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Détails Détails	Gustave Vogt's Musical Album of Autographs Cor anglais, 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. Intro duction 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. Introducti onGustave Vogtâ€™s Musical ParisGustave Vogt (1781â€“1870) was born into the â€œAge of Enlightenment,â€ at the apex of the Enlightenmentâ€™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 â€œgrandfather of the modern oboeâ€ and the â€œpremier 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 â€œSystem Sixâ€ TriÃ©bert 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 schoolâ€™s first oboe professor, Alexandre-Antoine Sallantin (1775â€“1830).Vogtâ €™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 rÃ©pÃ©titeur, 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 schoolâ€™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 (1799â€“1839), Apollon Marie-Rose Barret (1804â€“1879), Charles Triebert (1810â€“1867), Stanislas Verroust (1814â€“1863), and Charles Colin (1832â€“1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854â€“1920), and then to Marcel Tabuteau (1887â€“1966), the oboist Americans lovingly describe as the â€œfather of American oboe playing.â€Opera was an important part of Vogtâ€™s life. His first performing position was with the ThÃ©Ã¢tre-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 ThÃ©Ã¢tre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the OpÃ©ra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris OpÃ©ra, the top orchestra in Paris at the time. He played with the Paris OpÃ©ra 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 (1803â€“1865) after having just arrived in Paris in 1822 and attended the Paris OpÃ©raâ€™s performance of Mehulâ€™s Stratonice and Persuisâ€™ ballet Nina. It was in response to the song Quand le bien-amiÃ© reviendra that Berlioz wrote: â€œI 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 Vogtâ€™s instrumentâ€¦â€ 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 Cherubiniâ€™s (1760â€“1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806â€“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 OpÃ©ra.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 ArtÃ´t (1815â€“1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having â€œlost none of his superiority over the oboeâ€¦. Itâ€™s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogtâ€™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 SociÃ©tÃ© des Concerts du Conservatoire, a group established in 1828 by violinist and conductor FranÃ§ois-Antoine Habeneck (1781â€“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 (1770â€“1836).After his retirement from the OpÃ©ra in 1834 and from the SociÃ©tÃ© des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubiniâ€™s Ave Maria on English horn with tenor Alexis Dupont (1796â€“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 AlbumsVogtâ€™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 (1492â€“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 (1504â€“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 NotestammbÃ¼cher). 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 â€œgrand tourâ€ 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 â€œmost valuable contributionâ€ came from Beethoven in 1815. Spohrâ€™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 NotenstammbÃ¼cher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogtâ€™s Musical Album of AutographsVogtâ€™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 Gounodâ€™s (1818â€“1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	Suffs – The Musical Piano, Voix Hal Leonard Piano/Vocal Selections Piano/Vocal SKU: HL.1737924 Vocal Selections(+) Piano/Vocal Selections Piano/Vocal SKU: HL.1737924 Vocal Selections. Composed by Shaina Taub. Vocal Selections. Broadway. Softcover. Published by Hal Leonard (HL.1737924). UPC: 196288288701. Suffs is the Tony AwardÂ®-winning musical that's making history on Broadway! Crafted by the supremely talented Shaina Taub, she's shattered ceilings by becoming the first woman to single-handedly snag Tony Awards for both Best Book and Best Score in the same year. Beyond its Tony AwardÂ® glory, Suffs has clinched the title of Best Musical from the Outer Critics Circle, bagged a pair of Drama Desk Awards including one for Best Score, and it's been hailed as the season's most heart-stirring musical by the Chicago Tribune. This musical dives into the lives of the suffragist women, affectionately known as âSuffs.â These women weren't just intellectual giants in their pursuit for the voteâthey were complex beings, marked by their persistence, humor, and the fiery passion driving their cause. Suffs unfolds the tapestry of their camaraderie, the setbacks that tested them, and showcases the push-pull dynamics that either united or divided them. Venturing boldly into an equality struggle that echoes into today, Suffs stands as a theatrical behemoth, lauded by Forbes as a âmust-see,â and a stirring nudge reminding us that while progress is within reach, it's never a sure thing. Make your voice heard with our matching songbook, featuring 15 songs from the exhuberant score arranged for vocal line with piano accompaniment. Songs include: Finish the Fight â¢ Great American B**** â¢ How Long â¢ If We Were Married â¢ Keep Marching â¢ Let Mother Vote â¢ Lucy's Song â¢ The March (We Demand Equality) â¢ Show Them Who You Are â¢ Wait My Turn â¢ Worth It â¢ and more. $29.99 - Voir plus => Acheter Délais: 4 to 6 weeks Articles Similaires

