| Chamber Music for/ Kammermusik für Violoncelli 12 [Score and Parts] EMB (Editio Musica Budapest)
2 or more Violoncelli SKU: BT.EMBZ14728 For 4 violoncellos. Compos...(+)
2 or more Violoncelli SKU: BT.EMBZ14728 For 4 violoncellos. Composed by Arpad Peijtsik. EMB Chamber Music for Violoncellos. Educational Tool. Set (Score & Parts). Composed 2010. 50 pages. Editio Musica Budapest #EMBZ14728. Published by Editio Musica Budapest (BT.EMBZ14728). Volume 12 in the series contains works by great composers adapted for four cellos. They all share a festive mood. Beethoven's variations on the theme of the British nation anthem 'God Save the King' are followed by 'The Shepherds' Farewell' from Berlioz' oratorio The Childhood of Christ, and three Christmas pieces by Mendelssohn. The excerpt from Wagner's Parsifal - excellently transcribed by Hermann Jacobowsky at the end of the 19th century - is associated with Good Friday, but because of its sacred character its mood blends with that of the preceding pieces.
Inhoud: 1. Beethoven, Ludwig van: God Save the KingThema und Variationen 2. Berlioz, Hector: The shepherds farewell 3. Mendelssohn-Bartholdy, Felix: 3 Christmas pieces 4. Wagner, Richard - Jacobowsky, Hermann: Aus dem Parsifal
Im zwölften Band werden für Cello bearbeitete Werke von großen Meistern publiziert. Gemeinsam ist ihnen ihre feierliche Stimmung. Den Beethoven-Variationen auf das Thema der britischen Hymne ‚God save the King' folgen der ‚Abschiedsgesang der Hirten' aus dem Oratorium ‚Des Heilands Kindheit' von Berlioz und drei Weihnachtsstücke Mendelssohns. Der Ausschnitt aus Wagners Parsifal - in der hervorragenden Hermann Jacobowsky- Transkription vom Ende des 19. Jahrhunderts - ist mit dem Karfreitag verbunden, seine Stimmung passt jedoch durch seinen sakralen Charakter zu den vorherigen Stücken.
Sommaire: 1. Beethoven, Ludwig van: God Save the KingThema und Variationen 2. Berlioz, Hector: The shepherds farewell 3. Mendelssohn-Bartholdy, Felix: 3 Christmas pieces 4. Wagner, Richard - Jacobowsky, Hermann: Aus dem Parsifal
Contents: 1. Beethoven, Ludwig van: God Save the KingThema und Variationen 2. Berlioz, Hector: The shepherds farewell 3. Mendelssohn-Bartholdy, Felix: 3 Christmas pieces 4. Wagner, Richard - Jacobowsky, Hermann: Aus dem Parsifal $20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Rêverie et caprice Double Bass Barenreiter
Double bass SKU: BA.BA05798-85 Romance for Violin. Composed by Hec...(+)
Double bass SKU: BA.BA05798-85 Romance for Violin. Composed by Hector Berlioz. Edited by Hugh MacDonald. This edition: urtext edition. Stapled. Barenreiter Urtext. Single part. Baerenreiter Verlag #BA05798_85. Published by Baerenreiter Verlag (BA.BA05798-85). ISBN 9790006521791. 32.5 x 25.5 cm inches. About Barenreiter Urtext Orchestral Parts Why musicians love to play from Bärenreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rêverie et caprice Violin (band part) Barenreiter
Second violin (2. Violin) SKU: BA.BA05798-75 Romance for Violin. C...(+)
Second violin (2. Violin) SKU: BA.BA05798-75 Romance for Violin. Composed by Hector Berlioz. Edited by Hugh MacDonald. This edition: urtext edition. Stapled. Barenreiter Urtext. Single part. Baerenreiter Verlag #BA05798_75. Published by Baerenreiter Verlag (BA.BA05798-75). ISBN 9790006521760. 32.5 x 25.5 cm inches. About Barenreiter Urtext Orchestral Parts Why musicians love to play from Bärenreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Programmusik Schott
SKU: HL.49007730 Analytische Untersuchungen und didaktische Empfehlung...(+)
SKU: HL.49007730 Analytische Untersuchungen und didaktische Empfehlungen fur den Musikunterricht in der Sekundarstufe. Edited by Albrecht Goebel. This edition: Hardback/Hard Cover. Book. Edition Schott. Classical. 312 pages. Schott Music #ED 8031. Published by Schott Music (HL.49007730). ISBN 9783795702373. German. Will der Schulmusiker seine Schuler in Erfullung des 'Lehrplansolls' mit der Gattung 'Programmusik' bekannt machen, so wird er bei der Materialsuche in Lehrbuchern und Fachliteratur immer wieder auf Beschreibungen derselben Kompositionen stossen: Smetana's 'Moldau', R. Strauss' 'Till Eulenspiegel' usw. Der Herausgeber hat sich im Zusammenwirken mit den in diesem Sammelband vertretenen Autoren deshalb auf die Suche nach Werken hoher Qualitat, aber teilweise geringeren Bekanntheitsgrades begeben und prasentiert fur den Musikunterricht in der Sekundarstufe analytische Untersuchungen, didaktische Empfehlungen und historische Hintergrundinformationen zu 21 Werken des 17. bis 20. Jahrhunderts. Die Spannweite reicht von Vivaldi bis Beethoven, von Berlioz bis Cesar Franck, von C. M. von Weber bis Max Reger, von den grossen slawischen Meistern bis hin zu Honegger und Schonberg, um nur einige zu nennen. Eingeleitet wird das Buch durch eine Einfuhrung in die Asthetik der Programmmusik im 19. Jahrhundert von Albrecht Riethmuller. Eine Fundgrube fur die Gestaltung eines abwechslungsreichen und damit interessanten Unterrichts. $70.00 - See more - Buy online | | |
