| Lauda, Sion, Salvatorem Choral SATB - Easy GIA Publications
SATB choir, cantors, voice solos, assembly, organ accompaniment, trumpet 1 in B-...(+)
SATB choir, cantors, voice solos, assembly, organ accompaniment, trumpet 1 in B-flat, trumpet 2 in B-flat, trumpet 1 in C, trumpet 2 in C, trombone 1, trombone 2, horn in f, timpani - Early intermediate SKU: GI.G-7140 Composed by Jan Michael Joncas. Body and Blood of Christ. Choral. Sacred. Octavo. 12 pages. GIA Publications #7140. Published by GIA Publications (GI.G-7140). UPC: 785147714002. English, Latin. Text Source: Ref.: Latin, vv.: Alan J. Hommerding; Translation: Alan J. Hommerding. Text by Thomas Aquinas. Alan J. Hommerding translated this text from Thomas Aquinas’ original Latin (the refrain retains the Latin text). Michael Joncas scored the piece to include an optional brass quintet with timpani. Ideal for alternating male and female soloists on the verses. The full score contains extensive performance and text notes, as well as reprintable material for congregational use. For cantor or soloists Brass quartet and timpani parts are optional. $2.40 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Bellissima Hofmeister Musikverlag
Glockenspiel, vibraphone - Level 2-3 SKU: HF.FH-3205 Bearbeitungen kla...(+)
Glockenspiel, vibraphone - Level 2-3 SKU: HF.FH-3205 Bearbeitungen klassischer Komponisten. Composed by Thomas Buss. Edited by Buss. Arranged by Buss. Sheet music. Friedrich Hofmeister Musikverlag #FH 3205. Published by Friedrich Hofmeister Musikverlag (HF.FH-3205). ISBN 9790203432050. 8.3 x 11.7 inches. 1. Menuett aus dem Notenbuch der Anna Magdalena Bach (J.S.Bach); 2. Rondoletto (W.A. Mozart), 3. Soldatenmarsch (R. Schumann); 4. Musette aus dem Notenbuch der Anna Magdalena Bach (J.S.Bach); 5. Menuett (L.v.Beethoven); 6. Andante aus Sinfonie Nr. 94 mit dem Paukenschlag (J. Haydn); 7. Menuett aus Sinfonie Nr. 11 (J. Haydn); 8. Scherzino (J. Haydn); 9. Menuett (L. Boccherini); 10. Turkischer Marsch (W.A. Mozart); 11. Fur Elise (L.v. Beethoven); 12. Sonatine op. 36, Nr. 1 (M. Clementi); 13. Polonaise aus dem Notenbuchlein fur Anna Magdalena Bach (J.S. Bach); 14. Jesu meine Freude aus der Kantate BWV 147 (J.S.Bach). $23.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Future of the Wind Band Concert band GIA Publications
SKU: GI.G-10580 Philosopher and Practitioner in Dialogue. Composed...(+)
SKU: GI.G-10580 Philosopher and Practitioner in Dialogue. Composed by William Perrine. Music Education. 430 pages. GIA Publications #10580. Published by GIA Publications (GI.G-10580). ISBN 9781622776375. Contributors: Travis J. Cross (University of California–Los Angeles) • David J. Elliott (New York University) • Marissa Silverman (Montclair State University) • Jacob Wallace (South Dakota State University) • Randall Everett Allsup (Teachers College, Columbia University) • Cynthia Johnston Turner (Wilfrid Laurier University) • Carolyn Barber (University of Nebraska-Lincoln) • John Kratus (Independent Scholar) • Vincent C. Bates (Weber State University) • Thomas G. Warner, Jr. (North Carolina Agricultural and Technical State University) • Ben Hawkins (Transylvania University) • Thomas A. Regelski (SUNY Fredonia School of Music, Helsinki University of Finland) • Paul Woodford (Western University) • Charles Peltz (New England Conservatory of Music) In the wind band profession—as in every great discipline—it is critical to take stock in the big questions about where we are heading, and why, as we move through the twenty-first century. This thought-provoking book contains seven high-level exchanges between a leading wind band practitioner and a music education philosopher. Each section of The Future of the Wind Band grapples with the most profound issues facing the music education profession and the path of instrumental music education in our schools: Relevance: What relevance, if any, does the wind band have both to today’s students and to culture more broadly in the twenty-first century? What relevance does the band