| Be not afraid (Furchtet euch nicht) Organ - Easy Carus Verlag
Soprano voice solo, SST/ATTB choir, 4 bassoon (4 trombones or 4 strings), organ ...(+)
Soprano voice solo, SST/ATTB choir, 4 bassoon (4 trombones or 4 strings), organ - Level 2 SKU: CA.4045211 Composed by Johann Rudolf Ahle. Edited by Volker Kalisch. Arranged by Paul Horn. German title: Furchtet euch nicht. Sacred vocal music, Christmas. Single Part, Cello/Double Bass. 2 pages. Duration 7 minutes. Carus Verlag #CV 40.452/11. Published by Carus Verlag (CA.4045211). ISBN 9790007068615. Key: G major. Language: German/English. Score available separately - see item CA.4045200. $2.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Die guldne Sonne [Score] - Easy Carus Verlag
SAM choir - Level 2 SKU: CA.313860 Composed by Johann Georg Ahle. Sacred ...(+)
SAM choir - Level 2 SKU: CA.313860 Composed by Johann Georg Ahle. Sacred vocal music. Die Guldne Sonne. Sacred vocal music. Full score. Composed 1671. Duration 3 minutes. Carus Verlag #CV 03.138/60. Published by Carus Verlag (CA.313860). ISBN 9790007152710. Key: G major. Language: German. Text: von Zesen, Philipp. Text: Philipp von Zesen. $1.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Blessed Jesu, at thy word (Liebster Jesu, wir sind hier) [Score] - Easy Carus Verlag
SAM choir, [organ] - Level 2 SKU: CA.324410 Composed by Florian Mayr, Joh...(+)
SAM choir, [organ] - Level 2 SKU: CA.324410 Composed by Florian Mayr, Johann Rudolf Ahle, and Wolfgang Carl Briegel. Separate edition with choral collection. Sacred vocal music, Praise and thanks. Full score. Composed 2012. Duration 2 minutes. Carus Verlag #CV 03.244/10. Published by Carus Verlag (CA.324410). ISBN 9790007178734. Key: F major. Text language: German. Text: Clausnitzer, Tobias. $1.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Jahreszeiten Piano, Voice SATB, Orchestra Music Distribution Services
Voice and piano SKU: M7.DOHR-16331 4 Songs on poetry by Johannes Helm<...(+)
Voice and piano SKU: M7.DOHR-16331 4 Songs on poetry by Johannes Helm. Composed by Lothar Graap. Sheet music. MDS (Music Distribution Services) #DOHR 16331. Published by MDS (Music Distribution Services) (M7.DOHR-16331). ISBN 9790202033319. German. Die vertonten Gedichte sind dem Band Seh ich Raben, ruf ich, Brüder entnommen, der Bilder und Gedichte von Johannes Helm enthält. $12.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Titan's Progress Faber Music Limited
Concert Band Brass Band SKU: AP.12-0571569676 Composed by Hermann Pallhub...(+)
Concert Band Brass Band SKU: AP.12-0571569676 Composed by Hermann Pallhuber. 5 or More; Brass Band; Performance Music Ensemble; Solo Small Ensembles. Faber Edition: Faber Brass Band Series. 20th Century; Masterwork. Score and Part(s). Faber Music #12-0571569676. Published by Faber Music (AP.12-0571569676). ISBN 9780571569670. English. Titan's Progress, which is Hermann Pallhuber's first work for the British style brass band, contains references to the music of Gustav Mahler. Motifs from Mahler's First Symphony are employed throughout and especially the principal theme of the finale. Pallhuber's music is programmatic and uses the content of the novel and its hero Albano's evolution for its underlying structure. The stylistic variety of the work (including the Chorale, an impudent Landler, a dancing Farandole, and a climactic Fugue) are Mahleresque in their influences.