| Rêverie et caprice Violin (band part) Barenreiter
First violin (1. Violin) SKU: BA.BA05798-74 Romance for Violin. Co...(+)
First violin (1. Violin) SKU: BA.BA05798-74 Romance for Violin. Composed by Hector Berlioz. Edited by Hugh MacDonald. This edition: urtext edition. Stapled. Barenreiter Urtext. Single part. Baerenreiter Verlag #BA05798_74. Published by Baerenreiter Verlag (BA.BA05798-74). ISBN 9790006521753. 32.5 x 25.5 cm inches. About Barenreiter Urtext Orchestral Parts Why musicians love to play from Bärenreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rêverie et caprice Barenreiter
SKU: BA.BA05798-65 Romance for Violin. Composed by Hector Berlioz....(+)
SKU: BA.BA05798-65 Romance for Violin. Composed by Hector Berlioz. Edited by Hugh MacDonald. This edition: urtext edition. Stapled. Barenreiter Urtext. Set of wind parts. Baerenreiter Verlag #BA05798_65. Published by Baerenreiter Verlag (BA.BA05798-65). ISBN 9790006521746. 32.5 x 25.5 cm inches. About Barenreiter Urtext Orchestral Parts Why musicians love to play from Bärenreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
$37.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rêverie et caprice Viola Barenreiter
Viola SKU: BA.BA05798-79 Romance for Violin. Composed by Hector Be...(+)
Viola SKU: BA.BA05798-79 Romance for Violin. Composed by Hector Berlioz. Edited by Hugh MacDonald. This edition: urtext edition. Stapled. Barenreiter Urtext. Single part. Baerenreiter Verlag #BA05798_79. Published by Baerenreiter Verlag (BA.BA05798-79). ISBN 9790006521777. 32.5 x 25.5 cm inches. About Barenreiter Urtext Orchestral Parts Why musicians love to play from Bärenreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
$7.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Symphonie Fantastique Concert band [Score] - Intermediate/advanced De Haske Publications
Concert Band/Harmonie - Grade 6 SKU: BT.DHP-1114234-140 Op. 14. Co...(+)
Concert Band/Harmonie - Grade 6 SKU: BT.DHP-1114234-140 Op. 14. Composed by Hector Berlioz. Great Classics. Transcription. Score Only. Composed 2011. De Haske Publications #DHP 1114234-140. Published by De Haske Publications (BT.DHP-1114234-140). 9x12 inches. English-German-French-Dutch. Symphonie Fantastique, composed by Hector Berlioz, is a symphony in five movements based upon Berlioz's own experiences of disappointment in love. Tohru Takahashi's arrangement fully exploits the capabilities of the concert band whilst staying true to the tonal colour and textures of the original. Movements include: Reveries - Passions, Un Bal, Scène aux champs, Marche au supplice and Songe d'une nuit de sabbat.
Hector Berlioz was nogal teleurgesteld in de liefde. Met de nog steeds modern klinkende Symphonie Fantastique gaf hij hieraan uiting. Tohru Takahashi verwerkte de originele partituur voor deze transcriptie. Hij wil hiermee de mogelijkhedenvan een modern blaasorkest optimaal benutten, maar verliest daarbij de originele klankkleuren nooit uit het oog. De optionele solopartij voor de cornet verschijnt in het tweede deel. Oorspronkelijk werd deze voor de beroemdekornettist Jean-Baptiste Arban geschreven.Mooi en meeslepend!Symphonie Fantastique bestaat uit de vijf delen Rêveries-Passions (Mijmeringen), Un bal (Een bal), Scène aux champs (Scène op de velden), Marche au supplice (Gangnaar het schavot) en Songe d'une nuit de sabbat (Droom van een heksensabbat).
Berlioz' einzigartige instrumentale und musikalische Herangehensweise klingt auch im 21. Jahrhundert noch neu. Für diese neue Transkription für Blasorchester schöpfte Tohru Takahashi unter bestmöglicher Ausnutzung der originalen Klangfarben die Möglichkeiten eines modernen Blasorchesters voll aus. Die Sinfonie besteht aus den fünf Sätzen Rêveries-Passions, Un bal, Scène aux champs, Marche au supplice und Songe d'une nuit de sabbat.
L'originalité instrumentale et musicale de Berlioz apparaît encore au XXIe siècle avec la même fraîcheur, que celle qui présida lors de la création de l'oeuvre. Pour cette nouvelle transcription pour orchestre vent, Tohru Takahashi a revisité la partition de Berlioz en respectant l'orchestration originale, afin d'exploiter pleinement le vaste potentiel d'un orchestre vent. La Symphony Fantastique se compose de cinq ensembles Rêveries-Passions, Un bal, Scène aux champs, Marche au supplice et Songe d'une nuit de Sabbat.