Détails Détails	1712 Overture Orchestre Theodore Presser Co. Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+) Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Study Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576. Published by Theodore Presser Company (PR.416415760). UPC: 680160636532. 9 x 12 inches. The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams. $39.99 - Voir plus => Acheter Délais: 2 to 3 weeks Articles Similaires

Détails Détails	1712 Overture Orchestre Theodore Presser Co. Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+) Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L). UPC: 680160636549. 11 x 17 inches. The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams. $80.00 - Voir plus => Acheter Délais: 2 to 3 weeks Articles Similaires

Détails Détails	Ah, You Play the Violin? Violon Carl Fischer (Thoughts Along the Path to Musical Artistry). Published by Carl Fischer $29.99 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	Prelude and Pursuit Orchestre d'harmonie - Facile Hal Leonard Concert Band (Score) - Level 2.5 SKU: HL.4003186 Composed by Michael Swee...(+) Concert Band (Score) - Level 2.5 SKU: HL.4003186 Composed by Michael Sweeney. MusicWorks Grade 2. Suite. Published by Hal Leonard (HL.4003186). UPC: 884088654030. 9.0x12.0x0.081 inches. John Barnes Chance composed his landmark work for band, Incantation and Dance, in 1960 while in residence at the high school in Greensboro, North Carolina. Commissioned by the Union County (NC) Honor Band, Prelude and Pursuit pays tribute to this important composition and its North Carolina connection. A haunting chant-like theme played by the clarinets sets the tone for the slow section. Similar to Chance's work, the fast section begins with percussion instruments introducing thematic elements later picked up and developed by the winds. Intensifying rhythmic elements, as well as carefully controlled random playing effects, contribute to an overall sense of excitement and anticipation. Themes are woven throughout various sections of the band before the opening chant motif makes a brief dramatic appearance near the end. A great teaching tool for young players, Prelude and Pursuit also provides a rewarding performance experience. Dur: 4:50. $7.50 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	The Real Book - Volume 2 (C Instruments) Instruments en Do [Fake Book] - Intermédiaire Hal Leonard By Various Composers. Fake Book (Includes melody line and chords). Size 8.5x11 i...(+) By Various Composers. Fake Book (Includes melody line and chords). Size 8.5x11 inches. 416 pages. Published by Hal Leonard. (5) $49.99 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	The Real Book - Volume 2: Second Edition Instruments en Do [Partition + Accès audio] Hal Leonard Book with Play-Along Tracks. Composed by Various. Real Book Play-Along. Softco...(+) Book with Play-Along Tracks. Composed by Various. Real Book Play-Along. Softcover Audio Online. 440 pages. Published by Hal Leonard $75.00 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	The Real Book - Volume II - Second Edition CD-ROM Fake Book [CD-ROM] Hal Leonard (C Edition). By Various. CD ROM SHEET MUSIC. CD-ROM. Published by Hal Leonard $30.99 - Voir plus => Acheter Délais: 3 to 5 business days Articles Similaires

Détails Détails	The Real Book - Volume 2 Bass Clef Instruments [Fake Book] Hal Leonard Bass Clef Edition. By Various. Fake Book (Includes melody line and chords). Size...(+) Bass Clef Edition. By Various. Fake Book (Includes melody line and chords). Size 9x11 inches. Published by Hal Leonard. $49.99 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	The Real Book - Volume 2 Instruments en Sib [Fake Book] Hal Leonard B-flat Edition. By Various. Fake Book (Includes melody line and chords). Size 8....(+) B-flat Edition. By Various. Fake Book (Includes melody line and chords). Size 8.5x11 inches. Published by Hal Leonard. (1) $49.99 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	The Real Book - Volume 2 Fake Book [Fake Book] Hal Leonard Eb Instruments. By Various. Fake Book (Includes melody line and chords). Size 9x...(+) Eb Instruments. By Various. Fake Book (Includes melody line and chords). Size 9x11 inches. Published by Hal Leonard. $49.99 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	The Solitude of Stars Piano seul Theodore Presser Co. For Piano. Composed by Stacy Garrop. Sws. Duration 5 minutes. Theodore Presser...