| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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| I Am Making All Things New Choral SATB SATB, Piano - Easy Concordia Publishing House
Piano (SATB) - early intermediate SKU: CR.984283 Composed by David von Ka...(+)
Piano (SATB) - early intermediate SKU: CR.984283 Composed by David von Kampen. Choral. Sacred. Octavo. With music. Concordia Publishing House #984283. Published by Concordia Publishing House (CR.984283). ISBN 9780758659088. 7 x 10.25 inches. David von Kampen masterfully crafts the text of Revelation 21:4 - 5 into an inspiring and striking piece for SATB and piano. A variety of compositional techniques—including declamatory writing, polytextuality, and a skillful use of key—connect the biblical text and song powerfully. Smaller choirs can easily adapt this piece for two-part voicing by singing just soprano and tenor in the middle section. Use this piece for Easter Vigil, during the rest of the Easter Season, on All Saints' Day, and for funerals. Revelation 21:4 - 5 (ESV) He will wipe away ev'ry tear from their eyes, and death shall be no more, neither shall there be mourning nor crying nor pain anymore, for the former things have passed away. And He who was seated on the throne said, 'Behold, I am making all things new.' Alleluia, alleluia, alleluia. Scripture quotation from the ESV® Bible (The Holy Bible, English Standard Version®), copyright © 2001 by Crossway, a publishing ministry of Good News Publishers. All rights reserved. Used by permission. $1.90 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Vocalise-etude for Trombone & Piano Trombone and Piano - Advanced Cherry Classics
Trombone and piano - advanced SKU: CY.CC2865 Composed by Maurice Ravel. A...(+)
Trombone and piano - advanced SKU: CY.CC2865 Composed by Maurice Ravel. Arranged by Ralph Sauer. 20th Century. Solo part and Piano accompaniment. Published by Cherry Classics (CY.CC2865). Vocalise-etude (en forme de Habanera) was originally written for voice and is one more example of a French composer's fascination with the music of Spain. Ravel in particular was fond of this Habanera style, having included it in several of his works. This music also may have been composed as a study for students at the Paris Conservatory. Ravel includes virtuosic runs and portamento effects which Mr. Sauer has effectively used in his fine arrangement for Tenor Trombone. The work of about 3 minutes in length is appropriate for advanced performers. $25.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Two Spanish Dances for Euphonium & Piano Euphonium, Piano (duet) - Advanced Cherry Classics
Euphonium and Piano - advanced SKU: CY.CC2545 Composed by Enrique Granado...(+)
Euphonium and Piano - advanced SKU: CY.CC2545 Composed by Enrique Granados. Arranged by Ralph Sauer. Spanish National. Solo part and piano score. Published by Cherry Classics (CY.CC2545). Granados was a Spanish composer whose music had the unique style of his homeland burned into his soul. He was also a very talented painter in the style of Goya. The Two Dances, 1. Oriental and 2. Fandango are taken from the 12 danzas espanolas, volume I from 1890, for Piano. Mr. Sauer has brilliantly taken the solo Piano part and divided it between solo Euphnium and Piano. Euphonium performers will enjoy working on this style of Spanish Nationalist music of which there is none in the solo repertoire. The Two Dances (in tenor clef) are about 6 1/2 minutes in length and can be performed by advanced musicians. The mp3 sample is an excerpt of the Bass Trombone version taken from a live performance at the 2012 Academy of the West Festival performed by David Hagee and Luis Ortiz, Pianist. $25.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Two Spanish Dances for Trombone & Piano Trombone and Piano - Advanced Cherry Classics
Trombone and Piano - advanced SKU: CY.CC2543 Composed by Enrique Granados...(+)
Trombone and Piano - advanced SKU: CY.CC2543 Composed by Enrique Granados. Arranged by Ralph Sauer. Spanish National. Solo part and piano score. Published by Cherry Classics (CY.CC2543). Granados was a Spanish composer whose music had the unique style of his homeland burned into his soul. He was also a very talented painter in the style of Goya. The Two Dances, 1. Oriental and 2. Fandango are taken from the 12 danzas espanolas, volume I from 1890, for Piano. Mr. Sauer has brilliantly taken the solo Piano part and divided it between solo Trombone and Piano. Trombonists will enjoy working on this style of Spanish Nationalist music of which there is none in the solo repertoire. The Two Dances (in tenor clef) are about 6 1/2 minutes in length and can be performed by advanced musicians. The mp3 sample is an excerpt of the Bass Trombone version taken from a live performance at the 2012 Academy of the West Festival performed by David Hagee and Luis Ortiz, Pianist. $25.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Pictures at an Exhibition Concert band [Score and Parts] Boosey and Hawkes
(Score and Parts). Composed by Modest Petrovich Mussorgsky (1839-1881). Arranged...(+)
(Score and Parts). Composed by Modest Petrovich Mussorgsky (1839-1881). Arranged by Paul Lavender and Maurice Ravel. For Concert Band. Boosey and Hawkes Concert Band. Grade 5. Published by Boosey and Hawkes
$895.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Jazz & Blues(250) All Time Hits Piano solo Music Sales | | |
| Lord, I'm Coming Home Choral SATB SATB, Piano [Octavo] SoundForth
Composed by Benjamin Knoedler. Sacred Anthem. Octavo. SoundForth #10/5080SF. Pub...(+)
Composed by Benjamin Knoedler. Sacred Anthem. Octavo. SoundForth #10/5080SF. Published by SoundForth (S2.10-5080SF).