Titan was a novel by the German author Johann Paul Friedrich Richter, who later known as Jean Paul, and was considered the author's main work. At almost 900 pages in length, it tells the story of the transition of its hero, Albano de Cesara, from a passionate youth to a mature man. Jean Paul was one of Gustav Mahler's favorite authors and the latter gave the original five-movement version of his first symphony the subtitle The Titan -- in deference to Jean Paul's novel. $175.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Vom Musikalischen Denken Schott
SKU: HL.49007124 Gesammelte Vortrage. Composed by Rudi Stephan. Ed...(+)
SKU: HL.49007124 Gesammelte Vortrage. Composed by Rudi Stephan. Edited by Andreas Traub and Rainer Damm. This edition: Paperback/Soft Cover. Book. Edition Schott. Classical. 364 pages. Schott Music #ED 7300. Published by Schott Music (HL.49007124). ISBN 9783795717896. German. Rudolf Stephans Gesammelte Vortrage aus den Jahren 1964-1984 lassen die Grundintentionen seines wissenschaftlichen Arbeitens deutlich hervortreten: das musikalische Werk als individuelle Manifestation musikalischen Denkens zu begreifen. Stets stellt er die Musik selbst in den Mittelpunkt und sucht ihre Gesetzmassigkeiten und Strukturen aufzuspuren, zu beschreiben und zu begrunden. Mit Texten zu musikalischen Grundfragen, zum Schaffen der grossen Komponisten von Bach bis Reger sowie zu Musik und Musikern des 20. Jahrhunderts, ursprunglich konzipiert fur den lebendigen mundlichen Vortrag, bietet dieser Band einen reprasentativen Uberblick uber die Arbeit des bedeutenden Musikforschers. $31.00 - See more - Buy online | | |
| The Piccolo and Alto Flute Audition Piccolo Universal Edition
Composed by Various. Collection - Full. Universal Edition #UE038080. Publish...(+)
Composed by Various.
Collection - Full. Universal
Edition #UE038080. Published
by Universal Edition
$32.50 - 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 | | |
| Flute Orchestral Excerpts Flute - Advanced The Frederick Harris Music Company
Flute - Beginner - Advanced SKU: FH.FLE01 2010 Edition. Composed b...(+)
Flute - Beginner - Advanced SKU: FH.FLE01 2010 Edition. Composed by The Royal Conservatory. Overtones: A Comprehensive Flute Series. Book. The Frederick Harris Music Company #FLE01. Published by The Frederick Harris Music Company (FH.FLE01). ISBN 978-1-55440-300-4. Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental repertoire and supporting materials such as Studies, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study.This compilation of standard orchestral passages for flute is an indispensable resource for the developing years and beyond. Teachers and students will find this unrivalled volume essential for examination or audition preparation.
Slavonic Dances, op. 46, no. 1 Antonin Dvorak Symphony No. 100 in G Major (Military): II Franz Joseph Haydn Le carnaval des animaux: Aquarium Camille Saint-Saens HMS Pinafore: I'm Called Little Buttercup Arthur Sullivan La forza del destino: Overture Giuseppe Verdi Serse (Xerxes), HWV 40: Va godendo vezzoso e bello George Frideric Handel Symphony No. 100 in G Major (Military): III Franz Joseph Haydn Ma Vlast: II Bedrich Smetana HMS Pinafore: When I Was a Lad Arthur Sullivan Nutcracker Suite: Overture Pyotr Il'yich Tchaikovsky Symphony No. 6 (Pastoral): III