(+) For Piano. Composed by Stacy Garrop. Sws. Duration 5 minutes. Theodore Presser Company #110-41832. Published by Theodore Presser Company $9.99 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	The Baltic Way Ensemble de cuivres [Conducteur] - Intermédiaire De Haske Publications Brass Band - Grade 4 SKU: BT.DHP-1206253-130 Composed by Jan de Haan. Con...(+) Brass Band - Grade 4 SKU: BT.DHP-1206253-130 Composed by Jan de Haan. Concert and Contest Collection Brass Band en Fanfare. Concert Piece. Score Only. Composed 2019. 48 pages. De Haske Publications #DHP 1206253-130. Published by De Haske Publications (BT.DHP-1206253-130). English-German-French- Dutch. In 1989, the demonstration named the Baltic Way also known as the Baltic Chainâ€” was held in the Baltic states of Estonia, Latvia and Lithuania by its citizens in a call for independence from the Soviet Union. On 23rd August 1989, some two million participants formed a human chain, hand-in-hand all the way from the Estonian capital of Tallinn its Latvian counterpart, Riga, through to the Lithuanian capital of Vilnius - six hundred kilometres long. It became the longest human chain ever created and turned out to be the final push needed for much sought-after independence. This historic event became the source of inspiration for this composition. The introduction of thefirst movement, â€˜Struggle for Independenceâ€™, is based on a nocturne for piano by the renowned Lithuanian composer and painter Mikalojus Konstantinas iurlionis (1875-1911), thematic material from which has been incorporated throughout the whole composition. The melancholic beginning is followed by a powerful theme which reflects the resolve of the Baltic people. The sudden aggressive, dissonant chords and a dominant andâ€”in rhythmic termsâ€”contrary bass drum announce that the resistance is not going smoothly. Just for a moment, we hear the anthem of the Soviet Union in the lower brass, but this is relentlessly pushed to the background by the rest of the band playing the Lithuanian national anthem, â€˜TautiÅ¡ka giesm â€™ (Lithuania, our homeland). The second movement, â€˜Decades of Sufferingâ€™, echoes life under the Soviet Union's thumb. In the pursuit of independence, a peaceful protest is planned in which a human chain is formed across the Baltic states of Estonia, Latvia and Lithuania. This â€˜Chain of Freedomâ€™ is depicted in the final movement of the work. De Baltische Weg (The Baltic Way) was een demonstratie van de bevolking van de Baltische staten die in 1989 plaatsvond als een roep om onafhankelijkheid van de Sovjet-Unie. Deze historische gebeurtenis vormde de inspiratiebron voor deze compositie. Van Vilnius via Riga naar Tallinn werd een zeshonderd kilometer lange keten van naar schatting twee miljoen mensen gevormd. Op 23 augustus 1989 gaven al die mensen elkaar de hand en werd De Baltische Weg de langste menselijke keten ooit. Het bleek de uiteindelijke opmaat tot de zo gewenste onafhankelijkheid. De inleiding van het eerste deel, â€˜Struggle for Independenceâ€™, is gebaseerd op een nocturne voor piano van devooraanstaande Litouwse componist en kunstschilder Mikalojus Konstantinas iurlionis (1875-1911). Het thematische materiaal van deze nocturne is door de hele compositie heen verwerkt. Na het melancholische begin volgt een krachtig thema, waarmee de strijdbaarheid van de Baltische bevolking wordt uitgebeeld. De plotselinge agressieve dissonante akkoorden en een dominante en ritmisch gezien tegendraadse grote trom laten horen dat het verzet niet eenvoudig verloopt. Even klinkt het begin van het volkslied van de Sovjet-Unie in het lage koper, maar dat wordt door de rest van de band onverbiddelijk naar de achtergrond verwezen door het Litouwse nationale volkslied â€˜TautiÅ¡ka giesm â€™ (Litouwen, ons vaderland). In deel twee, â€˜Decades of Sufferingâ€™, wordt het leven onder het juk van de Sovjet-Unie verklankt. In het streven naar onafhankelijkheid worden plannen gemaakt om als vreedzaam protest tegen de onderdrukking een menselijke keten te vormen over de wegen van de Baltische staten Litouwen, Letland en Estland. Deze â€˜Chain of Freedomâ€™ wordt in het laatste deel van het werk muzikaal weergegeven. Der sogenannte Baltischer Weg (The Baltic Way) auch unter dem Namen Baltische Kette bekannt war 1989 eine Demonstration von BÃ¼rgern in den baltischen Staaten Estland, Lettland und Litauen mit dem Aufruf zur UnabhÃ¤ngigkeit von der Sowjetunion. Am 23. August 1989 bildeten rund zwei Millionen Teilnehmer eine sechshundert Kilometer lange Menschenkette, die von der estnischen Hauptstadt Tallinn Ã¼ber das lettische Riga bis zur litauischen Hauptstadt Vilnius reichte. Die lÃ¤ngste Menschenkette, die jemals geschaffen wurde, erwies sich als der letzte Schritt, der zur lang ersehnten UnabhÃ¤ngigkeit fÃ¼hrte. Dieses historische Ereignis