$2.95 - See more - Buy online | | |
| Winter Dreams Concert band [Score and Parts] - Intermediate Hal Leonard
For Concert Band. Composed by Michael Daugherty (1954-). Michael Daughert...(+)
For Concert Band. Composed by Michael Daugherty (1954-). Michael Daugherty Music. Softcover. Published by Hal Leonard (HL.4004650).
$35.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sing Out! Book 5 Pop Songs for Today's Choirs Sat W/ Audio Down [Sheet music + Audio access] Novello & Co Ltd.
SAT SKU: HL.14043699 Composed by Various. Arranged by Mark De-Lisser. Cho...(+)
SAT SKU: HL.14043699 Composed by Various. Arranged by Mark De-Lisser. Choral. Pop & Rock. Softcover Audio Online. Composed 2015. 48 pages. Novello & Co Ltd. #NOV165209. Published by Novello & Co Ltd. (HL.14043699). ISBN 9781783059621. 9.0x12.0x0.156 inches. English. Book 5 of the Sing Out! series features wonderful new choral arrangements of five top pop tunes, all arranged by renowned Vocal Coach and Choral Director extraordinaire Mark De-Lisser. Each song has been beautifully arranged for SAT chorus, the unison harmonies totally reinvigorating these favourite pop songs. From the classic rock anthem of the 1980s in Toto's Africa , to the modern pop heartbreaker All Of Me by John Legend, these are great songs with even greater arrangements. The unabashed positivity of Nico & Vinz's Am I Wrong makes a fantastic counterpart to the optimism in the face of pain represented by the arrangement of the traditional gospel song Take MyHand, Precious Lord , a tune used to wonderfully affecting effect in the recent film 'Selma'. Finally, this fresh pop choral setlist is rounded off nicely with Ed Sheeran's Thinking Out Loud , a beautiful love song in which the power and emotion of the words will enhance the performance. Arranged for SAT (Soprano/Alto/Tenor) Choir, these songs are designed to be sung to backing tracks, but Piano accompaniments and Guitar chord boxes are included for rehearsal purposes, or if you wish to perform with a live band. Aside from De-Lisser's incredible arrangements, this pack includes an innovative and user-friendly download card with performance backing tracks, full demonstrations and individual rehearsal tracks of each Vocal part recorded by members of ACM Gospel Choir. Helpful hints for performing each piece are also included in this book, giving you everything you need to learn these well-loved songs. Mark De-Lisser is a celebrated Vocal Coach and Choral Director, who has been featured on BBC1's 'Last Choir Standing'. His extensive introduction and notes within this songbook bring a personal touch, as De-Lisser really is passionate about getting people singing, improvising and, most of all, enjoying themselves. The new Choral arrangements of these fantastic pop tracks are ideal for spicing up a performance with these. $17.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Northern Dreams (Reves du Nord) - A Suite in Four Movements Flute and Piano Fennica Gehrman
Flute, piano SKU: FG.55011-583-5 Composed by Heikki Sarmanto. Fennica Geh...(+)
Flute, piano SKU: FG.55011-583-5 Composed by Heikki Sarmanto. Fennica Gehrman #55011-583-5. Published by Fennica Gehrman (FG.55011-583-5). ISBN 9790550115835. A pioneer of Finnish modern jazz, Heikki Sarmanto (1939-) is renowned for his renderings of jazz numbers. No wonder, therefore, that broken chords and familiar keys resonate and sit well under the hand in the piano part of this Northern Dreams suite. The solo passages for the piano are like stylised improvisations. In addition to jazz idioms, the suite features Chopin-style arpeggios. His music is melodic and communicative, painting feelings, situations and events. Northern Dreams was originally composed with the tenor sax of Juhani Aaltonen in mind, and the solo part is a transcription of his improvisation. The solo part is also available in arrangements for alto sax, flute, clarinet, bassoon and trumpet. $34.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Northern Dreams (Reves du Nord) - A Suite in Four Movements Alto Saxophone and Piano Fennica Gehrman
Alto saxophone, piano SKU: FG.55011-585-9 Composed by Heikki Sarmanto. Fe...(+)
