| Live at the Opera - Flute Flute [Sheet music + CD] - Easy De Haske Publications
Flute - early intermediate SKU: BT.DHP-1175761-400 The world's most be...(+)
Flute - early intermediate SKU: BT.DHP-1175761-400 The world's most beautiful arias with full orchestra play along. Opera or Operetta. Book with CD. Composed 2017. 64 pages. De Haske Publications #DHP 1175761-400. Published by De Haske Publications (BT.DHP-1175761-400). ISBN 9789043151795. English-German-French-Dutch. Great opera singers have enthralled us for over three hundred years. When we see them on stage our ears are filled with some of the finest classical melodies of all time. Live at the Opera makes this precious treasure trove accessible to instrumentalists, too: 15 Italian operatic arias have been individually arranged for flute, recorded by the world-renowned flautist Walter Auer. The accompaniment is supplied by an authentic opera orchestra, and it is also available as a play-along version without the soloist. A historical background to each piece, along with performance tips, is included in this unique collection.
Al meer dan driehonderd jaar weten grote operazangers en -zangeressen hun publiek te betoveren. Wanneer ze voor ons op het podium staan, vertolken ze melodieën die behoren tot de allermooiste van de klassieke muziek. Live at the opera maakt deze schat aan melodieën nu ook toegankelijk voor instrumentalisten: vijftien Italiaanse opera-ariaâ??s zijn speciaal gearrangeerd voor fluit en opgenomen door de wereldberoemd fluitist Walter Auer. Een echt operaorkest neemt de begeleiding voor zijn rekening, die op de meespeelversie ook zonder solo-instrumentalist beschikbaar is. Verder zijn in deze unieke collectie muziekhistorische achtergrondinformatie bij iedere aria en tipsvoor de uitvoering opgenomen.
Schon seit mehr als dreihundert Jahren ziehen gro�e Opernsängerinnen und -sänger uns in ihren Bann. Wenn sie auf der Bühne stehen, bringen sie einige der schönsten klassischen Melodien aller Zeiten zu Gehör. Live at the Opera macht diesenkostbaren Melodienschatz nun auch Instrumentalisten zugänglich: 15 italienische Opernarien wurden individuell für Flöte eingerichtet und werden von dem weltweit renommierten Flötisten Walter Auer vorgespielt. Ein echtes Opernorchester übernimmt dabeidie Begleitung, welche zusätzlich auch in einer Mitspielversion ohne den Solisten zur Verfügung steht. Musikhistorisches Hintergrundwissen und Ausführungstipps zu den einzelnen Arien sind weitere Pluspunkte dieser einzigartigen Sammlung.
Les grandes chanteuses lyriques nous captivent depuis plus de trois siècles. Lorsque nous les voyons sur scène, nos oreilles se délectent de mélodies qui comptent parmi les plus belles de tous les temps. Live at the Opera permet aux instrumentistes dâ??accéder également ces trésors : 15 arias dâ??opéras ont été individuellement arrangés pour la fl te et enregistrés par le fl tiste de renommée internationale Walter Auer. Interprété par un authentique orchestre dâ??opéra, lâ??accompagnement est également fourni sous forme de playback, sans le soliste. Cette collection unique sâ??accompagne dâ??informations sur lâ??histoire des opéras sélectionnés, ainsi que de conseils dâ??interprétation.