diente der Komposition alsInspirationsquelle. Die Einleitung des ersten Satzes, Struggle for Independenceâ€œ, basiert auf einem Nocturne fÃ¼r Klavier des bekannten litauischen Komponisten und Malers Mikalojus Konstantinas iurlionis (1875 1911), dessen thematisches Material in der gesamten Komposition verwendet wird. Dem melancholischen Anfang folgt ein mitreiÃŸendes Thema, das die Entschlossenheit der baltischen BevÃ¶lkerung widerspiegelt. Die plÃ¶tzlichen aggressiven, dissonanten Akkorde und eine dominante und rhythmisch gegenlÃ¤ufige Bewegung in der Basstrommel kÃ¼ndigen an, dass der Widerstand nicht reibungslos verlÃ¤uft. FÃ¼r einen kurzen Moment erklingt die Hymne der Sowjetunion in den tiefen BlechblÃ¤sern, aber diese wird unerbittlich vom restlichen Orchester in den Hintergrund gedrÃ¤ngt, welches die litauische Nationalhymne TautiÅ¡ka giesm â€œ (Litauen, unser Heimatlandâ€œ) spielt. Der zweite Satz, Decades of Sufferingâ€œ, spiegelt das Leben unter dem Joch der Sowjetunion wider. FÃ¼r das Streben nach UnabhÃ¤ngigkeit war ein friedlicher Protest geplant, bei dem eine Menschenkette durch die baltischen Staaten Estland, Lettland und Litauen gebildet wurde. Diese Chain of Freedomâ€œ wird im letzten Satz des Werkes beschrieben. En 1989, la manifestation nommÃ©e Â« La Voie balte Â» (The Baltic Way) sâ€™est tenue en Estonie, en Lettonie et en Lituanie, les pays baltes dont les citoyens demandaient Ãªtre indÃ©pendants de lâ€™Union soviÃ©tique. Le 23 ao t 1989, quelque deux millions de personnes se tenant par la main ont formÃ© une chaÃ®ne humaine de 600 km de long reliant les trois capitales Tallinn (Estonie), Riga (Lettonie) et Vilnius (Lituanie). Cette chaÃ®ne humaine, la plus longue ce jour, donna une impulsion dÃ©cisive au rÃ©tablissement dâ€™une indÃ©pendance vivement souhaitÃ©e. Cet Ã©vÃ©nement historique est devenu source dâ€™inspiration pour cette composition. Lâ€™introduction du premier mouvement,Â« Struggle for Independence Â», est fondÃ©e sur un nocturne pour piano du cÃ©lÃ¨bre compositeur et peintre letton Mikalojus Konstantinas iurlionis (1875-1911). Du matÃ©riel thÃ©matique empruntÃ© ce nocturne est parsemÃ© travers la prÃ©sente composition. Un dÃ©but mÃ©lancolique est suivi dâ€™un thÃ¨me puissant qui reflÃ¨te la dÃ©termination des peuples baltes. La prÃ©sence soudaine dâ€™accords agressifs et dissonants, associÃ©s une grosse caisse dont le dÃ©calage rythmique domine, indiquent que la rÃ©sistance rencontre des obstacles. Nous entendons momentanÃ©ment lâ€™hymne soviÃ©tique dans les cuivres graves, mais cet air est inexorablement repoussÃ© lâ€™arriÃ¨re-plan par le reste de lâ€™orchestre interprÃ©tant lâ€™hymne national de Lettonie, Â« TautiÅ¡ka giesm Â» (Lettonie, notre patrie). Le deuxiÃ¨me mouvement, Â« Decades of Suffering Â», dÃ©peint la vie sous le joug de lâ€™Union soviÃ©tique. la recherche de lâ€™indÃ©pendance, une manifestation pacifique est organisÃ©e sous la forme dâ€™une chaÃ®ne humaine traversant les trois pays baltes l â€™Estonie, la Lettonie et la Lituanie. Le dernier mouvement de la piÃ¨ce, Â« Chain of Freedom Â», exprime cet appel la libertÃ©. $30.95 - Voir plus => Acheter Délais: 2 to 3 weeks Articles Similaires

Détails Détails	The Baltic Way Ensemble de cuivres [Conducteur et Parties séparées] - Intermédiaire De Haske Publications Brass Band - Grade 4 SKU: BT.DHP-1206253-030 Composed by Jan de Haan. Con...(+) Brass Band - Grade 4 SKU: BT.DHP-1206253-030 Composed by Jan de Haan. Concert and Contest Collection Brass Band en Fanfare. Concert Piece. Set (Score & Parts). Composed 2019. De Haske Publications #DHP 1206253-030. Published by De Haske Publications (BT.DHP-1206253-030). English-German-French- Dutch. In 1989, the demonstration named the Baltic Way also known as the Baltic Chainâ€” was held in the Baltic states of Estonia, Latvia and Lithuania by its citizens in a call for independence from the Soviet Union. On 23rd August 1989, some two million participants formed a human chain, hand-in-hand all the way from the Estonian capital of Tallinn its Latvian counterpart, Riga, through to the Lithuanian capital of Vilnius - six hundred kilometres long. It became the longest human chain ever created and turned out to be the final push needed for much sought-after independence. This historic event became the source of inspiration for this composition. The introduction of thefirst movement, â€˜Struggle for Independenceâ€™, is based on a nocturne for piano by the renowned Lithuanian composer and painter Mikalojus Konstantinas iurlionis (1875-1911), thematic material from which has been incorporated throughout the whole composition. The melancholic beginning is followed by a powerful theme which reflects the resolve of the Baltic people. The sudden aggressive, dissonant chords and a dominant andâ€”in rhythmic termsâ€”contrary bass drum announce that the resistance is not going smoothly. Just for a moment, we hear the anthem of the Soviet Union in the