Alto saxophone, piano SKU: FG.55011-585-9 Composed by Heikki Sarmanto. Fennica Gehrman #55011-585-9. Published by Fennica Gehrman (FG.55011-585-9). ISBN 9790550115859. A pioneer of Finnish modern jazz, Heikki Sarmanto (1939-) is renowned for his renderings of jazz numbers. No wonder, therefore, that broken chords and familiar keys resonate and sit well under the hand in the piano part of this Northern Dreams suite. The solo passages for the piano are like stylised improvisations. In addition to jazz idioms, the suite features Chopin-style arpeggios. His music is melodic and communicative, painting feelings, situations and events. Northern Dreams was originally composed with the tenor sax of Juhani Aaltonen in mind, and the solo part is a transcription of his improvisation. The solo part is also available in arrangements for alto sax, flute, clarinet, bassoon and trumpet. $34.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Northern Dreams (Reves du Nord) - A Suite in Four Movements Bassoon, Piano (duet) Fennica Gehrman
Bassoon, piano SKU: FG.55011-586-6 Composed by Heikki Sarmanto. Fennica G...(+)
Bassoon, piano SKU: FG.55011-586-6 Composed by Heikki Sarmanto. Fennica Gehrman #55011-586-6. Published by Fennica Gehrman (FG.55011-586-6). ISBN 9790550115866. A pioneer of Finnish modern jazz, Heikki Sarmanto (1939-) is renowned for his renderings of jazz numbers. No wonder, therefore, that broken chords and familiar keys resonate and sit well under the hand in the piano part of this Northern Dreams suite. The solo passages for the piano are like stylised improvisations. In addition to jazz idioms, the suite features Chopin-style arpeggios. His music is melodic and communicative, painting feelings, situations and events. Northern Dreams was originally composed with the tenor sax of Juhani Aaltonen in mind, and the solo part is a transcription of his improvisation. The solo part is also available in arrangements for alto sax, flute, clarinet, bassoon and trumpet. $34.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Our Father Choral SATB SATB, Organ [Score] Barenreiter
Composed by Leos Janacek (1854-1928). Edited by Bohumir Stedron. Czech title: Ot...(+)
Composed by Leos Janacek (1854-1928). Edited by Bohumir Stedron. Czech title: Ot enaa. Classical. Singing score, Performance score. With Publication language: Czech/German. Editio Baerenreiter Praha #H03712. Published by Editio Baerenreiter Praha
$16.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Revelation: Tum angelus tertius clanxit from Eternal Light: A Requiem Choral SATB SATB, Piano - Intermediate MorningStar Music Publishers
SATB choir and Piano - Intermediate SKU: MN.56-0056 Composed by Howard Go...(+)
SATB choir and Piano - Intermediate SKU: MN.56-0056 Composed by Howard Goodall. Lent, Triduum/Three Days, Tenebrae, 21st Century, Heaven, Lament/Grief/Sorrow. Duration 1 minute, 18 seconds. MorningStar Music Publishers #56-0056. Published by MorningStar Music Publishers (MN.56-0056). UPC: 688670220593. Latin. Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. Like movement 2, also called ââ¬ÅRevelation,ââ¬Â this movement is a rapid, homophonic declamation of the Latin text set for SATB and accompaniment. The music is a dynamic crescendo from pianissimo to fortissimo, painting the text. Duration 1:18. $2.75 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Joyeuse Marche Concert band [Score and Parts] - Intermediate G and M Brand Music Publishers
Concert band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Eb Clarinet, Bb Clarinet 1, B...(+)
Concert band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Cornet 1, Bb Cornet 2, Bb Cornet 3, Bb Trumpet 1/2,) - grade 4.5 SKU: CN.R10240 Composed by Geoffrey Brand. Arranged by Geoffrey Brand. Band Music. Score and parts. Duration 3:30. Published by G & M Brand Music Publishers (CN.R10240). Joyeuse Marche (originally called Marche Francaise) was written in 1888. It exudes Chabrier's rhythmical exuberance, spontaneity and wit, bringing pleasure and joy to performers and listeners alike. Truly a march which lives up to its title.