experience hold for students’ everyday life? Repertoire: What is the relationship between the repertoire performed by wind ensembles and the larger musical world? Pedagogy: What constitutes best practice in terms of musical pedagogy and rehearsal technique within the large-ensemble experience? Creativity: Can the wind band function as a vehicle for enhancing the individual creativity of its members? Economic Justice: How do issues of social class and the distribution of wealth relate to broader questions of social justice within the context of instrumental music education? Professional Ethics: What are the primary ethical responsibilities of the wind band conductor? Democratic Citizenship: What relationship, if any, can be drawn between membership in the wind band and citizen participation in democracy? Such exchanges can only strengthen our profession and pay rich dividends in our musical and educational work with the students we serve. Editor of this book, William (Bill) M. Perrine is Associate Professor of Music and Director of Instrumental Activities at Concordia University in Ann Arbor, Michigan, where he directs the wind ensemble, marching band, and community orchestra. $42.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| O Great Sacred Feast of Life Choral SATB SATB, Keyboard GIA Publications
SATB choir, keyboard accompaniment SKU: GI.G-009437 O Sacrum Convivium...(+)
SATB choir, keyboard accompaniment SKU: GI.G-009437 O Sacrum Convivium. Composed by Edward Eicker. OT, OT 16 Year B, OT 18 Year B, OT 17 Year B, OT 19 Year B, OT 20 Year B. Sacred. Octavo. 12 pages. GIA Publications #009437. Published by GIA Publications (GI.G-009437). UPC: 641151094373. English, Latin. Text Source: O sacrum convivium, Thomas Aquinas, ca. 1225&ndash,1274, tr. Alan J. Hommerding; Translation: Alan J. Hommerding. Text by Thomas Aquinas. $2.40 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Choral Stanzas for Hymns, Vol. 1 Choral Augsburg Fortress
By Various. For Choir. Evangelical Lutheran Worship. Published by Augsburg Fortr...(+)
By Various. For Choir. Evangelical Lutheran Worship. Published by Augsburg Fortress
$59.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Easy Violin Pieces (WFS 91) Violin [Sheet music] - Easy Ashley Publications
Easy Violin Pieces. (World's Favorite Series #91). By Various. For Violin. World...(+)
Easy Violin Pieces. (World's Favorite Series #91). By Various. For Violin. World's Favorite (Ashley). Classical. Softcover. 128 pages. Ashley Mark Publishing Company #AS10091. Published by Ashley Mark Publishing Company
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Choral Stanzas for Hymns, Vol. 2 Choral Augsburg Fortress | | |
| Canadian Fiddle Music Volume 1 Violin [Sheet music] Mel Bay
compiled by Dr. Ed Whitcomb. For Fiddle. songbook. Canadian. Level: Beginning-In...(+)
compiled by Dr. Ed Whitcomb. For Fiddle. songbook. Canadian. Level: Beginning-Intermediate. Book. Size 8.75x11.75. 224 pages. Published by Mel Bay Publications, Inc.
(1)$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| A Man's Destiny Concert band [Score and Parts] - Easy De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1195826-010 Yn Ieren en Si...(+)
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1195826-010 Yn Ieren en Sinen. Composed by Jan de Haan. Concert and Contest Collection CBHA. Concert Piece. Set (Score & Parts). Composed 2019. De Haske Publications #DHP 1195826-010. Published by De Haske Publications (BT.DHP-1195826-010). English-German-French-Dutch. A Man’s Destiny has the Frisian line ‘Yn Ieren en Sinen’ (‘with much conviction’) as its subtitle. The work was commissioned by CMV Harmonie Sneek (based in Friesland, The Netherlands) to acknowledge their 95th anniversary. The composer based this work on the life of a former member of the band, who played flugelhorn in the ensemble until the age of 86. Their favourite piece of music, ‘Canon’ by Thomas Tallis, provided a great deal of musical inspiration for this characteristic and versatile work.