lower brass, but this is relentlessly pushed to the background by the rest of the band playing the Lithuanian national anthem, â€˜TautiÅ¡ka giesm â€™ (Lithuania, our homeland). The second movement, â€˜Decades of Sufferingâ€™, echoes life under the Soviet Union's thumb. In the pursuit of independence, a peaceful protest is planned in which a human chain is formed across the Baltic states of Estonia, Latvia and Lithuania. This â€˜Chain of Freedomâ€™ is depicted in the final movement of the work. De Baltische Weg (The Baltic Way) was een demonstratie van de bevolking van de Baltische staten die in 1989 plaatsvond als een roep om onafhankelijkheid van de Sovjet-Unie. Deze historische gebeurtenis vormde de inspiratiebron voor deze compositie. Van Vilnius via Riga naar Tallinn werd een zeshonderd kilometer lange keten van naar schatting twee miljoen mensen gevormd. Op 23 augustus 1989 gaven al die mensen elkaar de hand en werd De Baltische Weg de langste menselijke keten ooit. Het bleek de uiteindelijke opmaat tot de zo gewenste onafhankelijkheid. De inleiding van het eerste deel, â€˜Struggle for Independenceâ€™, is gebaseerd op een nocturne voor piano van devooraanstaande Litouwse componist en kunstschilder Mikalojus Konstantinas iurlionis (1875-1911). Het thematische materiaal van deze nocturne is door de hele compositie heen verwerkt. Na het melancholische begin volgt een krachtig thema, waarmee de strijdbaarheid van de Baltische bevolking wordt uitgebeeld. De plotselinge agressieve dissonante akkoorden en een dominante en ritmisch gezien tegendraadse grote trom laten horen dat het verzet niet eenvoudig verloopt. Even klinkt het begin van het volkslied van de Sovjet-Unie in het lage koper, maar dat wordt door de rest van de band onverbiddelijk naar de achtergrond verwezen door het Litouwse nationale volkslied â€˜TautiÅ¡ka giesm â€™ (Litouwen, ons vaderland). In deel twee, â€˜Decades of Sufferingâ€™, wordt het leven onder het juk van de Sovjet-Unie verklankt. In het streven naar onafhankelijkheid worden plannen gemaakt om als vreedzaam protest tegen de onderdrukking een menselijke keten te vormen over de wegen van de Baltische staten Litouwen, Letland en Estland. Deze â€˜Chain of Freedomâ€™ wordt in het laatste deel van het werk muzikaal weergegeven. Der sogenannte Baltischer Weg (The Baltic Way) auch unter dem Namen Baltische Kette bekannt war 1989 eine Demonstration von BÃ¼rgern in den baltischen Staaten Estland, Lettland und Litauen mit dem Aufruf zur UnabhÃ¤ngigkeit von der Sowjetunion. Am 23. August 1989 bildeten rund zwei Millionen Teilnehmer eine sechshundert Kilometer lange Menschenkette, die von der estnischen Hauptstadt Tallinn Ã¼ber das lettische Riga bis zur litauischen Hauptstadt Vilnius reichte. Die lÃ¤ngste Menschenkette, die jemals geschaffen wurde, erwies sich als der letzte Schritt, der zur lang ersehnten UnabhÃ¤ngigkeit fÃ¼hrte. Dieses historische Ereignis diente der Komposition alsInspirationsquelle. Die Einleitung des ersten Satzes, Struggle for Independenceâ€œ, basiert auf einem Nocturne fÃ¼r Klavier des bekannten litauischen Komponisten und Malers Mikalojus Konstantinas iurlionis (1875 1911), dessen thematisches Material in der gesamten Komposition verwendet wird. Dem melancholischen Anfang folgt ein mitreiÃŸendes Thema, das die Entschlossenheit der baltischen BevÃ¶lkerung widerspiegelt. Die plÃ¶tzlichen aggressiven, dissonanten Akkorde und eine dominante und rhythmisch gegenlÃ¤ufige Bewegung in der Basstrommel kÃ¼ndigen an, dass der Widerstand nicht reibungslos verlÃ¤uft. FÃ¼r einen kurzen Moment erklingt die Hymne der Sowjetunion in den tiefen BlechblÃ¤sern, aber diese wird unerbittlich vom restlichen Orchester in den Hintergrund gedrÃ¤ngt, welches die litauische Nationalhymne TautiÅ¡ka giesm â€œ (Litauen, unser Heimatlandâ€œ) spielt. Der zweite Satz, Decades of Sufferingâ€œ, spiegelt das Leben unter dem Joch der Sowjetunion wider. FÃ¼r das Streben nach UnabhÃ¤ngigkeit war ein friedlicher Protest geplant, bei dem eine Menschenkette durch die baltischen Staaten Estland, Lettland und Litauen gebildet wurde. Diese Chain of Freedomâ€œ wird im letzten Satz des Werkes beschrieben. En 1989, la manifestation nommÃ©e Â« La Voie balte Â» (The Baltic Way) sâ€™est tenue en Estonie, en Lettonie et en Lituanie, les pays baltes dont les citoyens demandaient Ãªtre indÃ©pendants de lâ€™Union soviÃ©tique. Le 23 ao t 1989, quelque deux millions de personnes se tenant par la main ont formÃ© une chaÃ®ne humaine de 600 km de long reliant les trois capitales Tallinn (Estonie), Riga (Lettonie) et Vilnius (Lituanie). Cette chaÃ®ne humaine, la plus longue ce jour, donna une impulsion dÃ©cisive au rÃ©tablissement dâ€™une indÃ©pendance vivement souhaitÃ©e. Cet Ã©vÃ©nement historique est devenu source dâ€™inspiration pour cette composition. Lâ€™introduction du premier mouvement,Â« Struggle for Independence Â», est fondÃ©e sur un nocturne pour piano du cÃ©lÃ¨bre compositeur et peintre