In spite of displaying remarkable musical gifts Chabrier (1841-1894) was sent by his father to study law and in due course, having taken a law degree, went to work in his native French Ministry of the Interior, stay there for eighteen years. During the whole of this time he was developing his real interests in music and painting, including composing operettas and music for the piano. Following a holiday in Spain in 1883, Chabrier wrote a rhapsody for orchestra based on Spanish tunes he had heard. This became Espana; it achieved immediate acclaim and is still his most performed work. Joyeuse Marche (originally called Marche Francaise) was written in 1888. It exudes Chabrier's rhythmical exuberance, spontaneity and wit, bringing pleasure and joy to performers and listeners alike. Truly a march which lives up to its title. $80.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Joyeuse Marche Concert band [Score] - Intermediate G and M Brand Music Publishers
Concert band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Eb Clarinet, Bb Clarinet 1, B...(+)
Concert band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Cornet 1, Bb Cornet 2, Bb Cornet 3, Bb Trumpet 1/2,) - grade 4.5 SKU: CN.S11240 Composed by Geoffrey Brand. Arranged by Geoffrey Brand. Band Music. Score only. Duration 3:30. Published by G & M Brand Music Publishers (CN.S11240). Joyeuse Marche (originally called Marche Francaise) was written in 1888. It exudes Chabrier's rhythmical exuberance, spontaneity and wit, bringing pleasure and joy to performers and listeners alike. Truly a march which lives up to its title.
In spite of displaying remarkable musical gifts Chabrier (1841-1894) was sent by his father to study law and in due course, having taken a law degree, went to work in his native French Ministry of the Interior, stay there for eighteen years. During the whole of this time he was developing his real interests in music and painting, including composing operettas and music for the piano. Following a holiday in Spain in 1883, Chabrier wrote a rhapsody for orchestra based on Spanish tunes he had heard. This became Espana; it achieved immediate acclaim and is still his most performed work. Joyeuse Marche (originally called Marche Francaise) was written in 1888. It exudes Chabrier's rhythmical exuberance, spontaneity and wit, bringing pleasure and joy to performers and listeners alike. Truly a march which lives up to its title. $10.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Selected Pieces Vol. 1 Forton Music
Tsax. Pft - Intermediate-Advanced SKU: FT.FM533 Composed by Ronald Binge....(+)
Tsax. Pft - Intermediate-Advanced SKU: FT.FM533 Composed by Ronald Binge. Arranged by Robert Rainford. Tenor Saxophone and Piano. Score and Part. Forton Music #FM533. Published by Forton Music (FT.FM533). ISBN 9790570484324. Binge's unique ability was to create a musical picture of a subject. Faire Frou Frou conjures up images of the Folies Bergère with Can-can rhythms throughout, although the middle section has a slight similarity to the French National Anthem. Sailing By is one of Binge's most famous pieces, being used before the late night shipping forecast on BBC radio 4. Composed in 1963, it's a beautiful slow waltz with the accompaniment suggesting gentle waves lapping. The Watermill was composed in 1958, and suggests a slowly turning wheel in a gently flowing river. Miss Melanie paints a picture of a vivacious, flirty young girl enjoying life to the full. $22.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Lord, I'm Coming Home - Performance/Accompaniment CD SoundForth
SKU: S2.99-3722SF Composed by Benjamin David Knoedler. Choral. Sacred Ant...(+)
SKU: S2.99-3722SF Composed by Benjamin David Knoedler. Choral. Sacred Anthem. Performance/accompaniment CD. SoundForth #99/3722SF. Published by SoundForth (S2.99-3722SF). UPC: 000308146776. I’ve wandered far away from God, now I’m coming home. This original musical setting of the William J. Kirkpatrick text freshly and delicately paints a picture of repentance and forgiveness. Beginning with a stunning tenor solo, the choral writing and piano accompaniment are complemented by an optional pennywhistle. $29.95 - See more - Buy online | | |
| Violi i Piano / Veu i Piano Editorial de Musica Boileau
Violin/voice and piano SKU: BO.B.3714 Composed by Joaquim Malats. Publish...(+)
Violin/voice and piano SKU: BO.B.3714 Composed by Joaquim Malats. Published by Editorial de Musica Boileau (BO.B.3714). Malats composed and transcribed several works for violin and piano based on some of his piano works. Two of these are the Canto de Amor (Love Song) and the Serenata Espanola (Spanish Serenade), both from the suite Impresiones de Espana (Impressions of Spain).