L'originalit strumentale e musicale di Berlioz è attuale anche nel XXI secolo. Per questa nuova trascrizione per banda, Tohru Takahashi ha rivisitato lo spartito di Berlioz rispettando l'orchestrazione originale per sfruttare al meglio il vasto potenziale delle formazioni di fiati moderni. La Symphonie Fantastique si compone di cinque movimenti: Reveries-Passions, Un Bal, Scène aux champs, Marche au supplice e Songe d'une nuit de Sabbat. $155.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Symphonie Fantastique Concert band [Score and Parts] - Intermediate/advanced De Haske Publications
Concert Band/Harmonie - Grade 6 SKU: BT.DHP-1114234-010 Op. 14. Co...(+)
Concert Band/Harmonie - Grade 6 SKU: BT.DHP-1114234-010 Op. 14. Composed by Hector Berlioz. Great Classics. Transcription. Set (Score & Parts). Composed 2011. De Haske Publications #DHP 1114234-010. Published by De Haske Publications (BT.DHP-1114234-010). 9x12 inches. English-German-French-Dutch. Symphonie Fantastique, composed by Hector Berlioz, is a symphony in five movements based upon Berlioz's own experiences of disappointment in love. Tohru Takahashi's arrangement fully exploits the capabilities of the concert band whilst staying true to the tonal colour and textures of the original. Movements include: Reveries - Passions, Un Bal, Scène aux champs, Marche au supplice and Songe d'une nuit de sabbat.
Hector Berlioz was nogal teleurgesteld in de liefde. Met de nog steeds modern klinkende Symphonie Fantastique gaf hij hieraan uiting. Tohru Takahashi verwerkte de originele partituur voor deze transcriptie. Hij wil hiermee de mogelijkhedenvan een modern blaasorkest optimaal benutten, maar verliest daarbij de originele klankkleuren nooit uit het oog. De optionele solopartij voor de cornet verschijnt in het tweede deel. Oorspronkelijk werd deze voor de beroemdekornettist Jean-Baptiste Arban geschreven.Mooi en meeslepend!Symphonie Fantastique bestaat uit de vijf delen Rêveries-Passions (Mijmeringen), Un bal (Een bal), Scène aux champs (Scène op de velden), Marche au supplice (Gangnaar het schavot) en Songe d'une nuit de sabbat (Droom van een heksensabbat).
Berlioz' einzigartige instrumentale und musikalische Herangehensweise klingt auch im 21. Jahrhundert noch neu. Für diese neue Transkription für Blasorchester schöpfte Tohru Takahashi unter bestmöglicher Ausnutzung der originalen Klangfarben die Möglichkeiten eines modernen Blasorchesters voll aus. Die Sinfonie besteht aus den fünf Sätzen Rêveries-Passions, Un bal, Scène aux champs, Marche au supplice und Songe d'une nuit de sabbat.
L'originalité instrumentale et musicale de Berlioz apparaît encore au XXIe siècle avec la même fraîcheur, que celle qui présida lors de la création de l'oeuvre. Pour cette nouvelle transcription pour orchestre vent, Tohru Takahashi a revisité la partition de Berlioz en respectant l'orchestration originale, afin d'exploiter pleinement le vaste potentiel d'un orchestre vent. La Symphony Fantastique se compose de cinq ensembles Rêveries-Passions, Un bal, Scène aux champs, Marche au supplice et Songe d'une nuit de Sabbat.
L'originalit strumentale e musicale di Berlioz è attuale anche nel XXI secolo. Per questa nuova trascrizione per banda, Tohru Takahashi ha rivisitato lo spartito di Berlioz rispettando l'orchestrazione originale per sfruttare al meglio il vasto potenziale delle formazioni di fiati moderni. La Symphonie Fantastique si compone di cinque movimenti: Reveries-Passions, Un Bal, Scène aux champs, Marche au supplice e Songe d'une nuit de Sabbat. $610.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Le Corsaire Concert band [Score and Parts] - Intermediate De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1084336-010 Composed by Hecto...(+)
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1084336-010 Composed by Hector Berlioz. The Great Classics. Transcription. Set (Score & Parts). Composed 2008. De Haske Publications #DHP 1084336-010. Published by De Haske Publications (BT.DHP-1084336-010). 9x12 inches. English-German-French-Dutch. Hector Berlioz (1803-1869) schreef de ouverture Le Corsaire (De zeerover) in Nice, in het jaar 1844. De eerste uitvoering vond plaats onder de titel La tour de Nice (De toren van Nice). Pas later kreeg het werk de naamLe Corsaire, waarschijnlijk naar een gedicht van Lord Byron, voor wie Berlioz veel bewondering had. De originaliteit van deze ouverture wordt alom geprezen. De muziek is van een energieke levendigheid die aanstekelijk werkt.Niet voor niets is Le Corsaire nog altijd een van de populairste orkestwerken van Berlioz.
Hector Berlioz schrieb diese Ouvertüre mit dem ursprünglichen Titel La Tour de Nice (Der Turm von Nizza) im Jahre 1844 in selbiger Stadt und benannte sie erst später um, vermutlich nach einem Gedicht von Lord Byron, den er sehr verehrte. Die Ouvertüre wurde von Anfang an für ihre Originalität und Lebendigkeit gelobt. So ist es kein Wunder, dass Le Corsaire, das hier in einer Transkription des Tohru Takahashi vorliegt, auch heute noch zu den beliebtesten Werken von Berlioz gehört.
