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Emerald Stream Chorale SATB SATB A Cappella [Octavo] Santa Barbara Music Publishing
By Seth Houston. For SATB choir (a cappella). Jo-Michael Scheibe Choral Series. ...(+)
By Seth Houston. For SATB
choir (a cappella).
Jo-Michael Scheibe Choral
Series. Concert. Octavo.
Published by Santa
Barbara Music Publishing
$2.40 $2.28 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks
Heinz Holliger : Preludio e Fuga (a 4 Voci) Contre Basse Schott
(Double Bass Solos in Viennese tuning). By Heinz Holliger (1939-2002). For Doubl...(+)
(Double Bass Solos in
Viennese tuning). By
Heinz Holliger
(1939-2002). For Double
Bass. String Solo.
Softcover. 46 pages.
Schott Music #KBB15.
Published by Schott Music
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Alphabet (Fuga) Chorale 3 parties SSA A Cappella Boosey and Hawkes
No. 3 from Four Heartfelt Anthems. By David Del Tredici. (SSA A Cappella). Tran...(+)
No. 3 from Four Heartfelt
Anthems. By David Del
Tredici. (SSA A
Cappella). Transient
Glory. Size 6.8x10.5
inches. 12 pages.
Published by Boosey &
Hawkes.
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Junto a Rodrigo. An Anthology of Contemporary Music for Guitar (Podera, Reghezza, Simoni, Smaili, Ugoletti) Guitare Ut Orpheus
Guitar SKU: UT.CH-289 Edited by Piero Bonaguri. Saddle stitching. Piero B...(+)
Guitar
SKU:
UT.CH-289
Edited by
Piero Bonaguri. Saddle
stitching. Piero Bonaguri
Collection. Classical. Ut
Orpheus #CH 289.
Published by Ut Orpheus
(UT.CH-289).
ISBN
9790215325852. 9 x 12
inches.
Giovanni
Podera : Fantasia
(In memoriam JoaquÃn
Rodrigo)Marco
Reghezza : Nana
EstrelladaMarco
Simoni : Junto a
RodrigoMarco
Smaili : Fronda de
la tarde (Homenaje a
JoaquÃn
Rodrigo)Paolo
Ugoletti : Fuga a
4
voci Following
the successful
publication of
Homenaje a Rodrigo
(2015), containing four
pieces by Alessandro
Spazzoli – one of
which was performed in
the presence of the
composer’s
daughter, Cecilia
Rodrigo, during her visit
to the International
Convention in Alessandria
–, here is the
second volume. It
contains more tributes to
Rodrigo written on my
input by five well-known
Italian and Spanish
composers, two of whom
are also guitarists and
have therefore written
the fingering for their
own pieces. Giovanni
Podera plunges us into a
typically Rodrigo-like
atmosphere with his
evocative
Fantasia , while
the following three
compositions are full of
direct quotations from
pieces also for guitar by
the great composer from
Valencia. Thus, Marco
Simoni, in his expressive
Junto a Rodrigo
– which also
provides the title to the
volume – plays
with themes taken from
Junto al
Generalife and from
Dos piezas
caballerescas for a
cello ensemble as well as
hinting at reminiscences
of Tiento antiguo .
As for Marco Smaili, in
his impressionistic
Fronda de la
tarde , he evokes
quite evidently
Zarabanda lejana
and Invocación y
Danza , but there are
more hidden references to
Caminos de
Santiago and even to
the very famous
Concierto de
Aranjuez . Marco
Reghezza builds his
heart-breaking Nana
estrellada on a
sequence of chords used
by Rodrigo in the
fantasia ¡Que buen
caminito! . On the
other hand, there are no
direct quotations and
echoes of
Rodrigo’s way of
writing in the Fuga a
quattro voci by Paolo
Ugoletti. However it was
Rodrigo himself who
constructed four-part
imitative passages for
guitar in
Pasacalle and in
the Ricercare of the
Fantasia para un
Gentilhombre . The
close polyphony of the
piece by Ugoletti may be
considered as a tribute
to this kind of craft
shown by Rodrigo who,
like Ugoletti, was able
to write such dense and
idiomatic counterpoint
without being a
guitar-player. I am
pleased that this volume
comes out in the
imminence of the 20th
anniversary of the
disappearance of the
illustrious Spanish
composer who gave so much
to the musicians –
and not only to
them. (Piero
Bonaguri)Mucha
s gracias por este
emotivo y excelente
musical homenaje a mi
padre. La edición es
excelente y la
difundiremos con todos
nuestros medios por las
redes sociales a nuestro
alcance. Ha sido un gran
trabajo por su parte,
fruto de sus grandes
conocimientos
guitarrÃsticos y su
devoción por
JoaquÃn Rodrigo.Â
Le reitero mi gratitud y
mi felicitación con el
ruego transmita a los
cinco compositores mi
felicitación y deseos
de éxito.