A Man’s Destiny heeft als ondertitel de Friese regel ‘Yn Ieren en Sinen’ (vanuit volle overtuiging) meegekregen. Het werk is geschreven in opdracht van de CMV Harmonie Sneek ter gelegenheid van haar 95-jarig jubileum. De componist baseerde de compositie op het leven van een oud-lid van de vereniging een man die tot zijn 86e jaar de bugel bespeelde. Diens lievelingslied, ‘Tallis’ Canon’ van Thomas Tallis, is dan ook de muzikale inspiratiebron geweest voor dit karakteristieke en veelzijdige werk.
A Man’s Destiny hat den friesischen Ausspruch Yn Ieren en Sinen“ (mit großer Überzeugung) als Untertitel. Das Werk wurde von der CMV Harmonie Sneek (aus Friesland in den Niederlanden) anlässlich ihres 95-jährigen Bestehens in Auftrag gegeben. Der Komponist widmete sich in diesem Werk dem Leben eines ehemaligen Orchestermitglieds, das bis zum Alter von 86 Jahren in dem Ensemble Flügelhorn gespielt hat. Sein Lieblingsstück Canon“ von Thomas Tallis diente als wichtige musikalische Inspirationsquelle für diese charakteristische und vielseitige Komposition.
A Man’s Destiny est sous-titrée, en frison, « Yn Ieren en Sinen» (Avec une forte conviction). Cette œuvre est une commande de CMV Harmonie Sneek (un orchestre basé dans les Frisons, aux Pays-Bas) pour commémorer son 95e anniversaire. Le compositeur a fondé son œuvre sur la vie d’un ancien membre de l’orchestre qui y a joué du bugle jusqu’ l’ ge de 86 ans. Son œuvre préférée, le « Canon » de Thomas Tallis, a grandement inspiré cette pièce caractéristique et flexible. $184.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| A Man's Destiny Concert band [Score] - Easy De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1195826-140 Yn Ieren en Si...(+)
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1195826-140 Yn Ieren en Sinen. Composed by Jan de Haan. Concert and Contest Collection CBHA. Concert Piece. Score Only. Composed 2019. 43 pages. De Haske Publications #DHP 1195826-140. Published by De Haske Publications (BT.DHP-1195826-140). English-German-French-Dutch. A Man’s Destiny has the Frisian line ‘Yn Ieren en Sinen’ (‘with much conviction’) as its subtitle. The work was commissioned by CMV Harmonie Sneek (based in Friesland, The Netherlands) to acknowledge their 95th anniversary. The composer based this work on the life of a former member of the band, who played flugelhorn in the ensemble until the age of 86. Their favourite piece of music, ‘Canon’ by Thomas Tallis, provided a great deal of musical inspiration for this characteristic and versatile work.
A Man’s Destiny heeft als ondertitel de Friese regel ‘Yn Ieren en Sinen’ (vanuit volle overtuiging) meegekregen. Het werk is geschreven in opdracht van de CMV Harmonie Sneek ter gelegenheid van haar 95-jarig jubileum. De componist baseerde de compositie op het leven van een oud-lid van de vereniging een man die tot zijn 86e jaar de bugel bespeelde. Diens lievelingslied, ‘Tallis’ Canon’ van Thomas Tallis, is dan ook de muzikale inspiratiebron geweest voor dit karakteristieke en veelzijdige werk.
A Man’s Destiny hat den friesischen Ausspruch Yn Ieren en Sinen“ (mit großer Überzeugung) als Untertitel. Das Werk wurde von der CMV Harmonie Sneek (aus Friesland in den Niederlanden) anlässlich ihres 95-jährigen Bestehens in Auftrag gegeben. Der Komponist widmete sich in diesem Werk dem Leben eines ehemaligen Orchestermitglieds, das bis zum Alter von 86 Jahren in dem Ensemble Flügelhorn gespielt hat. Sein Lieblingsstück Canon“ von Thomas Tallis diente als wichtige musikalische Inspirationsquelle für diese charakteristische und vielseitige Komposition.
