischer
(60 First position Studies (from Opp. 45, 54, 74)). By Heinrich Wohlfahrt. Edite...(+)
(60 First position Studies (from Opp. 45, 54, 74)). By Heinrich Wohlfahrt. Edited by Rachel Barton Pine. For violin. Method book and DVD. 64 pages. Published by Carl Fischer
(1)$21.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Violin Repertoire 4, 2021 Edition Violin [Sheet music + Audio access] - Intermediate/advanced The Frederick Harris Music Company
Violin - Level 4 SKU: FH.VLR04 Composed by The Royal Conservatory. Repert...(+)
Violin - Level 4 SKU: FH.VLR04 Composed by The Royal Conservatory. Repertoire. Violin Series. Book and online audio. The Frederick Harris Music Company #VLR04. Published by The Frederick Harris Music Company (FH.VLR04). ISBN 9781554409051. Carefully selected and curated to support teachers and students in their artistic and technical development, the Violin Series, 2021 Edition includes pieces from a diverse range of eras and styles that represent stepping stones to major violin repertoire. Each level is constructed to connect repertoire selections to necessary techniques and corresponding etudes, while illustrating step-by-step connections for developing core skills. Each Repertoire book includes access to quality video and audio recordings by some of North America's finest violinists and accompanists; both performance and accompaniment-only tracks for each Repertoire selection offer students a model for performance practice and the convenience of accompanied rehearsal at home.
Violin Repertoire 4 includes Baroque, Classical, Romantic, and 20th- and 21st-century selections of Johann Sebastian Bach, Natalya Backlanova, Ethel Barns, Harold Birston, Arcangelo Corelli, Franz Joseph Haydn, Ferdinand Kuchler, Jacques Fereol Mazas, Eduard Mollenhauer, Yoshinao Nakada, Charlotte Ruegger, Arnaldo Sartorio, and Gerry Thornton. Level 4 introduces new aural challenges with tempo fluctuations and harmonic modulations, while exploring compound meters, syncopation, and hemiola. This book encourages performers to be flexible, as it expands upon hand-frames with extensions, fourth-position fluency, and fingered double stops, while the bow develops stylistic applications of articulations, including off-string strokes. $25.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Schott Violin Library: Baroq Sonatas Separate Part - Bassoviolin And Basso Continuo Violin, Basso continuo Schott
Violin and basso continuo SKU: HL.49044547 The Finest Baroque Sonatas<...(+)
Violin and basso continuo SKU: HL.49044547 The Finest Baroque Sonatas. Edited by Peter Mohrs. This edition: Saddle stitching. Sheet music. String. Softcover. 36 pages. Schott Music #ED21925-01. Published by Schott Music (HL.49044547). ISBN 9783795749422. UPC: 841886023338. 9.0x12.0x0.106 inches. Separate bass part for performance e.g. with cello accompaniment.Schott Violin Library includes eleven contrasting Baroque sonatas for violin and continuo bass. Besides popular and well-known sonatas by Corelli, Vivaldi, Handel and Telemann there are also delightful less familiar compositions by Dall'Abaco, Pepusch and Finger, among others. All these pieces are at lower to intermediate level. Some of them can be played in first position throughout, while others require just a few position changes, but the sonatas by Dall'Abaco, Kirchhoff, Vivaldi and Handel require fluent use of the first three positions. The pieces brought together in this book are the best-loved works from the popular series Schott Violin Library (VLB) and other violin repertoire published by Schott. $13.99 - See more - Buy online | | |
| Compatible String Ensembles: Christmas Trios (Violin) Violin Carl Fischer
Chamber Music Violin SKU: CF.BF142 22 Holiday Arrangements for Any Com...(+)
Chamber Music Violin SKU: CF.BF142 22 Holiday Arrangements for Any Combination of String Instruments. Composed by Basque Carol, Bernard de la Monnoye, Catalonian Carol, English Carol, Felix Bartholdy Mendelssohn, Franz Xaver Gruber, French carol, James Pierpont, John Henry Hopkins, John Wade, Lewis Redner, Mykola Leontovich, Richard Storrs Willis, and Welsh Carol. Arranged by Todd Parrish. Collection - Score. 48 pages. Carl Fischer Music #BF142. Published by Carl Fischer Music (CF.BF142). ISBN 9781491160145. UPC: 680160918744. The 22 holiday classics contained in this collection have been carefully arranged for any combination of string trio. The melodies, both sacred and secular, cover many centuries and originate in Western Europe and the United States. Each work was selected for its quality, musical interest, and appropriateness in a chamber setting. All pieces in this collection have stood the test of time and are worthy of both study and performance. Arranged specifically for a chamber setting, the trios may be performed in a variety of venues from church services to holiday gatherings. This Compatible String Ensembles collection of Christmas Trios will set the mood in any environment.This Series is Available for:Violin BF142Viola BF143Cello BF144Bass BF145. The 22 Christmas tunes contained in this collection have been carefully arranged for any combination of string trio. The most standard instrumentation for voicing is violin, viola, and cello. However, three of the same instruments work well as do other groupings, given that the higher-pitched instrument plays the higher part. This three-part format follows a standard order: part 1 is melody, part 2 is harmony, and part 3 is a traditional bass line. Optional 8va markings are sometimes given to help the voicings sound better.The selections have been arranged in alphabetic order. The melodies, both sacred and secular, cover many centuries and originate in Western Europe and the United States. Each work is in the public domain and was selected for both its quality and musical interest.Arranged specifically for a chamber setting, the trios may be performed in a variety of venues from church services to holiday gatherings. Some repeats are marked in the music, but any selection may be repeated for the appropriate amount of music needed. Bowings have been added as suggestions, and some fingerings have been added to show the direction of shifts beyond first position.—Todd ParrishOrchestra Editor, Carl Fischer MusicJune 2021. $12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Harvey S. Whistler: Introducing The Positions - For Violin Vol 1
Violin [Sheet music] Hal Leonard
Composed by Harvey S. Whistler. For violin. Format: instructional book. With fin...(+)
Composed by Harvey S. Whistler. For violin. Format: instructional book. With fingerings and instructional text. Instructional. 52 pages. 9x12 inches. Published by Hal Leonard.
(20)$8.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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