Berlioz ne révèle aucun talent musical particulier dans son enfance ; ses parents ne sont pas musiciens. Vers l’ ge de treize ans, il apprend jouer de la fl te bec et de la guitare et prend des cours de chant. En 1821, il s’installe Paris et marche sur les pas de son père en suivant un temps les cours de la Faculté de Médecine. Mais au bout d’un an, et au grand désespoir de ses parents, il abandonne ses études et entre au Conservatoire de Paris. Sa passion pour l’actrice irlandaise Harriet Smithson, qu’il épousera quelques années plus tard (un mariage malheureux), a largement influencé sa vie et sa musique. Lorsqu’il remporte le Prix de Rome en 1830, Berlioz avait déj composé quelques œuvres majeures dont la Symphonie Fantastique. Berlioz devient la figure essentielle du romantisme français. Ses œuvres sont dominées par ses idées novatrices.La première version de l’ouverture Le Corsaire remonte un séjour que Berlioz fit Nice en 1844. L’œuvre fut donnée en création sous le titre La Tour de Nice. Par la suite, Berlioz remania sa composition et lui donnera son titre définitif Le Corsaire. La référence au roman poétique de Lord Byron qui le compositeur vouait une grande admiration, reste une supposition qui ne fait pas l’unanimité.Cette ouverture fut particulièrement saluée pour son originalité. La musique déborde d’énergie et les effets sont fantastiques. Il n’est donc pas surprenant de constater que Le Corsaire est une des œuvres orchestrales les plus connues et les plus jouées de Berlioz. $184.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Le Corsaire Concert band [Score] - Intermediate De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1084336-140 Composed by Hecto...(+)
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1084336-140 Composed by Hector Berlioz. The Great Classics. Transcription. Score Only. Composed 2008. 72 pages. De Haske Publications #DHP 1084336-140. Published by De Haske Publications (BT.DHP-1084336-140). 9x12 inches. English-German-French-Dutch. Hector Berlioz (1803-1869) schreef de ouverture Le Corsaire (De zeerover) in Nice, in het jaar 1844. De eerste uitvoering vond plaats onder de titel La tour de Nice (De toren van Nice). Pas later kreeg het werk de naamLe Corsaire, waarschijnlijk naar een gedicht van Lord Byron, voor wie Berlioz veel bewondering had. De originaliteit van deze ouverture wordt alom geprezen. De muziek is van een energieke levendigheid die aanstekelijk werkt.Niet voor niets is Le Corsaire nog altijd een van de populairste orkestwerken van Berlioz.
Hector Berlioz schrieb diese Ouvertüre mit dem ursprünglichen Titel La Tour de Nice (Der Turm von Nizza) im Jahre 1844 in selbiger Stadt und benannte sie erst später um, vermutlich nach einem Gedicht von Lord Byron, den er sehr verehrte. Die Ouvertüre wurde von Anfang an für ihre Originalität und Lebendigkeit gelobt. So ist es kein Wunder, dass Le Corsaire, das hier in einer Transkription des Tohru Takahashi vorliegt, auch heute noch zu den beliebtesten Werken von Berlioz gehört.
Berlioz ne révèle aucun talent musical particulier dans son enfance ; ses parents ne sont pas musiciens. Vers l’ ge de treize ans, il apprend jouer de la fl te bec et de la guitare et prend des cours de chant. En 1821, il s’installe Paris et marche sur les pas de son père en suivant un temps les cours de la Faculté de Médecine. Mais au bout d’un an, et au grand désespoir de ses parents, il abandonne ses études et entre au Conservatoire de Paris. Sa passion pour l’actrice irlandaise Harriet Smithson, qu’il épousera quelques années plus tard (un mariage malheureux), a largement influencé sa vie et sa musique. Lorsqu’il remporte le Prix de Rome en 1830, Berlioz avait déj composé quelques œuvres majeures dont la Symphonie Fantastique. Berlioz devient la figure essentielle du romantisme français. Ses œuvres sont dominées par ses idées novatrices.La première version de l’ouverture Le Corsaire remonte un séjour que Berlioz fit Nice en 1844. L’œuvre fut donnée en création sous le titre La Tour de Nice. Par la suite, Berlioz remania sa composition et lui donnera son titre définitif Le Corsaire. La référence au roman poétique de Lord Byron qui le compositeur vouait une grande admiration, reste une supposition qui ne fait pas l’unanimité.Cette ouverture fut particulièrement saluée pour son originalité. La musique déborde d’énergie et les effets sont fantastiques. Il n’est donc pas surprenant de constater que Le Corsaire est une des œuvres orchestrales les plus connues et les plus jouées de Berlioz. $38.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Benvenuto Cellini Concert band [Score and Parts] - Intermediate De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1074365-010 Overture. ...(+)
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1074365-010 Overture. Composed by Hector Berlioz. The Great Classics. Transcription. Set (Score & Parts). Composed 2008. De Haske Publications #DHP 1074365-010. Published by De Haske Publications (BT.DHP-1074365-010). 9x12 inches. English-German-French-Dutch. Hector Berlioz was known for his innovative and creative musical gestures. He composed the opera Benvenuto Cellini in 1838, based on the fascinating life of a 16th century Italian goldsmith of the same name. Unfortunately the work as a whole never gained much popularity however its colourful and exciting overture has, on the other hand, become a firm favourite. Tohru Takahashi has created a stunning concert band arrangement of this well-known overture.