Ludwig van Beethoven Symphony No. 9 in E Minor, op. 95 (New World): I Antonin Dvorak Faust: Soldier's Chorus Charles Gounod Peer Gynt Suite No. 1, op. 46: I Edvard Grieg Symphony No. 102 in B flat Major: I Franz Joseph Haydn Brandenburg Concerto No. 4, BWV 1049: III Johann Sebastian Bach Carmen: La garde montante Georges Bizet Petite suite: Ballet IV Claude Debussy Symphony No. 100 in G Major (Military): IV Franz Joseph Haydn Symphony No. 40 in G Minor, K 550: III Wolfgang Amadeus Mozart Symphony No. 5: IV Ludwig van Beethoven Carmen: Act 1, Prelude Georges Bizet Faust Ballet Music: Danse antique Charles Gounod Symphony No. 102 in B flat Major: IV Franz Joseph Haydn Scheherazade, op. 35: IV Nicolai Rimsky-Korsakov Symphony No. 6 (Pastoral): I, II Ludwig van Beethoven Symphonie fantastique: V Hector Berlioz Die Zauberfloete: Wie stark ist nicht dein Zauberton Wolfgang Amadeus Mozart Bolero Maurice Ravel Scheherazade, op. 35: I Nicolai Rimsky-Korsakov Brandenburg Concerto No. 4, BWV 1049: I Johann Sebastian Bach Symphonie fantastique: I Hector Berlioz Carmen: Entr'acte (Prelude) Georges Bizet Symphony No. 1 in C Minor: IV Johannes Brahms Die Zauberfloete: Overture Wolfgang Amadeus Mozart Symphony No. 8 in G Major: IV Antonin Dvorak Leonore Overture No. 3, op. 72a Ludwig van Beethoven Symphony No. 4 in E Minor: IV Johannes Brahms La mer: I, II, III Claude Debussy Symphony No. 4 (Italian): IV Felix Mendelssohn Symphony No. 1 (Classical): II Sergei Prokofiev Symphony No. 3 in E flat Major (Eroica): IV Ludwig van Beethoven Prelude a l'apres-midi d'un faune Claude Debussy Sinfonie Mathis der Maler: I, II Paul Hindemith Incidental Music to A Midsummer Night's Dream, op. 61: Scherzo Felix Mendelssohn Petroushka (1947 revision): Part 1 Igor Stravinsky Symphony No. 4 in F Minor: III Pyotr Il'yich Tchaikovsky Capriccio espagnol, op. 34: IV Nicolai Rimsky-Korsakov Symphony No. 1 (Classical): IV Sergei Prokofiev Concerto for Orchestra: I, II, III, IV, V Bela Bartok Symphonic Metamorphosis after Themes by Carl Maria von Weber: II, III Paul Hindemith Das Lied von der Erde: VI Gustav Mahler Peter and the Wolf, op. 67 Sergei Prokofiev Le carnaval des animaux: 10. Voliere Camille Saint-Saens Daphnis et Chloe: Troisieme partie Maurice Ravel Guillaume Tell: Overture Gioachino Rossini Till Eulenspiegel's Merry Pranks Richard Strauss Firebird Suite (1919 version) Igor Stravinsky Symphony No. 9: IV Ludwig van Beethoven Concerto for Orchestra: III Bela Bartok Scheherezade, op. 35: IV Nicolai Rimsky-Korsakov Semiramide: Overture Gioachino Rossini Symphony No. 5, op. 47: I, II Dmitri Shostakovich. About Overtones Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental Repertoire and supporting materials such as Etudes, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study and is the official series for those using The Royal Conservatory Music Development program. $29.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| English Suite No. 3 in G minor BWV 808 for Trombone Quartet Brass Quartet: 4 trombones [Score and Parts] - Advanced Cherry Classics
Trombone Quartet - advanced SKU: CY.CC2949 Composed by Johann Sebastian B...(+)