A Man’s Destiny est sous-titrée, en frison, « Yn Ieren en Sinen» (Avec une forte conviction). Cette œuvre est une commande de CMV Harmonie Sneek (un orchestre basé dans les Frisons, aux Pays-Bas) pour commémorer son 95e anniversaire. Le compositeur a fondé son œuvre sur la vie d’un ancien membre de l’orchestre qui y a joué du bugle jusqu’ l’ ge de 86 ans. Son œuvre préférée, le « Canon » de Thomas Tallis, a grandement inspiré cette pièce caractéristique et flexible. $34.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Volksmusik Vm U Sh Paket (bd 1-7)hage Schott
Keyboard (7ALBEN+DIS) SKU: HL.49034913 Inkl. MIDI-Disketten. Compo...(+)
Keyboard (7ALBEN+DIS) SKU: HL.49034913 Inkl. MIDI-Disketten. Composed by Volksmusik. Sheet music with MIDI-floppy disk. Edition Schott. Edition with MIDI-Diskette. Schott Music #MF 3008-01. Published by Schott Music (HL.49034913). ISBN 9790001153201. $11.99 - See more - Buy online | | |
| Accompagnement Guitare Acoustique [Sheet music + CD]
Acoustic Guitar SKU: BT.REBAGA0004 Composed by Jean-Jacques Rebillard and...(+)
Acoustic Guitar SKU: BT.REBAGA0004 Composed by Jean-Jacques Rebillard and Thomas Hammje. Book with CD. Composed 2000. Editions J.J. Rebillard #REBAGA0004. Published by Editions J.J. Rebillard (BT.REBAGA0004). French. $24.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Apprenez A Jouer Comme Mark Knopfler [Sheet music + CD] - Intermediate
Electric Guitar - late intermediate SKU: BT.REBAJMK0203 Composed by Thoma...(+)
Electric Guitar - late intermediate SKU: BT.REBAJMK0203 Composed by Thomas Hammje. Méthodes Jean-Jacques Rébillard. Tuition. Book with CD. Composed 2002. 40 pages. Editions J.J. Rebillard #REBAJMK0203. Published by Editions J.J. Rebillard (BT.REBAJMK0203). French. $19.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ultimate Worship Collection Piano, Vocal and Guitar [Sheet music] - Easy Word Music
For Easy Guitar Tablature. Performed by Various. Piano/Vocal/Chords Songbook (Ar...(+)
For Easy Guitar Tablature. Performed by Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). With notes and tablature. Size 9x12 inches. 240 pages. Published by Word Music.