Da oltre tre secoli i grandi cantanti di opera entusiasmano il pubblico con performance che fanno rivivere le melodie classiche più amate. Live at the Opera d la possibilit ai musicisti di cimentarsi con questo repertorio grazie a 15 ariedellâ??opera italiana arrangiate per flauto, clarinetto e tromba. Disponibili inoltre le basi orchestrali e la versione play-along senza la parte solista di ogni traccia. Arricchiscono lâ??edizione unâ??introduzione storica per ciascun brano e utili consigli per lâ??interpretazione. $25.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Operasangbogen, Spiral Opera Wilhelm Hansen
Opera SKU: HL.14024191 Composed by Inge Marstal and Kaj Norholm. Music Sa...(+)
Opera SKU: HL.14024191 Composed by Inge Marstal and Kaj Norholm. Music Sales America. Opera or Operetta. Softcover. Composed 2005. 176 pages. Edition Wilhelm Hansen #WH30262A. Published by Edition Wilhelm Hansen (HL.14024191). ISBN 9788759807668. Danish. Operasangbogens idé er at præsentere en række af de mest kendte og sangbare arier, duetter og korsatser i en overskuelig og umiddelbar tilgængelig form for et bredt publikum. Repertoiret spænder fra operaens begyndelse i 1600-tallet med Monteverdi og frem til første halvdel af det 20. århundrede med Gershwin. Alle satser er forsynet med becifring, udarbejdet således, at at de ligger så tæt op ad originalsatserne som muligt. Hvor det er fundet hensigtsmæssigt bringes forspil, efterspil, mellemspil og udfyldninger i stiknodenotation. $28.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Higglety Pigglety Pop! Voice solo Faber Music Limited
(Fantasy Opera in One Act). Composed by Oliver Knussen (1952-). For Voice. Maste...(+)
(Fantasy Opera in One Act). Composed by Oliver Knussen (1952-). For Voice. Masterworks; Score; Vocal (Opera) Score. Faber Edition. 20th Century; Masterwork. Published by Faber Music
$135.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Horen, lezen & spelen - Mijn eerste opera Trombone and Piano - Beginner De Haske Publications
Trombone and Piano - very easy, easy SKU: BT.DHP-1185949-404 Trombone ...(+)
Trombone and Piano - very easy, easy SKU: BT.DHP-1185949-404 Trombone (BC). Arranged by Markus Schenk. Horen, Lezen en Spelen. Opera or Operetta. Book with Part and Audio-Online. Composed 2018. 28 pages. De Haske Publications #DHP 1185949-404. Published by De Haske Publications (BT.DHP-1185949-404). ISBN 9789043154499. Dutch. Horen, lezen & spelen is tegenwoordig de standaard in het blaasmuziekonderwijs. Deze aantrekkelijke beginnersmethode (boek met cd) bevat liedjes, puzzels en spelletjes om leerlingen te helpen muziek te begrijpen, informatie over het instrument, en vooral veel stukjes die leuk zijn om te spelen. De drie delen van de methode die de basis van de serie vormen, worden aangevuld door verschillende boeken met extra materiaal dat correspondeert met de voortgang in de methode. In Mijn eerste opera zijn beroemde aria’s, koren en ouvertures ingedeeld in oplopende volgorde van moeilijkheidsgraad; het boek kan worden gebruikt in combinatie met alle drie de delen van deserie Horen, lezen & spelen. Een aantal van de mooiste melodieën uit de wereld van de opera zijn hier bijeengebracht en voorzien van historische commentaar. Leerlingen kunnen pianobegeleidingen gebruiken die online klaarstaan om te streamen of te downloaden. Daarbovenop bevat deze uitgave tevens bladmuziek van de pianobegeleidingen, die vakkundig zijn gearrangeerd voor enigszins gevorderden. $22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Horen, lezen & spelen - Mijn eerste opera Flute and Piano - Beginner De Haske Publications
Flute and Piano - very easy, easy SKU: BT.DHP-1185944-404 Dwarsfluit(+)