Trombone Quartet - advanced SKU: CY.CC2949 Composed by Johann Sebastian Bach. Arranged by Albert Burgstahler. Baroque. Score and parts. 61 pages. Cherry Classics #2949. Published by Cherry Classics (CY.CC2949). ISBN 9790530057681. The English Suites are an early set of six suites written for harpsichord around 1718-1720. The name English has come from a claim that these works may have been composed for an English nobleman. This very imaginative arrangement for Trombone Quartet by Mr. Burgstahler is appropriate for advanced performers and is in eight movements: Prelude, Allemande, Courante, Sarabande, Sarabande embellished (added by the arranger), Gavotte I, Gavotte II and Gigue. This arrangement can be played in its entirety or even just a few of the movements, still with much satisfaction for the performers. $37.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Serenata, im Walde zu singen Moseler Verlag
Male voice, mixed choir (SATB), 2 flutes, 2 clarinets and strings SKU: M2.MOS...(+)
Male voice, mixed choir (SATB), 2 flutes, 2 clarinets and strings SKU: M2.MOS-68010-01 Wenn hier nun kahler Boden war. Composed by Johann Abraham Peter Schulz. Choral score. Möseler Verlag #MOS 68010-01. Published by Möseler Verlag (M2.MOS-68010-01). ISBN 9790203772002. Das Gedicht aus dem Wandsbecker Bothen spiegelt Matthias Claudius' Naturfrommigkeit und seine gleichermassen empfindsame und nuchterne christliche Religiositat wider. Die Melodie stammt aus den Lieder im Volkston bey dem Clavier zu singen von Johann Abraham Peter Schulz. Sie ist dort als Melodie mit einer skizzenhaften Klavierbegleitung abgedruckt. Die vorliegende Bearbeitung fur Bariton, Chor und kleines Orchester stammt von Walter Rein. $2.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Sonata B-flat major Violin SATB, Orchestra Moseler Verlag
Violin SKU: M2.MOS-20047 Sonate pour un Violon Seul. Composed by C...(+)
Violin SKU: M2.MOS-20047 Sonate pour un Violon Seul. Composed by Carl August Pesch. Edited by Gotz Bernau. Performance book. Möseler Verlag #MOS 20047. Published by Möseler Verlag (M2.MOS-20047). ISBN 9790203710714. Sonate B-dur: Es gibt nur wenige Werke fur Solovioline aus der Mozart-Zeit; das macht diese Erstveroffentlichung interessant. Die grosse Zeit der Violinvirtuosen Walther, Biber, Westhoff, Pisendel und anderer hatte mit Johann Sebastin Bachs Solosonaten und -partiten einen Abschluss gefunden. Aus der vorklassischen Periode kennen wir ausser vielen Unterrichtswerken fur Violine nur wenige konzertante Kompositionen fur eine Violine allein. Dazu zahlen insbesondere die Sonaten von Friedrich Wilhelm Rust und Johann Friedrich Reichardt, beide aus dem Umkreis Franz Bendas, die aber deutlich an barocke Vorbilder anknupfen. - Die hier vorgelegte Sonate in B-Dur von Pesch ist ein in beiden Satzen fast durchgangig zweistimmiges Stuck. Die Tonart B-Dur mag zunachst etwas befremden, ist aber nicht ungewohnlich, denn auch Solowerke von Westhoff und Rust stehen in dieser Tonart; sie erweist sich als durchaus geigerisch und klangvoll in diesem ungewohnlichen Werk. Die in vielen Veroffentlichungen wiedergegebenen Lebensdaten von Pesch, die aus unbekannter Quelle stammen und immer wieder benutzt wurden, sind durchweg falsch. Aus der Eintragung im Kirchenbuch der Gemeinde St. Blasius in Braunschweig ist der 27. Februar 1791 als Sterbedatum eindeutig festgestellt. Die Braunschweigische Anzeigen schreiben Am 27sten Februar ... verstarb ... Herr Carl August Pesch im 57ten Jahr seines Alters. Im 57ten Jahr bedeutet, dass er 56 Jahre alt wurde, also 1735 geboren ist. Uber seine Herkunft ist bisher wenig bekannt: Nach 1760: Eintritt in den herzoglichen Dienst in Braunschweig; 1763: Leopold Mozart erwahnt Pesch unter den Personen, die er im Gasthof Goldener Lowe in Frankfurt/Main getroffen hat; 1765: Reise mit dem Herzog nach London, dort Veroffentlichung einiger Werke; 1766/1767: Reise mit dem Herzog nach Italien; 1776 Konzerte in Frankfurt/Main. $8.