(Cecilia
Rodrigo).
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George Rochberg : Partita Piano seul Theodore Presser Co.
By George Rochberg. For Piano. Duration 28:. Published by Theodore Presser Compa...(+)
By George Rochberg. For
Piano. Duration 28:.
Published by Theodore
Presser Company.
$24.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Treinta Sonatas Piano seul Union Musical Ediciones
Old English Organ Music for Manuals - Book 5 Orgue Oxford University Press
Edited by C. H. Trevor. Organ solo book for organ solo. With standard notation. ...(+)
Edited by C. H. Trevor.
Organ solo book for organ
solo. With standard
notation. Published by
Oxford University Press.
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My First Concert On Recorder Alto Flûte à bec Alto, Piano Schott
Treble recorder and piano (A) SKU: HL.49007054 27 Pieces for Treble Re...(+)
Treble recorder and piano
(A)
SKU:
HL.49007054
27
Pieces for Treble
Recorder and Piano .
Edited by Johannes
Weigart. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. 92 pages.
Schott Music #ED7213.
Published by Schott Music
(HL.49007054).
ISBN
9790001075572.
9.0x12.0x0.28
inches.
$24.99 - Voir plus => Acheter
Bach/Art of Fugue for Solo Keyboard Orgue, Piano (duo) [Partition] Dover Publications
Nueva Biblioteca Espanola Vol.5 Piano seul Unión Musical Ediciones
Piano SKU: BT.MUSUMP22331 De Musica De Teclado . Classical. Book On...(+)
Piano
SKU:
BT.MUSUMP22331
De
Musica De Teclado .
Classical. Book Only. 124
pages. Union Musical
Ediciones #MUSUMP22331.
Published by Union
Musical Ediciones
(BT.MUSUMP22331).
ISBN
9780711975552.
A
mixed collection of
compositions by 16th,
17th and 18th century
Spanish organists
including Fray Tomas de
Santa Maria, Joseph
Ximenez, Fray Cristobal
de San Jeronimo,
Sebastian de Albero and
Julian Prieto.
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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 Vogt’s
Musical ParisGustave Vogt
(1781–1870) was
born into the “Age
of Enlightenment,â€
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 oboeâ€
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 Sixâ€
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).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
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…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
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 - Voir plus => Acheter Délais: 1 to 2 weeks
VIII Praeludia ed VII Fugen di J.S. Bach (?) Orgue Willemsen
By Johann Sebastian Bach. Edited by Peter Molenaar. For organ. Collection. Publi...(+)
By Johann Sebastian Bach.
Edited by Peter Molenaar.
For organ. Collection.
Published by European
Music Centre (German
import).
$23.95 - Voir plus => Acheter Délais: 4 to 6 weeks
Ochsenhauser Orgelbuch. Harmonia Organica Orgue Carus Verlag
Organ solo SKU: CA.2440900 Composed by Anonymous. Edited by Michael Gerha...(+)
Organ solo
SKU:
CA.2440900
Composed
by Anonymous. Edited by
Michael Gerhard Kaufmann,
Klaus Konrad Weigele.
Free organ music.
Ochsenhauser Orgelbuch
Faksimile. Free organ
music. Facsimile. 88
pages. Carus Verlag #CV
24.409/00. Published by
Carus Verlag
(CA.2440900).
ISBN
9790007068967.
Facs
imile edition of the
Ochsenhauser Orgelbuch,
with critical first
edition. Almost 270 years
following its completion,
for the first time the
Ochsenhauser Orgelbuch, a
unique collection of
organ music from southern
Germany, will be
published and thus made
accessible to the music
world. In honor of the
completion of the
restoration of the Gabler
organ in Ochsenhausen
this important, with its
wonderful color
illustrations, has been
published in a
high-quality limited
two-volume edition.
$244.95 - Voir plus => Acheter Délais: 2 to 3 weeks
Die neue Gitarrenschule Band 2 Guitare - Intermédiaire Ricordi
Guitar - intermediate SKU: BT.SY-2953 Revidierte Neuausgabe von Michae...(+)
Guitar - intermediate
SKU: BT.SY-2953
Revidierte Neuausgabe
von Michael Koch .