Flute and Piano - very easy, easy SKU: BT.DHP-1185944-404 Dwarsfluit. Arranged by Markus Schenk. Horen, Lezen en Spelen. Opera or Operetta. Book with Part and Audio-Online. Composed 2018. 28 pages. De Haske Publications #DHP 1185944-404. Published by De Haske Publications (BT.DHP-1185944-404). ISBN 9789043154444. Dutch. Horen, lezen & spelen is tegenwoordig de standaard in het blaasmuziekonderwijs. Deze aantrekkelijke beginnersmethode (boek met cd) bevat liedjes, puzzels en spelletjes om leerlingen te helpen muziek te begrijpen, informatie over het instrument, en vooral veel stukjes die leuk zijn om te spelen. De drie delen van de methode die de basis van de serie vormen, worden aangevuld door verschillende boeken met extra materiaal dat correspondeert met de voortgang in de methode. In Mijn eerste opera zijn beroemde aria’s, koren en ouvertures ingedeeld in oplopende volgorde van moeilijkheidsgraad; het boek kan worden gebruikt in combinatie met alle drie de delen van deserie Horen, lezen & spelen. Een aantal van de mooiste melodieën uit de wereld van de opera zijn hier bijeengebracht en voorzien van historische commentaar. Leerlingen kunnen pianobegeleidingen gebruiken die online klaarstaan om te streamen of te downloaden. Daarbovenop bevat deze uitgave tevens bladmuziek van de pianobegeleidingen, die vakkundig zijn gearrangeerd voor enigszins gevorderden. $22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Horen, lezen and spelen - Mijn eerste opera Clarinet and Piano [Sheet music + Audio access] - Beginner De Haske Publications
Clarinet and Piano - very easy, easy SKU: BT.DHP-1185945-404 Klarinet. Arranged...(+)
Clarinet and Piano - very easy, easy
SKU: BT.DHP-1185945-404
Klarinet. Arranged by Markus Schenk. Horen, Lezen en Spelen. Opera or Operetta. Book with Part and Audio-Online. Composed 2018. 28 pages. De Haske Publications #DHP 1185945-404. Published by De Haske Publications (BT.DHP-1185945-404).
ISBN 9789043154451. Dutch.
Horen, lezen and spelen is tegenwoordig de standaard in het blaasmuziekonderwijs. Deze aantrekkelijke beginnersmethode (boek met cd) bevat liedjes, puzzels en spelletjes om leerlingen te helpen muziek te begrijpen, informatie over het instrument, en vooral veel stukjes die leuk zijn om te spelen. De drie delen van de methode die de basis van de serie vormen, worden aangevuld door verschillende boeken met extra materiaal dat correspondeert met de voortgang in de methode.
In Mijn eerste opera zijn beroemde ariaâs, koren en ouvertures ingedeeld in oplopende volgorde van moeilijkheidsgraad; het boek kan worden gebruikt in combinatie met alle drie de delen van deserie Horen, lezen and spelen. Een aantal van de mooiste melodieën uit de wereld van de opera zijn hier bijeengebracht en voorzien van historische commentaar. Leerlingen kunnen pianobegeleidingen gebruiken die online klaarstaan om te streamen of te downloaden. Daarbovenop bevat deze uitgave tevens bladmuziek van de pianobegeleidingen, die vakkundig zijn gearrangeerd voor enigszins gevorderden.
$22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Horen, lezen & spelen - Mijn eerste opera French Horn and Piano - Beginner De Haske Publications
Horn and Piano - very easy, easy SKU: BT.DHP-1185948-404 Hoorn (F)...(+)
Horn and Piano - very easy, easy SKU: BT.DHP-1185948-404 Hoorn (F). Arranged by Markus Schenk. Horen, Lezen en Spelen. Opera or Operetta. Book with Part and Audio-Online. Composed 2018. 28 pages. De Haske Publications #DHP 1185948-404. Published by De Haske Publications (BT.DHP-1185948-404). ISBN 9789043154482. Dutch. Horen, lezen & spelen is tegenwoordig de standaard in het blaasmuziekonderwijs. Deze aantrekkelijke beginnersmethode (boek met cd) bevat liedjes, puzzels en spelletjes om leerlingen te helpen muziek te begrijpen, informatie over het instrument, en vooral veel stukjes die leuk zijn om te spelen. De drie delen van de methode die de basis van de serie vormen, worden aangevuld door verschillende boeken met extra materiaal dat correspondeert met de voortgang in