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Serenata, im Walde zu singen Moseler Verlag
Male voice, mixed choir (SATB), 2 flutes, 2 clarinets and strings SKU: M2.MOS...(+)
Male voice, mixed choir (SATB), 2 flutes, 2 clarinets and strings SKU: M2.MOS-68010-60 Wenn hier nun kahler Boden war. Composed by Johann Abraham Peter Schulz. Set of parts. Möseler Verlag #MOS 68010-60. Published by Möseler Verlag (M2.MOS-68010-60). ISBN 9790203772019. Das Gedicht aus dem Wandsbecker Bothen spiegelt Matthias Claudius' Naturfrommigkeit und seine gleichermassen empfindsame und nuchterne christliche Religiositat wider. Die Melodie stammt aus den Lieder im Volkston bey dem Clavier zu singen von Johann Abraham Peter Schulz. Sie ist dort als Melodie mit einer skizzenhaften Klavierbegleitung abgedruckt. Die vorliegende Bearbeitung fur Bariton, Chor und kleines Orchester stammt von Walter Rein. $20.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Merry Christmas Bk/cd Violin Concert band [Score] - Easy De Haske Publications
Concert Band/Harmonie - Grade 2 SKU: HL.44007127 Composed by Johann Sebas...(+)
Concert Band/Harmonie - Grade 2 SKU: HL.44007127 Composed by Johann Sebastian Bach. Arranged by Jacob De Haan. De Haske Play-Along Book. Festive and Solemn Music. Score Only. Composed 2000. De Haske Publications #1002058. Published by De Haske Publications (HL.44007127). UPC: 884088167943. Viele der zahlreichen Werke von Johann Sebastian Bach sind bis heute bei einem grossen Publikum bekannt und beliebt. Hierzu zahlen die Matthaus-Passion, das Weihnachtsoratorium und das Air aus der dritten Orchestersuite. Das Arioso aus BWV 156 gehort ebenfalls zu seinen bekanntesten Kompositionen. Jacob de Haan arrangierte dieses Werk, ohne den Charakter des Originals zu verfalschen. In einer abwechslungsreichen Instrumentierung kommt die Schonheit dieser Musik voll und ganz zur Geltung. $22.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| One-Page Composer Bios Biography Alfred Publishing
(50 Reproducible Biographies of Famous Composers (Teacher's Handbook)). By Jay A...(+)
(50 Reproducible Biographies of Famous Composers (Teacher's Handbook)). By Jay Althouse. This edition: Teacher's Handbook (100% Reproducible). Classroom/Pre-School; General Music and Classroom Publications; Reproducible. Book. 64 pages
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Canons Violin [Solo Part] Carl Fischer
For Any Combination of Stringed Instruments (Violin Book). By Antonio Caldara; C...(+)
For Any Combination of Stringed Instruments (Violin Book). By Antonio Caldara; Cesar Franck; Franz Joseph Haydn; Georges Bizet; Gioachino Cocchi; Goodban; Gustav Mahler; Henry Aldrich; Henry Purcell; Johann Sebastian Bach; Johannes Brahms; John Blow; John Eccles; Ludwig Van Beethoven; Robert Currier. Edited by Robert Currier. For Violin. Solo part. 32 pages. Published by Carl Fischer.