Method. Book, CD and
Audio Online. Composed
2018. 132 pages. Ricordi
#SY 2953. Published by
Ricordi (BT.SY-2953).
German.
DIE NEUE
GITARRENSCHULE by Heinz
Teuchert is one of the
most successful methods
for classical guitar in
German. Since it was
first published in 1983,
the guitar technique has
evolved in many respects
so that the need of a
revised edition has
become more and more
evident. Prof. Michael
Koch has taken up this
mission and now presents
the revised method in two
volumes: the texts, parts
of the playing material,
and the appearance of the
books have been
modernized while
preserving
Teuchertââ¬â¢s
methodical approach and
the underlying structure
of the method. One of its
strengths is the
diversity in terms of
playing techniques and
musical styles not only
solo playing but also
fingerpicking styles,
flamenco techniques, and
song accompaniment are
taught. The BOOK CD AUDIO
ONLINE packs also feature
demonstration and
play-along recordings of
many pieces included in
the books. DIE
NEUE GITARRENSCHULE von
Heinz Teuchert gilt als
Standardwerk unter den
deutschsprachigen
Lehrbüchern
für klassische
Gitarre. Seit ihrer
Erstveröffentlichu
ng im Jahr 1983 hat sich
die Gitarren-Spieltechnik
beträchtlich
weiterentwickelt, sodass
die Notwendigkeit einer
ÃÅberarbeitung des
Schulwerks immer
deutlicher zutage trat.
Prof. Michael Koch hat
sich dieser Aufgabe
angenommen und die
revidierte Neuausgabe in
zwei Bänden
vorgelegt: Die Texte,
Teile des Spielmaterials
sowie das
Erscheinungsbild wurden
modernisiert,
während Teucherts
methodischer Ansatz und
die grundlegende Struktur
des Schulwerks
beibehalten wurden.
DIE NEUE GITARRENSCHULE
zeichnet sich
insbesondere durch ihre
Vielseitigkeit aus, was
die behandelten
Spieltechniken und
musikalischen
Stilrichtungen angeht:
Neben dem Solospiel
werden auch das
Fingerpicking, der
Flamenco und die
Liedbegleitung mit
Akkorden vermittelt.
Demo- und
Mitspielaufnahmen vieler
der enthaltenen
Stücke stehen
sowohl auf der
beigefügten CD als
auch online im MP3-Format
zur Verfügung.
AUS DEM INHALT (Band 2):
Einführung in
die fis-Stimmung
Weiterführung des
Lagenwechsels
Barrégriffe
Flamenco-Anschlag Die
Bindetechnik
Fortschreitende
Solostücke und
Duos Technische
Kurzübungen
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Moving Heaven and Earth Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-339-140 Concertante Variat...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-339-140
Concertante Variations
on an Original Theme
(after Gabriel
Fauré) . Composed
by Philip Sparke. Anglo
Music Midway Series.
Concert Piece. Score
Only. Composed 2012. 40
pages. Anglo Music Press
#AMP 339-140. Published
by Anglo Music Press
(BT.AMP-339-140).
9x12
inches.
English-German-French-Dut
ch.
Moving
Heaven and Earth was
commissioned by the Clark
County School District
Commissioning Project,
Las Vegas, NV, USA and is
dedicated to Bunny
Wasserman and her Make
Music Matter, Las Vegas
foundation, in
appreciation of her
tireless work in support
of music education. It
was premiered in January
2012, conducted by Col.
John R. Bourgeois.The
piece consists of a theme
and 4 variations;
although the theme is
original it contains a
phrase heavily influenced
by a 14-bar passage from
the Libera Me in
Fauré’s
Requiem . It is a
sequence that the
composer finds
harmonically compelling
and, although it is never
quoted directly, it
appears in altered form
in thetheme and each of
the variations. In the
original, the passage is
set to the words:
Quando cæli movendi
sunt et terra (When
the heavens and the earth
shall be moved) which
gave inspiration for the
title.After the initial
statement of the theme,
Variation 1
features the upper
woodwinds who play a
stirring melody and
accompany the Fauré
reference with florid
arpeggios. Variation
2 spotlights the
saxophones and lower
woodwind in a rhythmic,
modal waltz, whilst
Variation 3 is a
broad chorale for the
brass and percussion.