de methode. In Mijn eerste opera zijn beroemde aria’s, koren en ouvertures ingedeeld in oplopende volgorde van moeilijkheidsgraad; het boek kan worden gebruikt in combinatie met alle drie de delen van deserie Horen, lezen & spelen. Een aantal van de mooiste melodieën uit de wereld van de opera zijn hier bijeengebracht en voorzien van historische commentaar. Leerlingen kunnen pianobegeleidingen gebruiken die online klaarstaan om te streamen of te downloaden. Daarbovenop bevat deze uitgave tevens bladmuziek van de pianobegeleidingen, die vakkundig zijn gearrangeerd voor enigszins gevorderden. $22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Anthologie de l'Opera francais XIXe siecle: Soprano leger / lyrique leger, Volume II Soprano voice [Sheet music] Prima Voce Editions
(Anthology of 19th Century French Opera). By Various. For Light/Light Lyric Sopr...(+)
(Anthology of 19th Century French Opera). By Various. For Light/Light Lyric Soprano Voice. Opera. Collection
$28.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Anthologie de l'Opera francais XIXe siecle: Basse, Volume I Low voice Prima Voce Editions
(Anthology of 19th Century French Opera). By Various. For Bass Voice. Opera. Col...(+)
(Anthology of 19th Century French Opera). By Various. For Bass Voice. Opera. Collection
$28.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Opera Aria Anthology, Volume 4: (Baritone) Baritone voice, Piano Schirmer
Arranged by Hoffman/Hanson. For Baritone voice and piano. Vocal Collections, Ope...(+)
Arranged by Hoffman/Hanson. For Baritone voice and piano. Vocal Collections, Opera. Published by E.C. Schirmer Publishing.
$33.60 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Opera Aria Anthology, Volume 3: (Tenor) Piano, Voice Schirmer
Arranged by Hoffman/Hanson. For Tenor & piano. Vocal Collections, Opera. Publish...(+)
Arranged by Hoffman/Hanson. For Tenor & piano. Vocal Collections, Opera. Published by E.C. Schirmer Publishing.
(1)$30.45 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Maritana Fantasy: On V. Wallace's Opera Flute and Piano - Intermediate Southern Music Ltd
For Flute and Piano. Composed by Charles LeThiere. Arranged by James Galway. ...(+)
For Flute and Piano.
Composed by Charles
LeThiere. Arranged by James
Galway. Southern Music.
Opera, Flute, Classical.
Softcover. 12 pages.
Southern Music Company
#SU802. Published by
Southern Music Company
$12.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Ballet And Its Music Piano solo Schott
Piano SKU: HL.49002680 Composed by Knight. This edition: Hardback/Hard Co...(+)
Piano SKU: HL.49002680 Composed by Knight. This edition: Hardback/Hard Cover. Book. Edition Schott. Classical. 112 pages. Schott Music #ED 11151. Published by Schott Music (HL.49002680). ISBN 9780901938039. English. Ballet an its Music traces the influence of the outstanding personalities in the world of ballet from the seventeenth century to the present day. The development of dance-technique and ballet music is followed from the courtly and peasant dances of the High Renaissance through to contemporary productions. The author deals in detail not only with the great choreographers, past and present, but also with the composers whose names are especially linked with ballet and who have made a significant contribution to music for the dance. She combines a historical narrative with a perceptive treatment of world-famous Schools and Companies. Ballet and its Music is copiously illustrated with photographs and engravings. A special feature of the book is the collection of music extracts from many famous ballets, arranged for piano solo, which will make it particularly attractive to the student an amateur musician. Althrough primarily intended for young people embarking on a study of ballet, the wealth of information contained in this book will make it a stimulating and invaluable guide for readers of all ages. $23.95 - See more - Buy online | | |