$11.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Werkinterpretation Im Musikunterric Schott
SKU: HL.49006765 Eine kommentierte Bibliographie von Unterrichtsbeispi...(+)
SKU: HL.49006765 Eine kommentierte Bibliographie von Unterrichtsbeispielen und Analysen. Composed by Wolfgang Schmidt-Brunner. This edition: Paperback/Soft Cover. Book. Edition Schott. Classical. 120 pages. Schott Music #ED 6885. Published by Schott Music (HL.49006765). ISBN 9783795729530. German. Dieses Repertoire, das Werke von 70 Komponisten: Josquin des Pres bis John Cage umfasst, soll dem Schulmusiker die Orientierung in der Fulle der musikpadagogischen Unterrichtsliteratur erleichtern und ihm eine Hilfe bei der Unterrichtsvorbereitung sein.Zugleich mag es dem Studierenden erste Anregungen bei der Unterrichtsplanung vermitteln und des weiteren einer kunftigen systematischen Aufarbeitung der (von Michael Alt) sogenannten 'Praktikerliteratur' als bibliographische Grundlage dienen. Die Zusammenstellung enthalt Hinweise auf im allgemeinen leicht erreichbare Veroffentlichungen, in denen Musikwerke unter didaktischem Aspekt analysiert bzw. daruber hinaus in Unterrichtssequenzen mit methodischen Empfehlungen versehen sind. $23.95 - See more - Buy online | | |
| Vox Corno - Intermediate C.L. Barnhouse
Horn solo with piano accompaniment - Grade 4 SKU: CL.084-3586-28 Arranged...(+)
Horn solo with piano accompaniment - Grade 4 SKU: CL.084-3586-28 Arranged by Kilp. Book - Solo Collection. Composed 2007. C.L. Barnhouse #084-3586-28. Published by C.L. Barnhouse (CL.084-3586-28). This collection of twelve beautiful, lyrical works from master composers of the late classical & romantic eras are have been magnificently transcribed for horn and piano by Brian Kilp. Includes works by Rachmaninov, Brahms, Tchaikovsky, and Mahler, these solos are marvelous recital and contest works for the serious horn player. Book includes F horn solo parts, piano accompaniment, and a full-performance CD performed by arranger Kilp. A perfect collection of solos for the hornist to SING with! For advanced players . CONTENTS: Romance, Opus 6, No. 1 - Sergei Rachmaninov Elergy, Opus 3, No. 1 - Sergei Rachmaninov Serenade, Opus 3, No. 5 - Sergei Rachmaninov Don't Sing In My Presence, Beauty - Sergei Rachmaninov Prelude, Opus 23, No. 10 - Sergei Rachmaninov Cello Sonata in G Minor, Mvt. 3 Andante - Sergei Rachmaninov Meine Liebe Ist Grun, Opus 63, No.5 - Johannes Brahms But The Lonely Heart, Opus 6, No. 6 - Pyotr Ilich Tchaikovsky Von Ewiger Liebe, Opus 43, No. 1 - Johannes Brahms De Zwei Blauen Augen - Gustav Mahler Wie Melodien Zieht Es Mir, Opus 105, No. 1 - Johannes Brahms An additional sound sample is available here: www.barnhouse.com/samples/mp3/084-3586-28X.mp3. $49.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Gottschalk School Song Book - Beginner Schott
1-4 Voices and Guitar (BR) - very easy to easy SKU: HL.49023849 Eine L...(+)
1-4 Voices and Guitar (BR) - very easy to easy SKU: HL.49023849 Eine Liedersammlung fur die Sekundarstufe I. Composed by Sell. Edited by Lutz Gottschalk and Stefan Sell. Arranged by Lutz Gottschalk and Stefan Sell. This edition: Paperback/Soft Cover. Sheet music. Kunter-bund-edition. Die Fundgrube zum Singen in Freizeit und Schule. Songbook. 300 pages. Schott Music #BUND71139. Published by Schott Music (HL.49023849). ISBN 9783795756758. 6.25x9.5x0.967 inches. German. Claudia Schmidt. Das Liederbuch enthalt 243 Lieder mit Erklarungen, bearbeitet fur Gesangstimmen (ein bis vier Stimmen) und Gitarrenbegleitung. Der thematische Bogen reicht von Kinderliedern, Volksliedern, franzosischen Chansons uber Spirituals, Folk Songs und Schlager bis hin zu Rock und Pop. Alle Lieder sind als leichte bis mittelschwere Arrangements gut nachzuspielen. Das Buch enthalt Basisinformationen zu jedem Kapitel, begleitende Texte und Erlauterungen zu soziokulturellen Hintergrunden von Autoren und Liedern. Diese Sammlung der besten Lieder und Songs ist mehr als ein Schulliederbuch! Sie ist das ideale Songbook fur Freizeit, Hobby und gesellige Anlasse. $24.99 - See more - Buy online | | |