Variation 4 starts
with a fugue, which
introduces each section
of the band in turn
before the original theme
appears on the brass
while the woodwind
continue the fugal
figuration.
Moving Heaven
and Earth is
geschreven in opdracht
van het Clark County
School District
Commissioning Project,
Las Vegas, NV, USA. Het
is opgedragen aan Bunny
Wasserman en haar
stichting Make Music
Matter… Las Vegas,
als blijk van waardering
voor haar onvermoeibare
inzet voor het
muziekonderwijs. De
première, uitgevoerd
onder leiding van kolonel
John R. Bourgeois, vond
plaats in januari
2012.Het werk bestaat uit
een thema en vier
variaties; hoewel het een
oorspronkelijk geschreven
thema is, bevat het een
frase die sterk is be
nvloed door een passage
van veertien maten uit
het Libera Me van
Faurés Requiem .
Het gaat om een sequens
die de componist
harmonischzeer boeiend
vindt, en die - hoewel
nooit direct geciteerd -
in aangepaste vorm in
zowel het thema als de
vier variaties naar voren
komt. In het origineel is
de muziek uit deze
passage geschreven op de
tekst Quando cæli
movendi sunt et terra
(Wanneer hemel en aarde
bewogen worden). Daarop
is de titel van deze
compositie gebaseerd.Na
de aanvankelijke
invoering van het thema
komt in Variatie 1
het hoge hout aan bod met
een treffende melodie; en
de verwijzing naar
Fauré wordt begeleid
door sierlijke
arpeggio’s.
Variatie 2 plaatst
de saxofoons en het lage
hout in de schijnwerpers
met een ritmische, modale
wals, terwijl Variatie
3 een weidse koraal
voor het koper en
slagwerk
omvat.Variatie 4
begint met een fuga die
elke sectie van het
orkest introduceert,
waarna het
oorspronkelijke thema in
het koper verschijnt
terwijl het hout
verdergaat met de
fugatische versieringen.
Moving Heaven
and Earth wurde vom
Schulbezirksverband in
Las Vegas, Nevada (USA)
in Auftrag gegeben. Das
Stück ist Bunny
Wasserman und ihrer
Stiftung Make Music
Matter, Las Vegas
gewidmet, in Anerkennung
ihrer unermüdlichen
Anstrengungen zugunsten
der musikalischen
Ausbildung. Die
Uraufführung fand im
Januar 2012 unter Leitung
von Colonel John R.
Bourgeois statt.Das
Stück besteht aus
einem Thema und vier
Variationen. Obwohl es
sich um ein originales
Thema handelt, ist doch
ein Abschnitt daraus
stark von einer
14-taktigen Passage aus
dem Libera Me in
Faurés Requiem
beeinflusst. Es ist eine
Sequenz, die dem
Komponisten harmonisch
besonders reizvoll
erschien, wennsie auch
nirgends direkt zitiert
wird, sondern in
veränderter Form im
Thema und in jeder
Variation erscheint. Im
Original ist diese
Passage mit folgendem
Text unterlegt: Quando
cæli movendi sunt et
terra (Wenn Himmel
und Erde sich bewegen
sollen). Diese Worte
waren Inspiration für
den Titel.Nach der
einleitenden Vorstellung
des Themas stellt
Variation 1 die hohen
Holzbläser in den
Vordergrund, die eine
bewegende Melodie spielen
und die Anspielung auf
Fauré mit schönen,
lebhaften Arpeggien
begleiten. Variation
2 richtet das
Rampenlicht auf die
Saxophone und die tiefen
Holzbläser in einem
rhythmischen, modalen
Walzer, während
Variation 3 ein
breiter Choral für die
Blechbläser und das
Schlagzeug ist.
Variation 4
beginnt mit einer Fuge,
die nacheinander jedes
Register des
Blasorchesters
präsentiert, bevor die
Blechbläser das
Originalthema spielen und
die Holzbläser dazu
mit der Umspielung der
Fuge fortfahren.