Hector Berlioz, der stets innovative Ideen meisterhaft in seinen Werken umzusetzen verstand, schrieb die Oper Benvenuto Cellini 1838 basierend auf dem faszinierenden Leben des gleichnamigen italienischen Goldschmieds aus dem 16. Jahrhundert. Großer Erfolg war dem Werk jedoch nie beschieden - mit Ausnahme der farbigen und lebhaften Ouvertüre, die Tohru Takahashi geschickt für Blasorchester umsetzte.
L’opera Benvenuto Cellini (1838) di Hector Berlioz si ispira alla vita avventurosa del celebre orafo e scultore Benvenuto Cellini nell’Italia del XVI secolo. A causa della complessit della scrittura e di un libretto che proponeva vari generi fuori dalle usanze del tempo, l’opera conobbe un successo effi mero e finii nell’oblio. Grazie alla sua straordinaria vitalit , sopravvisse unicamente l’ouverture, che si rivela anche in questa brillante trascrizione per banda firmata Tohru Takahashi. $236.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Benvenuto Cellini Concert band [Score] - Intermediate De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1074365-140 Overture. ...(+)
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1074365-140 Overture. Composed by Hector Berlioz. The Great Classics. Transcription. Score Only. Composed 2008. 72 pages. De Haske Publications #DHP 1074365-140. Published by De Haske Publications (BT.DHP-1074365-140). 9x12 inches. English-German-French-Dutch. Hector Berlioz was known for his innovative and creative musical gestures. He composed the opera Benvenuto Cellini in 1838, based on the fascinating life of a 16th century Italian goldsmith of the same name. Unfortunately the work as a whole never gained much popularity however its colourful and exciting overture has, on the other hand, become a firm favourite. Tohru Takahashi has created a stunning concert band arrangement of this well-known overture.
Hector Berlioz, der stets innovative Ideen meisterhaft in seinen Werken umzusetzen verstand, schrieb die Oper Benvenuto Cellini 1838 basierend auf dem faszinierenden Leben des gleichnamigen italienischen Goldschmieds aus dem 16. Jahrhundert. Großer Erfolg war dem Werk jedoch nie beschieden - mit Ausnahme der farbigen und lebhaften Ouvertüre, die Tohru Takahashi geschickt für Blasorchester umsetzte.
L’opera Benvenuto Cellini (1838) di Hector Berlioz si ispira alla vita avventurosa del celebre orafo e scultore Benvenuto Cellini nell’Italia del XVI secolo. A causa della complessit della scrittura e di un libretto che proponeva vari generi fuori dalle usanze del tempo, l’opera conobbe un successo effi mero e finii nell’oblio. Grazie alla sua straordinaria vitalit , sopravvisse unicamente l’ouverture, che si rivela anche in questa brillante trascrizione per banda firmata Tohru Takahashi. $52.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| A Classical Christmas Brass ensemble [Score and Parts] - Easy De Haske Publications
Brass Band - Grade 2 SKU: BT.DHP-1002054-030 Arranged by Wil van der Beek...(+)
Brass Band - Grade 2 SKU: BT.DHP-1002054-030 Arranged by Wil van der Beek. Christmas Collection. Christmas. Set (Score & Parts). Composed 2000. De Haske Publications #DHP 1002054-030. Published by De Haske Publications (BT.DHP-1002054-030). Wil van der Beek verschmolz in A Classical Christmas Weihnachtsmusik Stücke von drei berühmten französischen Komponisten des 19. Jahrhunderts: ein französisches Weihnachtslied von César Franck, ein expressives Thema aus dem Oratorium L'enfance du Christ von Hector Berlioz und Tollite Hosties von Camille Saint-Saëns. Der festliche Schluss sorgt für weihnachtlichen Glanz.
travers les siècles et de nos jours encore, Noël a été un thème d’inspiration privilégié pour les compositeurs. A Classical Christmas (“Noël classiqueâ€) rassemble des œuvres de trois grands compositeurs français du XIXe siècle.Le premier mouvement nous fait découvrir César Franck (1822-1890), grand organiste et brillant compositeur, qui a donné une réelle valeur artistique certains chants de Noël français traditionnels. Ce mouvement apaisé, au charme captivant, offre de nombreuses possibilités en termes de nuances et d’expression. La percussion intervient mais ne tient qu’un rôle modeste.Le thème de l’oratorio L’Enfance du Christ d’Hector Berlioz(1803-1869) est au centre du deuxième mouvement. Le thème est conçu comme une ode la sainte Famille. Ce deuxième mouvement, expressif et tendre, possède un caractère intimiste.Le thème du troisième et dernier mouvement est extrait de l’Oratorio de Noël de Camille Saint-Saëns (1835-1921). Il s’agit d’une page bien connue, le célèbre chœur final Tollite Hostias. La puissance et l’intensité donnent ce finale le ton festif qui caractérise Noël. $78.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| A Classical Christmas Concert band [Score and Parts] - Easy De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.DHP-1002054-015 Arra...(+)
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.DHP-1002054-015 Arranged by Wil van der Beek. Christmas Collection. Christmas. Set (Score & Parts). Composed 2000. De Haske Publications #DHP 1002054-015. Published by De Haske Publications (BT.DHP-1002054-015). Wil van der Beek verschmolz in A Classical Christmas Weihnachtsmusik Stücke von drei berühmten französischen Komponisten des 19. Jahrhunderts: ein französisches Weihnachtslied von César Franck, ein expressives Thema aus dem Oratorium L'enfance du Christ von Hector Berlioz und Tollite Hosties von Camille Saint-Saëns. Der festliche Schluss sorgt für weihnachtlichen Glanz.