| Serenata, im Walde zu singen [Score] Moseler Verlag
Male voice, mixed choir (SATB), 2 flutes, 2 clarinets and strings SKU: M2.MOS...(+)
Male voice, mixed choir (SATB), 2 flutes, 2 clarinets and strings SKU: M2.MOS-68010 Wenn hier nun kahler Boden war. Score. Möseler Verlag #MOS 68010. Published by Möseler Verlag (M2.MOS-68010). ISBN 9790203771999. Das Gedicht aus dem Wandsbecker Bothen spiegelt Matthias Claudius' Naturfrommigkeit und seine gleichermassen empfindsame und nuchterne christliche Religiositat wider. Die Melodie stammt aus den Lieder im Volkston bey dem Clavier zu singen von Johann Abraham Peter Schulz. Sie ist dort als Melodie mit einer skizzenhaften Klavierbegleitung abgedruckt. Die vorliegende Bearbeitung fur Bariton, Chor und kleines Orchester stammt von Walter Rein. $14.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Kantat Nr. 140 Choral SATB Gehrmans Musikforlag
SATB choir, solo voice & orchestra (3021-0100-00-0-organ-bas so continuo-strings...(+)
SATB choir, solo voice & orchestra (3021-0100-00-0-organ-basso continuo-strings) SKU: GH.N01046 Vaknen upp, hor ropet skallar. Composed by Johann Sebastian Bach. Choral score. With Language: Swedish. 12 pages. Published by Gehrmans Musikforlag (GH.N01046). ISBN 9790070025003. A4 inches. Text: Biblical / David Ahlen (Swedish). $9.25 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Korkoraler Choral SATB Gehrmans Musikforlag
SATB choir SKU: GH.N01090 For kyrkoarets samtliga son- och helgdagar(+)
SATB choir SKU: GH.N01090 For kyrkoarets samtliga son- och helgdagar. Composed by Johann Sebastian Bach. With Language: Swedish. 108 pages. Published by Gehrmans Musikforlag (GH.N01090). ISBN 9790070025058. 185 x 262 mm inches. Hela kyrkoarets korkoraler; ed K Peters/D Ahlen. Utgar. Ersatts av Bachkoren (1600317). $24.15 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Airs de danse Piano solo Breitkopf & Härtel
By Johann Philipp Kirnberger (1721-1783). Edited by Ulrich Mahlert. For piano. P...(+)
By Johann Philipp Kirnberger (1721-1783). Edited by Ulrich Mahlert. For piano. Paperback. Edition Breitkopf. Urtext edition. 36 pages
$26.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Den rattfardige blir hadanryckt - Partitur Choral SATB [Score] Gehrmans Musikforlag
SATB choir & orchestra (organ-strings) SKU: GH.N02090 Die Gerechten we...(+)
SATB choir & orchestra (organ-strings) SKU: GH.N02090 Die Gerechten werden weggerafft. Composed by Johann Philipp Krieger. Arranged by David Ahlen. Score. With Language: Swedish, German. 12 pages. Published by Gehrmans Musikforlag (GH.N02090). ISBN 9790070026307. A4 inches. Text: Biblical. $12.08 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Double Bass Starter Double Bass [Sheet music + CD] - Easy De Haske Publications
Double Bass - easy SKU: BT.DHP-1115113-400 22 Pieces in various styles...(+)
Double Bass - easy SKU: BT.DHP-1115113-400 22 Pieces in various styles. Composed by Ruud van der Meulen. Book with CD. Composed 2011. 32 pages. De Haske Publications #DHP 1115113-400. Published by De Haske Publications (BT.DHP-1115113-400). ISBN 9789043139205. 9x12 inches. English-German-French-Dutch. In Double Bass Starter you will find a variety of tunes for beginner double bass players - young as well as old. It is a fantastic album, with a solid methodical structure. A range of styles is featured, from classical to jazz and pop. The tunes can be picked or bowed. The CD features demo tracks together with play-along tracks for each piece.