letton Mikalojus Konstantinas iurlionis (1875-1911). Du matÃ©riel thÃ©matique empruntÃ© ce nocturne est parsemÃ© travers la prÃ©sente composition. Un dÃ©but mÃ©lancolique est suivi dâ€™un thÃ¨me puissant qui reflÃ¨te la dÃ©termination des peuples baltes. La prÃ©sence soudaine dâ€™accords agressifs et dissonants, associÃ©s une grosse caisse dont le dÃ©calage rythmique domine, indiquent que la rÃ©sistance rencontre des obstacles. Nous entendons momentanÃ©ment lâ€™hymne soviÃ©tique dans les cuivres graves, mais cet air est inexorablement repoussÃ© lâ€™arriÃ¨re-plan par le reste de lâ€™orchestre interprÃ©tant lâ€™hymne national de Lettonie, Â« TautiÅ¡ka giesm Â» (Lettonie, notre patrie). Le deuxiÃ¨me mouvement, Â« Decades of Suffering Â», dÃ©peint la vie sous le joug de lâ€™Union soviÃ©tique. la recherche de lâ€™indÃ©pendance, une manifestation pacifique est organisÃ©e sous la forme dâ€™une chaÃ®ne humaine traversant les trois pays baltes l â€™Estonie, la Lettonie et la Lituanie. Le dernier mouvement de la piÃ¨ce, Â« Chain of Freedom Â», exprime cet appel la libertÃ©. $137.95 - Voir plus => Acheter Délais: 2 to 3 weeks Articles Similaires

Détails Détails	Weather Report: The Best Of Weather Report Saxophone, Partitions de Groupe [Conducteur] Hal Leonard Performed by Weather Report. For soprano/tenor saxophone (transposed to concert ...(+) Performed by Weather Report. For soprano/tenor saxophone (transposed to concert pitch), keyboards, bass guitar and drum set. Format: full score. Jazz fusion. Series: Hal Leonard Transcribed Scores. 143 pages. 9x12 inches. Published by Hal Leonard. (2) $29.99 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	From the Highest Peak Orchestre d'harmonie - Facile Hal Leonard Score Only Concert Band; Symphonic Band (Score) - Grade 3 SKU: HL.4004982 ...(+) Score Only Concert Band; Symphonic Band (Score) - Grade 3 SKU: HL.4004982 Composed by Robert Buckley. MusicWorks Grade 3. Softcover. Duration 120 seconds. Published by Hal Leonard (HL.4004982). UPC: 888680655099. 9.0x12.0x0.063 inches. Written as a celebratory piece, From The Highest Peak is a rousing overture that explodes with energy and is a tribute to the pursuit of excellence and the triumph of the human spirit. With powerful fanfares, triumphant melodies, driving percussion and dynamic contrasts, this exciting concert opener moves through different musical colors without ever losing its relentless drive.Dur: 3:15. $7.50 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	Elegy Flûte traversière et Piano Theodore Presser Co. For Flute and Piano. Composed by Lowell Liebermann. Contemporary. Solo part wi...(+) For Flute and Piano. Composed by Lowell Liebermann. Contemporary. Solo part with piano reduction. With Standard notation. Composed 2012. Opus 119. 16 pages. Duration 8 minutes. Theodore Presser Company #114-41683. Published by Theodore Presser Company $13.99 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	Berceuse Clarinette et Piano Theodore Presser Co. (For Clarinet and Piano). Composed by Lowell Liebermann. For clarinet, piano. Co...(+) (For Clarinet and Piano). Composed by Lowell Liebermann. For clarinet, piano. Contemporary. Solo part with piano reduction. Standard Notation. Op. 119. 14 pages. Duration 8 minutes. Theodore Presser Company #114-41605. Published by Theodore Presser Company $13.99 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	The Solitude of Stars Cor et Piano Theodore Presser Co. Chamber Music English Horn, Piano SKU: PR.114422630 Composed by Stacy Gar...(+) Chamber Music English Horn, Piano SKU: PR.114422630 Composed by Stacy Garrop. Sws. Set of Score and Parts. 8+2 pages. Duration 5 minutes. Theodore Presser Company #114-42263. Published by Theodore Presser Company (PR.114422630). UPC: 680160684793. 9 x 12 inches. In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont, Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists the gift of time, space, and support to follow their artistic pursuits; we are provided with studio space, housing, and meals so that we can work continuously on our projects. I have been in residence at numerous artist colonies; however, nothing in my previous experiences prepared me for living in such isolated, wild country. Ucross is situated on a 20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 people living within the town. But what Clearmont lacks in population, it makes up for abundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcards from Wyoming to offer three glimpses of what I found to be the most striking aspects of my residence. The Solitude of Stars, the third and final movement of the original sextet, was inspired by the stunning nightly display of the heavens above. Without city lights dimming the night sky, countless stars shone brightly over the vast expanse of the prairie. This edition is part of The Solitude of Stars Project that I undertook during the 2020 COVID-19 pandemic, which consists of a