travers les siècles et de nos jours encore, Noël a été un thème d’inspiration privilégié pour les compositeurs. A Classical Christmas (“Noël classiqueâ€) rassemble des œuvres de trois grands compositeurs français du XIXe siècle.Le premier mouvement nous fait découvrir César Franck (1822-1890), grand organiste et brillant compositeur, qui a donné une réelle valeur artistique certains chants de Noël français traditionnels. Ce mouvement apaisé, au charme captivant, offre de nombreuses possibilités en termes de nuances et d’expression. La percussion intervient mais ne tient qu’un rôle modeste.Le thème de l’oratorio L’Enfance du Christ d’Hector Berlioz(1803-1869) est au centre du deuxième mouvement. Le thème est conçu comme une ode la sainte Famille. Ce deuxième mouvement, expressif et tendre, possède un caractère intimiste.Le thème du troisième et dernier mouvement est extrait de l’Oratorio de Noël de Camille Saint-Saëns (1835-1921). Il s’agit d’une page bien connue, le célèbre chœur final Tollite Hostias. La puissance et l’intensité donnent ce finale le ton festif qui caractérise Noël. $118.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| A Classical Christmas Concert band - Easy De Haske Publications
Concert Band - Grade 2 SKU: BT.DHP-1002054-040 Arranged by Wil van der Be...(+)
Concert Band - Grade 2 SKU: BT.DHP-1002054-040 Arranged by Wil van der Beek. Christmas Collection. Christmas. Set (Score and Parts). Composed 2000. De Haske Publications #DHP 1002054-040. Published by De Haske Publications (BT.DHP-1002054-040). Wil van der Beek verschmolz in A Classical Christmas Weihnachtsmusik Stücke von drei berühmten französischen Komponisten des 19. Jahrhunderts: ein französisches Weihnachtslied von César Franck, ein expressives Thema aus dem Oratorium L'enfance du Christ von Hector Berlioz und Tollite Hosties von Camille Saint-Saëns. Der festliche Schluss sorgt für weihnachtlichen Glanz.
travers les siècles et de nos jours encore, Noël a été un thème dâ??inspiration privilégié pour les compositeurs. A Classical Christmas (â??Noël classiqueâ?) rassemble des ?uvres de trois grands compositeurs français du XIXe siècle.Le premier mouvement nous fait découvrir César Franck (1822-1890), grand organiste et brillant compositeur, qui a donné une réelle valeur artistique certains chants de Noël français traditionnels. Ce mouvement apaisé, au charme captivant, offre de nombreuses possibilités en termes de nuances et dâ??expression. La percussion intervient mais ne tient quâ??un rôle modeste.Le thème de lâ??oratorio Lâ??Enfance du Christ dâ??Hector Berlioz(1803-1869) est au centre du deuxième mouvement. Le thème est conçu comme une ode la sainte Famille. Ce deuxième mouvement, expressif et tendre, possède un caractère intimiste.Le thème du troisième et dernier mouvement est extrait de lâ??Oratorio de Noël de Camille Saint-Saëns (1835-1921). Il sâ??agit dâ??une page bien connue, le célèbre ch?ur final Tollite Hostias. La puissance et lâ??intensité donnent ce finale le ton festif qui caractérise Noël. $118.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| A Classical Christmas Concert band [Score] - Easy De Haske Publications
Concert Band/Harmonie/Fanfare Band/Brass Band - Grade 2 SKU: BT.DHP-1002054-2...(+)
Concert Band/Harmonie/Fanfare Band/Brass Band - Grade 2 SKU: BT.DHP-1002054-216 Arranged by Wil van der Beek. Christmas Collection. Blasmusik. Score Only. Composed 2000. 16 pages. De Haske Publications #DHP 1002054-216. Published by De Haske Publications (BT.DHP-1002054-216). Wil van der Beek verschmolz in A Classical Christmas Weihnachtsmusik Stücke von drei berühmten französischen Komponisten des 19. Jahrhunderts: ein französisches Weihnachtslied von César Franck, ein expressives Thema aus dem Oratorium L'enfance du Christ von Hector Berlioz und Tollite Hosties von Camille Saint-Saëns. Der festliche Schluss sorgt für weihnachtlichen Glanz.