$34.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| L'Harmonica Facile [Sheet music + CD] - Easy
Harmonica - easy SKU: BT.REBHF1207 Composed by Thomas Hammje. Méthodes...(+)
Harmonica - easy SKU: BT.REBHF1207 Composed by Thomas Hammje. Méthodes Jean-Jacques Rébillard. Tuition. Book with CD. Composed 2012. 48 pages. Editions J.J. Rebillard #REBHF1207. Published by Editions J.J. Rebillard (BT.REBHF1207). French. $19.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Trinity Fugues Organ CanticaNOVA Publications
Composed by Stephen McManus. For organ. Bachian fuges - think Saint Anne in Eb...(+)
Composed by Stephen McManus. For organ. Bachian fuges - think Saint Anne in Eb. General. Published by CanticaNOVA Publications
$5.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Melodien fur Kontrabass - von Bach bis Holst Hug
Kontrabass und Klavier SKU: HG.GH-11771 Bearbeitungen fur Kontrabass u...(+)
Kontrabass und Klavier SKU: HG.GH-11771 Bearbeitungen fur Kontrabass und Klavier von leicht bis II. Lage. Composed by Thomas Grossmann. Noten inklusive Audio-Download. Hug Musikverlage #GH 11771. Published by Hug Musikverlage (HG.GH-11771). ISBN 9790202825143. Im Ensemblespiel ubernimmt der Kontrabassist meistens die tiefste Begleitstimme. Nur selten bekommt er die Gelegenheit, die Melodie zu ubernehmen. Die vorliegenden Play Alongs ermoglichen es nun dem Kontrabassisten, bekannte klassische Werke im tiefen Register zu spielen. ,,Melodien fur Kontrabass umfasst vorwiegend bekannte klassische Werke. Unter anderem sind Komponisten wie J. S. Bach, J. Brahms, L. v. Beethoven, G. Bizet, A. Borodin, A. Dvorak, E. Grieg, G. Holst, W. A. Mozart, J. Pachelbel, F. Schubert, R. Schumann, P. I. Tschaikowsky und A. Vivaldi vertreten. Die Ausgabe umfasst zahlreiche Bearbeitungen fur Kontrabass, die zu farbenfroh instrumentierten Play Alongs gespielt werden konnen. In den Demoversionen ist zusatzlich die Kontrabass-Stimme zu horen. Die Audiodateien konnen mit dem Download-Code heruntergeladen werden. Wer gerne gemeinsam mit dem Klavier musiziert, findet die Noten der Begleitungen im Hauptheft. Begonnen wird jeweils mit dem Tonmaterial, das sich sowohl in der 1/2 Lage als auch in der I. Lage spielen lasst. Es wird nach und nach erweitert. So konnen sowohl Anfanger als auch Fortgeschrittene das Spiel im tiefen Register erproben. $27.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Caber Feidh Collection Bagpipe Paterson Ltd
By Queens Own. For Bagpipes. Traditional. Sheet Music. 294 pages. Published by P...(+)
By Queens Own. For Bagpipes. Traditional. Sheet Music. 294 pages. Published by Paterson Ltd.
$79.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 32 Danske Arstidssange Wilhelm Hansen
Vocal and Guitar SKU: HL.14037075 Composed by Nils Espersen. Music Sales ...(+)
Vocal and Guitar SKU: HL.14037075 Composed by Nils Espersen. Music Sales America. Book [Softcover]. Composed 2005. 24 pages. Edition Wilhelm Hansen #WH30269. Published by Edition Wilhelm Hansen (HL.14037075). ISBN 9788759807675. Indhold: Og det var en skaersommerdag ; En yndig og frydefuld sommetid ; Marken er mejet ; Nu falmer skoven trindt om land Torrild, Johannes: Nar vinteren rinder i groft og i grav Malling, Jorgen, f. 1836: Hor, hor hvor det tor Ring, Oluf: Den kedsom vinter gik sin gang ; Nar egene knoppes ; Danmark nu blunder den lyse nat ; Sig naermer tiden Lindeman, Ludvig Mathias: Jeg vaelger mig april Gebauer, J. C.: Nu lakker det ad tiden smat Gade, Niels W.: Gron er varens haek (2 versioner) Hansen, Hans, f. 1817: Fo' ajle di sma blomster Nielsen, Age, f. 1922: Midsommerteltet, de lyse naetter Nielsen, Carl, f. 1865: Se dig ud ensommerdag ; Den sorte fugl er kommet Mortensen, Otto, f. 1907: Du danske sommer, jeg elsker dig ; Septembers himmel er sa bla ; Liden sol i disse uger Weis, Flemming: Fyldt med blomster blusser aebletraeets gren Agerby, Aksel: Jeg er havren Weyse, C. E. F.: Vipper springe over klinge Balslev, Harald: Det lysner over agres felt Nebelong, J. H.: Nu falmer skoven trindt om land Aagaard, Thorvald: Spurven sidder stum bag kvist ; Sneflokke kommer vrimlende Hartmann, J. P. E.: I sne star urt og busk i skjul Hamburger, Povl: Der er ingenting i verden sa stille som sne Laub, Thomas: Der er ingenting i verden sa stille som sne ; Det er hvidt herude Jeppesen, Knud, f. 1892: Vintergaek er brudt af mulden. $19.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Be Forever Praised! A Collection of Psalms, Hymns, and Spiritual Songs GIA Publications