| Alt/Mezzo Soprano Opera Arias Opera [Vocal Score] Barenreiter
(Arias, Chansons, Couplets and Ballades from 7 Operas). By Giacomo Meyerbeer (17...(+)
(Arias, Chansons, Couplets and Ballades from 7 Operas). By Giacomo Meyerbeer (1791-1864). Edited by Peter Kaiser. For Alto (Choir Voice)/Mezzo-Soprano, Piano. Opern, ital. (Italian Opera). Singing Score; Playing Score (paperbound)
$39.95 - 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 | | |
| The Letter Opera Subito Music
Opera in Eight Scenes (Cast: Soprano, Mezzo-Soprano, 3 Tenors, Baritone, Bass-Ba...(+)
Opera in Eight Scenes (Cast: Soprano, Mezzo-Soprano, 3 Tenors, Baritone, Bass-Baritone 2,1 2,1 2,1 2; t-sax; 4340; timpani, percussion, harp; strings) SKU: SU.91770590 Opera in Eight Scenes. Composed by Paul Moravec. Vocal/Choral, Opera. Opera. Study Score. Composed 2009. Duration ca. 90'. Subito Music Corporation #91770590. Published by Subito Music Corporation (SU.91770590). Libretto: Terry Teachout. Cast: Soprano, Mezzo-Soprano, 3 Tenors, Baritone, Bass-Baritone Instrumentation: 2,1 2,1 2,1 2; t-sax; 4340; timp, perc, hp; stgs Duration: ca. 90' Libretti: Terry Teachout, after the play by W. Somerset Maugham Vocal Score: available for sale (#91770591) Libretti: available for sale (#91770595) Composd: 2009 Published by: Subito Music Corporation World Premiere: Santa Fe Opera, July 25, 2009. $100.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Letter Opera Subito Music
Opera in Eight Scenes (Cast: Soprano, Mezzo-Soprano, 3 Tenor, Baritone, Bass-Bar...(+)
Opera in Eight Scenes (Cast: Soprano, Mezzo-Soprano, 3 Tenor, Baritone, Bass-Baritone) SKU: SU.91770595 Opera in Eight Scenes. Composed by Paul Moravec. Vocal/Choral, Opera. Opera. Libretto. Composed 2009. Duration ca. 90'. Subito Music Corporation #91770595. Published by Subito Music Corporation (SU.91770595). Libretto: Terry Teachout. Cast: Leslie Crosby (Soprano), A Chinese Woman (Mezzo-Soprano), Geoff Hammond (Tenor), On Chi Seng (Tenor), John Withers (Tenor), Robert Crosbie (Baritone), Howard Joyce (Bass-Baritone) Libretto: Terry Teachout, after the play by W. Somerset Maugham Duration: ca. 90'
Study Score: available for sale (#91770590) Vocal Score: available for sale (#91770591) Composed: 2009 Published by: Subito Music Publishing
World Premiere: Santa Fe Opera, July 25, 2009. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Overture No. 2 for the Opera 'Leonore' Choral, Orchestra [Study Score / Miniature] G. Henle
For the Opera 'Leonore' (1807) Study Score. Composed by Ludwig van Beethoven ...(+)
For the Opera 'Leonore'
(1807) Study Score. Composed
by Ludwig van Beethoven
(1770-1827). Edited by Helga
Luhning. Henle Study Scores.
Classical, Opera. Softcover.
56 pages. G. Henle #HN9045.
Published by G. Henle
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| Boosey and Hawkes Opera Anthology - Soprano Soprano voice, Piano Boosey and Hawkes
Composed by Various. Edited by Richard Walters. Boosey and Hawkes Voice. Opera...(+)
Composed by Various. Edited
by Richard Walters. Boosey and
Hawkes Voice. Opera.
Softcover. 306 pages.
Published by Boosey and Hawkes
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| Duos d'Opera - Opera francais XIXe siecle: Soprano et Baryton, Vol. I Vocal duet [Sheet music] Prima Voce Editions
(Opera Duets - 19th Century French Opera). By Various. Vocal Duet. For Soprano V...(+)
(Opera Duets - 19th Century French Opera). By Various. Vocal Duet. For Soprano Voice and Baritone Voice. Opera. Collection
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| Caro Nome Che Il Mio Cor (S.) De La Opera Rigolet Opera Ricordi
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| Il cavaliere dell'intelletto Opera Casa Musicale Sonzogno
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