travers les siècles et de nos jours encore, Noël a été un thème d’inspiration privilégié pour les compositeurs. A Classical Christmas (“Noël classiqueâ€) rassemble des œuvres de trois grands compositeurs français du XIXe siècle.Le premier mouvement nous fait découvrir César Franck (1822-1890), grand organiste et brillant compositeur, qui a donné une réelle valeur artistique certains chants de Noël français traditionnels. Ce mouvement apaisé, au charme captivant, offre de nombreuses possibilités en termes de nuances et d’expression. La percussion intervient mais ne tient qu’un rôle modeste.Le thème de l’oratorio L’Enfance du Christ d’Hector Berlioz(1803-1869) est au centre du deuxième mouvement. Le thème est conçu comme une ode la sainte Famille. Ce deuxième mouvement, expressif et tendre, possède un caractère intimiste.Le thème du troisième et dernier mouvement est extrait de l’Oratorio de Noël de Camille Saint-Saëns (1835-1921). Il s’agit d’une page bien connue, le célèbre chœur final Tollite Hostias. La puissance et l’intensité donnent ce finale le ton festif qui caractérise Noël. $19.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Le Corsaire Concert Band Full Score Concert band [Score and Parts] - Intermediate De Haske Publications
Concert Band/Harmonie (Score) - Grade 5 SKU: HL.44010867 Composed by Hect...(+)
Concert Band/Harmonie (Score) - Grade 5 SKU: HL.44010867 Composed by Hector Berlioz. De Haske Concert Band. Transcription. Set (Score & Parts). Composed 2008. De Haske Publications #1084336010. Published by De Haske Publications (HL.44010867). UPC: 884088578527. 9x12 inches. English-German-French-Dutch-Japanese. Hector Berlioz (1803-1869) schreef de ouverture Le Corsaire (De zeerover) in Nice, in het jaar 1844. De eerste uitvoering vond plaats onder de titel La tour de Nice (De toren van Nice). Pas later kreeg het werk de naamLe Corsaire, waarschijnlijk naar een gedicht van Lord Byron, voor wie Berlioz veel bewondering had. De originaliteit van deze ouverture wordt alom geprezen. De muziek is van een energieke levendigheid die aanstekelijk werkt.Niet voor niets is Le Corsaire nog altijd een van de populairste orkestwerken van Berlioz.
Hector Berlioz schrieb diese Ouvertüre mit dem ursprünglichen Titel La Tour de Nice (Der Turm von Nizza) im Jahre 1844 in selbiger Stadt und benannte sie erst spater um, vermutlich nach einem Gedicht von Lord Byron, den er sehr verehrte. Die Ouvertüre wurde von Anfang an für ihre Originalitat und Lebendigkeit gelobt. So ist es kein Wunder, dass Le Corsaire, das hier in einer Transkription des Tohru Takahashi vorliegt, auch heute noch zu den beliebtesten Werken von Berlioz gehort.
Berlioz ne revele aucun talent musical particulier dans son enfance ; ses parents ne sont pas musiciens. Vers l'age de treize ans, il apprend a jouer de la flute a bec et de la guitare et prend des cours de chant. En 1821, il s'installe a Paris et marche sur les pas de son pere en suivant un temps les cours de la Faculte de Medecine. Mais au bout d'un an, et au grand desespoir de ses parents, il abandonne ses etudes et entre au Conservatoire de Paris. Sa passion pour l'actrice irlandaise Harriet Smithson, qu'il epousera quelques annees plus tard (un mariage malheureux), a largement influence sa vie et sa musique. Lorsqu'il remporte le Prix de Rome en 1830, Berlioz avait dejacompose quelques œuvres majeures dont la Symphonie Fantastique. Berlioz devient la figure essentielle du romantisme francais. Ses œuvres sont dominees par ses idees novatrices.La premiere version de l'ouverture Le Corsaire remonte a un sejour que Berlioz fit a Nice en 1844. L'œuvre fut donnee en creation sous le titre La Tour de Nice. Par la suite, Berlioz remania sa composition et lui donnera son titre definitif Le Corsaire. La reference au roman poetique de Lord Byron a qui le compositeur vouait une grande admiration, reste une supposition qui ne fait pas l'unanimite.Cette ouverture fut particulierement saluee pour son originalite. La musique deborde d'energie et les effets sont fantastiques. Il n'est donc pas surprenant de constater que Le Corsaire est une des œuvres orchestrales les plus connues et les plus jouees de Berlioz. $34.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 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 | | |
| Marche Hongroise (Collection Anacrouse) Piano solo [Score] Editions Bourges
Piano Solo - Medium SKU: BU.EBR-A078 Composed by Hector Berlioz. Arranged...(+)
Piano Solo - Medium SKU: BU.EBR-A078 Composed by Hector Berlioz. Arranged by David Neyrolles. This edition: French Edition. Classique. Anacrouse. Transcription pour piano + Biographie + Notes sur l'oeuvre. Score. Editions Bourges #EBR-A078. Published by Editions Bourges (BU.EBR-A078). ISBN 9790560151656. 8.58 x 12.48 inches. La collection ANACROUSE offre aux pianistes novices et confirmés un large choix d’œuvres classiques, allant de la Renaissance à l’époque moderne.
Proposer tout à la fois des « incontournables » du répertoire classique et des pièces de compositeurs parfois oubliés, toutes d’une valeur pédagogique indéniable, tels sont les objectifs que nous nous sommes fixés. Chaque pièce, vendue à l’unité, a fait l’objet d’un travail éditorial attentif, tant sur le plan de l’établissement du texte musical que de sa gravure, afin de garantir aux musiciens les conditions indispensables aux plaisirs tirés du commerce fréquent de ces œuvres.