In Double Bass Starter zijn verschillende stukken voor beginners op de contrabas verzameld. Het is zowel een geweldig speelboek als een goed doordachte aanvulling op het gebruikelijke lesmateriaal. Allerlei stijlen passerende revue - van klassiek tot pop. Alle stukken kunnen zowel pizzicato als con arco worden gespeeld.
In Double Bass Starter sind vielfältige Stu?cke fu?r Anfänger auf dem Kontrabass versammelt. Es ist zugleich ein fantastisches Spielbuch und sehr lehrreiches Zusatzmaterial fu?r den Unterricht mit einem durchdachten methodischen Aufbau. Allerlei Stile kommen darin an die Reihe - von Klassik u?ber Jazz bis hin zu Pop. Alle Stu?cke können sowohl gezupft als auch gestrichen werden.Die CD bietet sowohl Demo- als auch Play-Along Tracks an.
Double Bass Starter propose de nombreuses pièces de style divers (classique, jazz ou pop), arrangées pour contrebassiste débutant. Chaque partition contient un large éventail de compléments pédagogiques qui sâ??intégreront facilement votre méthode dâ??apprentissage. Ce fantastique ouvrage offre la possibilité de jouer en pizzicato ou en legato.
In Double Bass Starter troverete una variet di pezzi per avviare i principianti allo studio del contrabbasso. Oltre al materiale pedagogico utile a supportare l'insegnamento, vengono anche trattati tutti i generi musicali dalla classica al jazz al pop. $25.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Zeitgenossische Lied Bass Piano solo Schott
Baritone (bass) and piano SKU: HL.49005832 A selection of 20th-century...(+)
Baritone (bass) and piano SKU: HL.49005832 A selection of 20th-century song literature. Edited by Hermann Reutter. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 56 pages. Schott Music #ED 5748. Published by Schott Music (HL.49005832). ISBN 9790001063081. 9.0x12.0x0.188 inches. $28.99 - See more - Buy online | | |
| Progressive Repertoire for the Double Bass-Vol 1. Piano solo [Reduction] - Easy Carl Fischer
For the Double Bass, Vol. 1 (Piano Accompaniment). By C.B. Hockett; George Vance...(+)
For the Double Bass, Vol. 1 (Piano Accompaniment). By C.B. Hockett; George Vance; Gustav Mahler; Johann Sebastian Bach; Robert Schumann; Winston Jack Budrow. Arranged by George Vance. For Piano. Solo part with piano reduction. 32 pages. Published by Carl Fischer.
$16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Schuh W Richard Strauss Betrachtungen Schott
(HC) SKU: HL.49020780 Betrachtungen und Erinnerungen. Composed by ...(+)
(HC) SKU: HL.49020780 Betrachtungen und Erinnerungen. Composed by Schuh. Edited by Willi Schuh. This edition: Hardback/Hard Cover. Book. Edition Schott. 264 pages. Schott Music #ATL6057. Published by Schott Music (HL.49020780). ISBN 9783254000576. 4.75x7.5x1.068 inches. German. The essential texts written by Richard Strauss were published, still in his own lifetime, by Willi Schuh in the Atlantis publishing house in 1949. The expanded second edition was published in 1957. Apart from Schuh's biography of Strauss, 'Jugend und fruhe Meisterjahre', and the correspondence with Hofmannsthal, 'Betrachtungen und Erinnerungen' is one of the standard books in Strauss literature. $13.95 - See more - Buy online | | |
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