series of arrangements that I made for colleagues and friends. In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont, Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists the gift of time, space, and support to follow their artistic pursuits; we are provided with studio space, housing, and meals so that we can work continuously on our projects. I have been in residence at numerous artist colonies; however, nothing in my previous experiences prepared me for living in such isolated, wild country. Ucross is situated on a 20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 people living within the town. But what Clearmont lacks in population, it makes up for abundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcards from Wyoming to offer three glimpses of what I found to be the most striking aspects of my residence. The Solitude of Stars, the third and final movement of the original sextet, was inspired by the stunning nightly display of the heavens above. Without city lights dimming the night sky, countless stars shone brightly over the vast expanse of the prairie. This edition is part of The Solitude of Stars Project that I undertook during the 2020 COVID-19 pandemic, which consists of a series of arrangements that I made for colleagues and friends. In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont,Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists thegift of time, space, and support to follow their artistic pursuits; we are provided withstudio space, housing, and meals so that we can work continuously on our projects. I havebeen in residence at numerous artist colonies; however, nothing in my previousexperiences prepared me for living in such isolated, wild country. Ucross is situated on a20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 peopleliving within the town. But what Clearmont lacks in population, it makes up forabundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcardsfrom Wyoming to offer three glimpses of what I found to be the most striking aspects ofmy residence. The Solitude of Stars, the third and final movement of the original sextet,was inspired by the stunning nightly display of the heavens above. Without city lightsdimming the night sky, countless stars shone brightly over the vast expanse of the prairie.This edition is part of The Solitude of Stars Project that I undertook during the 2020COVID-19 pandemic, which consists of a series of arrangements that I made forcolleagues and friends. $19.99 - Voir plus => Acheter Délais: 2 to 3 weeks Articles Similaires

Détails Détails	The Solitude of Stars Violon et Piano Theodore Presser Co. Chamber Music Cello, Piano, Violin SKU: PR.114422690 Composed by Stacy Ga...(+) Chamber Music Cello, Piano, Violin SKU: PR.114422690 Composed by Stacy Garrop. Sws. Set of Score and Parts. 8+2+2 pages. Duration 5 minutes. Theodore Presser Company #114-42269. Published by Theodore Presser Company (PR.114422690). UPC: 680160684809. 9 x 12 inches. In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont, Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists the gift of time, space, and support to follow their artistic pursuits; we are provided with studio space, housing, and meals so that we can work continuously on our projects. I have been in residence at numerous artist colonies; however, nothing in my previous experiences prepared me for living in such isolated, wild country. Ucross is situated on a 20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 people living within the town. But what Clearmont lacks in population, it makes up for abundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcards from Wyoming to offer three glimpses of what I found to be the most striking aspects of my residence. The Solitude of Stars, the third and final movement of the original sextet, was inspired by the stunning nightly display of the heavens above. Without city lights dimming the night sky, countless stars shone brightly over the vast expanse of the prairie. This edition is part of The Solitude of Stars Project that I undertook during the 2020 COVID-19 pandemic, which consists of a series of arrangements that I made for colleagues and friends. In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont, Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists the gift of time, space, and support to follow their artistic pursuits; we are provided with studio space, housing, and meals so that we can work continuously on our projects. I have been in residence at numerous artist colonies; however, nothing in my previous experiences prepared me for living in such isolated, wild country. Ucross is situated on a 20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 people living within the town. But what Clearmont lacks in population, it makes up for abundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcards from Wyoming to offer three glimpses of what I found to be the most striking