Les partitions sont proposées sous la forme d’ouvrages traditionnels (feuillets papier), et disponibles également par téléchargement.
Ce morceau fut composé par Berlioz en 1846 sous le titre « Marche de Rakóczi », pour être ensuite inséré dans la première partie de la damnation de Faust, « opéra de concert » créé le 6 décembre de la même année. Empruntant la forme du lied ternaire ABA, cette puissante composition exalte le sentiment patriotique hongrois. Exécutée à Pest dans sa version orchestrale et sous la baguette du compositeur français, elle connut un immense succès et déchaîna un enthousiasme indescriptible. Pour les cinéphiles, cette musique est à jamais liée à l’acteur Louis de Funès qui la dirigea avec humour et talent dans le film culte La Grande Vadrouille de Gérard Oury. $9.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Barenreiter Opera Kleidoscope for Soprano Soprano voice, Piano Barenreiter
This edition: urtext. Stapled. Vocal score, anthology. 62 pages. Published by...(+)
This edition: urtext.
Stapled. Vocal score,
anthology. 62 pages.
Published by Baerenreiter
Verlag
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| March To The Scaffold Concert band - Intermediate Southern Music Ltd
(Band/Concert Band Music). By Hector Berlioz (1803-1869). Arranged by Rogers, R....(+)
(Band/Concert Band Music). By Hector Berlioz (1803-1869). Arranged by Rogers, R. Mark. For Concert Band. Band - Concert Band Music. Southern Music. Grade 4. Southern Music Company #S762EP. Published by Southern Music Company
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| Dream of a Witches' Sabbath Concert band Southern Music Ltd
Composed by Hector Berlioz (1803-1869). Arranged by R. Mark Rogers. For Concert ...(+)
Composed by Hector Berlioz (1803-1869). Arranged by R. Mark Rogers. For Concert Band (Score and Parts). Band - Concert Band Music. Southern Music. Grade 5. Southern Music Company #S887CB. Published by Southern Music Company
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| Marche au Supplice Concert band [Score] - Intermediate De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-0991575-140 Composed by Hecto...(+)
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-0991575-140 Composed by Hector Berlioz. The Great Classics. Score Only. Composed 1999. De Haske Publications #DHP 0991575-140. Published by De Haske Publications (BT.DHP-0991575-140). Berliosz sagte einst: 'Mein Leben ist ein Roman, der mich sehr interessiert'. Ereignisse aus seinem persönlichen Leben hinterließen einen großen Eindruck in seinen Kompositionen. Auch die Symphonie Fantastique von 1830 ist autobiographisch; das Werk trägt den Untertitel 'Episode aus dem Leben eines Künstlers'. Die Sinfonie handelt von seinen Gefühlen für eine Schauspielerin. Den Marche au Supplice fasste er in folgende Worte: Der Künstler träumt, seine Geliebte sei gestorben und ihn, zum Tode verurteilt, führe man zum Schaffot.. $36.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Dream Of A Witches Sabbath Full Score Concert band [Score] Southern Music Ltd
(Band/Concert Band Music). By Hector Berlioz (1803-1869). Arranged by Rogers, R....(+)
(Band/Concert Band Music). By Hector Berlioz (1803-1869). Arranged by Rogers, R. Mark. For Concert Band (Score). Band - Concert Band Music. Southern Music. Grade 5. 72 pages. Southern Music Company #S887FS. Published by Southern Music Company
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| Romeo et Juliette op. 17 [Reduction] Breitkopf & Härtel
Composed by Hector Berlioz (1803-1869). Edited by R. Kleinmichel. This edition: ...(+)
Composed by Hector Berlioz (1803-1869). Edited by R. Kleinmichel. This edition: paperback. Edition Breitkopf. Romantic. Piano reduction. 192 pages. Published by Breitkopf and Haertel (BR.EB-1845).
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| March To The Scaffold Full Score Concert band [Score] - Intermediate Southern Music Ltd
(Band/Concert Band Music). By Hector Berlioz (1803-1869). Arranged by Rogers, R....(+)
(Band/Concert Band Music). By Hector Berlioz (1803-1869). Arranged by Rogers, R. Mark. For Concert Band (Score). Band - Concert Band Music. Southern Music. Grade 4. 32 pages. Southern Music Company #S762FS. Published by Southern Music Company
$18.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| March To The Scaffold Concert band - Intermediate Southern Music Ltd
(Band/Concert Band Music). By Hector Berlioz (1803-1869). Arranged by Rogers, R....(+)
(Band/Concert Band Music). By Hector Berlioz (1803-1869). Arranged by Rogers, R. Mark. For Concert Band. Band - Concert Band Music. Southern Music. Grade 4. Southern Music Company #S762CB. Published by Southern Music Company
$94.95 $90.2025 (5% off) See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Allegro Trumpet, Piano [Reduction] Theodore Presser Co.
By Joseph Hector Fiocco. Arranged by R. Bernard Fitzgerald. For trumpet, piano. ...(+)
By Joseph Hector Fiocco. Arranged by R. Bernard Fitzgerald. For trumpet, piano. Published by Theodore Presser Company.
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