Unison Choir,cantor,unison voices, keyboard, organ accompaniment SKU: GI.G-00...(+)
Unison Choir,cantor,unison voices, keyboard, organ accompaniment SKU: GI.G-003425 A Collection of Psalms, Hymns and Spiritual Songs. Composed by Kevin Kelly. Tune Name: Beach Spring, Carteret, Christina, Creation, Darwall'S 148Th, Deblasio, Dix, Easter Dance, Edgbaston Enduring Love, Finlandia, Gail, Humphrey, Hymn To Joy, Leoni, Mundelein, Neale, Nettleton. Sacred. Collection. GIA Publications #003425. Published by GIA Publications (GI.G-003425). Here are three dozen best-of hymn texts and tunes published by WLP, including contributions from Jerry Brubaker, Lucien Deiss, Delores Dufner, Mary Frances Fleischaker, Calvin Hampton, Alan J. Hommerding, Steven R. Janco, Carl Johengen, J. Michael Joncas, Kevin Keil, Kevin Kelly, Paul Nienaber, Richard Proulx, Thomas Schindler, Herman Stuempfle, J. Michael Thompson, Christopher Trussel, Susan Wente, Omer Westendorf, and Martin Willett. $17.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Jesu, meine Freude Breitkopf & Härtel
Chorus a cappella SKU: BR.CHB-5302-02 Motet. Composed by Johann Fr...(+)
Chorus a cappella SKU: BR.CHB-5302-02 Motet. Composed by Johann Friedrich Doles. Edited by Jurgen Neubacher. Choir; stapled. Chor-Bibliothek (Choral Library). Motet; Baroque. Choral score. 24 pages. Duration 18'. Breitkopf and Haertel #ChB 5302-02. Published by Breitkopf and Haertel (BR.CHB-5302-02). ISBN 9790004412220. 7.5 x 10.5 inches. Johann Friedrich Doles was the indirect successor of J.S. Bach as Thomaskantor in Leipzig. He must have been familiar with Bachs setting of Jesu, meine Freude BWV 227 when he wrote his Motet on this piece around 1775, since there are several stylistic parallels with its great precursor. Typical for Doless chorale motet is the fifth strophe (see example) with its sleek and elegant alternation between solo and tutti sections, whereby the composer and Thomaskantor probably only had eight able singers for the tutti in Leipzig around 1780, as Doles himself laments. The late 18th century was simply not the golden age of the Thomasschule! Doless motet fell into oblivion and was long held to be lost. This first edition supplements the publications from the late Baroque and early Classical eras (Graun, Bortnyansky a.o.) which were released in recent years in Breitkopfs Choral Library. $8.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Tilge, Hochster, meine Sunden [Score and Parts] - Easy Carus Verlag
Solo SA, Coro SATB, 2 Vl, Va, Bc - Grade 3 SKU: CA.3530269 Psalm 51 ba...(+)
Solo SA, Coro SATB, 2 Vl, Va, Bc - Grade 3 SKU: CA.3530269 Psalm 51 based on the „Stabat Mater by Giovanni Battista Pergolesi. Choral version by Jörn Bartels. Composed by Johann Sebastian Bach, Giovanni Battista Pergolesi. Arranged by Jörn Bartels. Tilge, Höchster, meine Sünden. Set of Orchestra Parts. Composed 1746 (ca.). BWV 1083. Duration 44 minutes. Carus Verlag #3530269. Published by Carus Verlag (CA.3530269). ISBN 9790007311629. German. None other than Johann Sebastian Bach arranged Giovanni Battista Pergolesi’s well-known Stabat Mater for performances at Leipzig’s Thomaskirche. Bach replaced the old liturgical sequence of the original with a rhymed version in German of the 51st Psalm, Tilge, Höchster, meine Sünden (God, annull all my transgression) (available from Carus under Carus 35.302).Both Pergolesi’s composition and Bach’s arrangement have only two solo vocal parts (soprano and alto). As early as the 18th century, the tradition developed of performing individual movements of the Stabat mater chorally, since some movements literally demand a choir. The presented edition now also offers this possibility for Bach’s version Tilge, Höchster, meine Sünden. Jörn Bartels has created choral versions for verses 3, 5-7 and 10-15 by adding male voices based on the basso continuo as well as Bach’s original viola part.