aspects of my residence. The Solitude of Stars, the third and final movement of the original sextet, was inspired by the stunning nightly display of the heavens above. Without city lights dimming the night sky, countless stars shone brightly over the vast expanse of the prairie. This edition is part of The Solitude of Stars Project that I undertook during the 2020 COVID-19 pandemic, which consists of a series of arrangements that I made for colleagues and friends. In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont,Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists thegift of time, space, and support to follow their artistic pursuits; we are provided withstudio space, housing, and meals so that we can work continuously on our projects. I havebeen in residence at numerous artist colonies; however, nothing in my previousexperiences prepared me for living in such isolated, wild country. Ucross is situated on a20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 peopleliving within the town. But what Clearmont lacks in population, it makes up forabundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcardsfrom Wyoming to offer three glimpses of what I found to be the most striking aspects ofmy residence. The Solitude of Stars, the third and final movement of the original sextet,was inspired by the stunning nightly display of the heavens above. Without city lightsdimming the night sky, countless stars shone brightly over the vast expanse of the prairie.This edition is part of The Solitude of Stars Project that I undertook during the 2020COVID-19 pandemic, which consists of a series of arrangements that I made forcolleagues and friends. $25.99 - Voir plus => Acheter Délais: 2 to 3 weeks Articles Similaires

Détails	The Pursuit of Knowledge Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Carl Fischer Concert Band Concert Band - Grade 1.5 SKU: CF.FPS71 Composed by Larry Cla...(+) Concert Band Concert Band - Grade 1.5 SKU: CF.FPS71 Composed by Larry Clark. FS-SWS. Carl Fischer First Plus Performance Series. Score and Set of Parts. With Standard notation. 16 pages. Duration 3:07. Carl Fischer Music #FPS71. Published by Carl Fischer Music (CF.FPS71). ISBN 9780825867798. UPC: 798408067793. 9 X 12 inches. Key: Eb major. As the title implies, this piece is an inspirational tribute to the quest for learning that occurs in a school environment. Strong themes and angular rhythms help to emulate these qualities through the music. The Pursuit of Knowledge will make a bold statement at your next contest/festival performance. $58.00 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	Riders of the Purple Sage: The Opera based on the novel by Zane Grey (Piano/Vocal Score) Opéra - Intermédiaire Schirmer Opera in 3 Acts for mixed voices (2[1.2/pic] 2 [1.2/Eh] 2 2- 4 2 2 1-tmp 2-hp,...(+) Opera in 3 Acts for mixed voices (2[1.2/pic] 2 [1.2/Eh] 2 2- 4 2 2 1-tmp 2-hp, kbd- str) - Late Intermediate SKU: EC.8932 Composed by Craig Bohmler. Instrumental part. E.C. Schirmer Publishing #8932. Published by E.C. Schirmer Publishing $55.00 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	Guitar Zero Livre - Pas de partitions [Livre] Alfred Publishing (The Science of Becoming Musical at Any Age). By Gary Marcus. Book; Reference Te...(+) (The Science of Becoming Musical at Any Age). By Gary Marcus. Book; Reference Textbooks; Textbook - General. Published by Alfred Music Publishing $18.00 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	Four Partsongs from the Highlands: No. 4. Fareweel tae Tarwathie Chorale SATB Schirmer Composed by Leo Nestor. 21st Century. Choral score. Published by E.C. Schirmer P...(+) Composed by Leo Nestor. 21st Century. Choral score. Published by E.C. Schirmer Publishing (EC.5203). $3.20 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

Détails Détails	Music For Piano Trio Piano Trio: piano, violon, violoncelle Theodore Presser Co. Chamber Music Violin, cello, Piano SKU: PR.114412950 The March of Foll...(+) Chamber Music Violin, cello, Piano SKU: PR.114412950 The March of Folly. Composed by Justin Dello Joio. Contemporary. Set of Score and Parts. With Standard notation. Composed April 1 2005. 52+16+16 pages. Theodore Presser Company #114-41295. Published by Theodore Presser Company (PR.114412950). UPC: 680160589197. 9.5 x 13 inches. Music for Piano Trio/ The March of Folly was inspired by Barbara Tuchman's book of the same name. In her book, Ms. Tuchman defines folly as, the pursuit by governments of pursuing policies contrary to their own interests. In the preface she asks, why do holders of high office so often act contrary to the way reason points seem so often not to function? She illuminates four decisive points in history that illustrate the very heights of folly in government, and illustrates folly as 'a child of power'. $110.00 - Voir plus => Acheter Délais: 2 to 3 weeks Articles Similaires

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