There are only three songs for voice and piano by Malats which are known at the present time: a Nana (Lullaby) dedicated to Rosita Malats, written in the form of a theme and variations; Tristesse (Sadness) dedicated to Eliseo Meifren, with a text by Alfred de Musset; and, finally, an arrangement of the well-known Serenata Espanola with a text by Jose Nieto.
We know that Malats composed a collection of songs with texts by Catulle Mendez, Maria Sourcouf, Henri de Braine and David and Armando Silvestre. However, no publication of these songs is known, nor of the two romances Reveil and En Vous Voyant that were performed by the tenor Ramon Blanchart in 1898 at the Ateneo in Madrid. $20.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Move him into the sun - Easy Oxford University Press
Upper voices, SATB, & piano/chamber orchestra (2fl, ob, cl, bsn, hn, timp, 2perc...(+)
Upper voices, SATB, & piano/chamber orchestra (2fl, ob, cl, bsn, hn, timp, 2perc, pno, str) - Easy to Moderately Difficult SKU: OU.9780193410824 Composed by Bob Chilcott. Choral Works (inc. Oratorios). Secular. Vocal score. 64 pages. Duration 25'. Oxford University Press #9780193410824. Published by Oxford University Press (OU.9780193410824). ISBN 9780193410824. 11 x 9 inches. For upper voices, SATB, and piano (with snare and tenor drums, and solo cello) or chamber orchestra This is a profound setting of a selection of poems by Wilfred Owen. The sense of human connection and imagery of the natural world imbued in Owen's poetry is perfectly conveyed in Chilcott's music, which is rich in word painting and visceral melodies. $17.25 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Dutch Masters Suite Concert band [Score and Parts] - Intermediate Amstel Music | | |
| Poems of Life: 12 Poems by Judith G. Wolf Edward B. Marks Music Company
Full Score SKU: HL.326756 For Countertenor, Cello and Orchestra Full S...(+)
Full Score SKU: HL.326756 For Countertenor, Cello and Orchestra Full Score. Composed by Kenneth Fuchs. E.B. Marks. Softcover. Edward B. Marks Music #MP078001. Published by Edward B. Marks Music (HL.326756). ISBN 9781581067200. UPC: 888680988418. 9.25x12.0x0.516 inches. This piece, along with three others, earned the composer a Grammy for the 2018 Best Classical Compendium. Composer's program note excerpt: Judith G. Wolf's expressive poems take us on a memorable journey through everyday life, the support of family and friends, the joy of love, and the pain of grief and loss. I was moved by her work to compose Poems of Life, an orchestral song cycle that sets to music twelve poems from Wolf'Â’s most recent volume of poetry, Otherwise. The poems weave a narrative of eternal love, the pain of loss through death, emotional transformation through grief, and spiritual enlightenment. Prologue 1. Ethereal 2. Time Slips Away, Movement 1: 3. Gary Died 4. Just Like That 5. Watching for Death 6. Face, Movement 2: 7. Sisters 8. Forever Gone 9. The Retreat, Movement 3: 10. The Dream, Epilogue 11. Conversation 12. Epiphany. Orchestra accompaniment rental item, soli/ piano score, and individual cello part are all available separately from the publisher. $64.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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