- Bach's adaptation of the poignant Stabat Mater by Pergolesi- Suitable for small choirs and ensembles. Score and parts available separately - see item CA.3530200. $128.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Tilge, Hochster, meine Sunden - Easy Carus Verlag
Solo SA, Coro SATB, 2 Vl, Va, Bc - Grade 3 SKU: CA.3530255 Psalm 51 ba...(+)
Solo SA, Coro SATB, 2 Vl, Va, Bc - Grade 3 SKU: CA.3530255 Psalm 51 based on the „Stabat Mater by Giovanni Battista Pergolesi. Choral version by Jörn Bartels. Composed by Johann Sebastian Bach, Giovanni Battista Pergolesi. Arranged by Jörn Bartels. Tilge, Höchster, meine Sünden. Choral Score. Composed 1746 (ca.). BWV 1083. Duration 44 minutes. Carus Verlag #3530255. Published by Carus Verlag (CA.3530255). ISBN 9790007302696. German. None other than Johann Sebastian Bach arranged Giovanni Battista Pergolesi’s well-known Stabat Mater for performances at Leipzig’s Thomaskirche. Bach replaced the old liturgical sequence of the original with a rhymed version in German of the 51st Psalm, Tilge, Höchster, meine Sünden (God, annull all my transgression) (available from Carus under Carus 35.302).Both Pergolesi’s composition and Bach’s arrangement have only two solo vocal parts (soprano and alto). As early as the 18th century, the tradition developed of performing individual movements of the Stabat mater chorally, since some movements literally demand a choir. The presented edition now also offers this possibility for Bach’s version Tilge, Höchster, meine Sünden. Jörn Bartels has created choral versions for verses 3, 5-7 and 10-15 by adding male voices based on the basso continuo as well as Bach’s original viola part.- Bach's adaptation of the poignant Stabat Mater by Pergolesi- Suitable for small choirs and ensembles. Score available separately - see item CA.3530200. $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Tilge, Hochster, meine Sunden [Score] - Easy Carus Verlag
Solo SA, Coro SATB, 2 Vl, Va, Bc - Grade 3 SKU: CA.3530250 Psalm 51 ba...(+)
Solo SA, Coro SATB, 2 Vl, Va, Bc - Grade 3 SKU: CA.3530250 Psalm 51 based on the „Stabat Mater by Giovanni Battista Pergolesi. Choral version by Jörn Bartels. Composed by Johann Sebastian Bach, Giovanni Battista Pergolesi. Arranged by Jörn Bartels. Carus digital: Extra digital products. Tilge, Höchster, meine Sünden. Full Score. Composed 1746 (ca.). BWV 1083. Duration 44 minutes. Carus Verlag #3530250. Published by Carus Verlag (CA.3530250). ISBN 9790007302689. German. None other than Johann Sebastian Bach arranged Giovanni Battista Pergolesi’s well-known Stabat Mater for performances at Leipzig’s Thomaskirche. Bach replaced the old liturgical sequence of the original with a rhymed version in German of the 51st Psalm, Tilge, Höchster, meine Sünden (God, annull all my transgression) (available from Carus under Carus 35.302).Both Pergolesi’s composition and Bach’s arrangement have only two solo vocal parts (soprano and alto). As early as the 18th century, the tradition developed of performing individual movements of the Stabat mater chorally, since some movements literally demand a choir. The presented edition now also offers this possibility for Bach’s version Tilge, Höchster, meine Sünden. Jörn Bartels has created choral versions for verses 3, 5-7 and 10-15 by adding male voices based on the basso continuo as well as Bach’s original viola part.- Bach's adaptation of the poignant Stabat Mater by Pergolesi- Suitable for small choirs and ensembles. Score available separately - see item CA.3530200. $42.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| O Sacrum Convivium Choral SATB - Beginner GIA Publications
SATB choir - Beginning SKU: GI.G-009049 Composed by Richard Farrant. Holy...(+)
SATB choir - Beginning SKU: GI.G-009049 Composed by Richard Farrant. Holy Thursday, Body and Blood of Christ, OT 16 B, OT 17 B, OT 18 B, OT 19 B, OT 20 B. Sacred. Octavo. 8 pages. GIA Publications #009049. Published by GIA Publications (GI.G-009049). Text Source: Attr. to Thomas Aquinas, c. 1225&ndash,1274; Translation: Alan J. Hommerding. Text by Thomas Aquinas. $1.85 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Hallelujah! We Shall Rise Choral SATB Daybreak Music
Composed by J.E. Thomas. Arranged by Thomas Fettke. For Choral (SATB). Daybreak ...(+)
Composed by J.E. Thomas. Arranged by Thomas Fettke. For Choral (SATB). Daybreak Choral Series. 12 pages. Published by Daybreak Music
$1.90 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Mass: A Celebration of Love and Joy - Orchestra Score and Parts Orchestra Heritage Music Press
Full orchestra SKU: LO.30-3640H Composed by Andre J. Thomas. Arranged by ...(+)
Full orchestra SKU: LO.30-3640H Composed by Andre J. Thomas. Arranged by Robert Elhai. Conductor's score. Major Work. Orchestral score and parts. Heritage Music Press #30/3640H. Published by Heritage Music Press (LO.30-3640H). UPC: 000308154870. Orchestral Score and Parts for 45/1635H A true testament to his strength and skill as a composer, Andre Thomas's Mass combines the power of love and joy with the beauty and sophistication of top-tier choral music. Written in five movements, the Mass can be performed in its entirety or as separate selections. This gospel-style work may be performed with piano, piano with bass and drums, or with full orchestra. Also available is a piano accompaniment CD (99/3967H). The Mass is dedicated to the Tallahassee Community Chorus. $249.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Advanced Studies for Trumpet or Cornet Clifton Edition
Trumpet or Cornet SKU: ST.C222 Composed by Thomas Harper Jr. Wind & brass...(+)
Trumpet or Cornet SKU: ST.C222 Composed by Thomas Harper Jr. Wind & brass music. Clifton Edition #C222. Published by Clifton Edition (ST.C222). ISBN 9790570812226. Thomas Harper Jnr (1816–1898) was the foremost slide trumpet player of his day. However, the slide trumpet was not capable of playing chromatically in all registers, so trumpeters also performed on the cornet, even though the sound was considered inferior by many commentators. Harper’s School for the Cornet à Pistons was published by Rudall, Carte & Co. in 1865, a decade before his trumpet tutor. In the twentieth century this cornet tutor was largely forgotten, and at the time of writing the editor knows of only 3 extant copies: one in the library of the Royal Academy of Music, where Harper Jnr was the professor of trumpet and cornet, one at the British Library (the editor was informed that he was the first person to view this copy since it was deposited at the British Museum by Harper Jnr) and one at the Library of Congress in the USA. Over the last century and a half the Cornet Method by J. B. Arban, published before the Harper Jnr, has been the most popular tutor. What is remarkable about the Harper Jnr is the increased technical demands it makes above those that are in the Arban. For example, some exercises ascend to high D, over two octaves above middle C, and the fingering chart goes higher to the G, in addition to including a pedal C, an octave below middle C.
The 15 studies presented here are from the end of the Harper Jnr tutor. Few marks of expression were included by Harper Jnr and it has mainly been the addition of these that has been the task of the editor, to encourage expressive performances of these studies, which are typical of the Romantic era. Edited by Paul Nevins Trumpet or Cornet Grades 7–8+. $13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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