Moving Heaven
and Earth
(Ébranler le ciel et
la terre) est une oeuvre
de commande du Clark
County School District
Commissioning Project de
Las Vegas,
États-Unis. Cette
pièce est dédiée
Bunny Wasserman et sa
fondation Make Music
Matter, Las Vegas, en
reconnaissance de son
travail sans rel che en
faveur de
l’éducation
musicale. Elle a
été créée en
janvier 2012, sous la
direction du colonel John
R. Bourgeois.Cette oeuvre
se compose d’un
thème et de quatre
variations ; bien que le
thème soit original,
il contient néanmoins
un motif relativement
influencé par un
passage de 14 mesures du
Libera Me du
Requiem de
Fauré. Cette
séquence, dont
l’harmonisation
fascinePhilip Sparke,
paraît sous une forme
altérée dans le
thème et chacune des
variations. Dans
l’oeuvre de
Fauré, le thème
mélodique colore les
paroles : Quando
cæli movendi sunt et
terra (Quand le ciel
et la terre seront
ébranlés), qui ont
d’ailleurs
inspiré le titre de la
présente
composition.Après une
exposition initiale du
thème, la 1re
variation fait appel
au registre aigu des
bois, qui énoncent une
exaltante mélodie et
enluminent
l’allusion
Fauré par des
arpèges fleuris. La
2e variation met
en valeur les saxophones
et le registre grave des
bois dans une valse
modale rythmée, tandis
que la 3e
variation prend la
forme d’un ample
choral pour les cuivres
et la percussion.La 4e
variation installe
une fugue qui
présente, tour tour,
chaque pupitre de
l’orchestre avant
le retour du thème
d’origine
interprété par les
cuivres, tandis que les
bois maintiennent
brillement le motif de
fugue.
$52.95 - Voir plus => Acheter Délais: 2 to 3 weeks
Die Kunst der Fuge Orgue [Conducteur] Soeddeutscher Musikverlag
Teil 2. 4 zweistimmige Kanons, 2 Spiegelfugen, unvollendete Fuge mit 3 Themen, O...(+)
Teil 2. 4 zweistimmige
Kanons, 2 Spiegelfugen,
unvollendete Fuge mit 3
Themen, Orgelchoral
"Wenn wir in
hochsten Noten (Vor
deinen Thron)". By
Johann Sebastian Bach.
Edited by Schurich, Hans.
For Organ. Playing Score
(paperbound). BWV 1080.
Published by
Soeddeutscher Musikverlag
(German import).
$33.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Organ Music For Manuals Book 3 Orgue [Partition] Oxford University Press
Organ Music For Manuals Book 5 Orgue [Partition] Oxford University Press
Nueva Biblioteca Espanola Vol.1 Piano seul Music Distribution Services
Volume 1 of a collection of keyboard music by Spanish composers of the 16th to 1...(+)
Volume 1 of a collection
of keyboard music by
Spanish composers of the
16th to 18th century,
revised and transcribed
by Antonio Baciero.
Composers include Fray
Tomas de Santa Maria,
Antonio de Cabezon, Juan
Cabanilles, Sebastian de
Albero, Julian Prieto and
J.B. Pergolesi
$27.95 - Voir plus => Acheter Délais: 4 to 6 weeks
Between the Two Rivers Fanfare [Conducteur] - Intermédiaire Anglo Music
Fanfare Band - Grade 5 SKU: BT.AMP-061-120 Variations on Ein' feste Bu...(+)
Fanfare Band - Grade 5
SKU:
BT.AMP-061-120
Variations on Ein'
feste Burg . Composed
by Philip Sparke. Elite
Series. Concert Piece.
Score Only. Composed
2003. Anglo Music Press
#AMP 061-120. Published
by Anglo Music Press
(BT.AMP-061-120).
Between the Two
Rivers was commissioned
by Fanfare ‘Prins
Hendrik’, from
Aalst in the Netherlands.
The title derives from
the fact that the town of
Aalst lies between two
tributaries of the River
Dommel. The community is
a highly religious one,
so the famous Luther
chorale, Ein’
Feste Burg, was an
obvious choice for Philip
Sparke to use as the
theme for this new work.
It takes the form of a
theme with four
contrasting variations.
Variation 1 is a moto
perpetuo, variation 2 has
a slower march like feel,
variation 3 is a sinister
slow movement and the
final variation is in the
form of a lyrical fugue.
Between The Two Rivers is
sure to become a major
work in modern concert
bandrepertoire.
Between the Two
Rivers werd gecomponeerd
in opdracht van de
Fanfare Prins Hendrik uit
Aalst. De titel verwijst
naar het feit dat Aalst
tussen twee zijrivieren
van de Dommel ligt. Aalst
is een streng gelovige
gemeente, dus was heteen
voor de hand liggende
keuze van Philip Sparke
om het beroemde lutherse
koraal Een vaste burcht
te gebruiken als thema
voor een viertal
variaties. Variation I is
een moto perpetuo,
Variation II is langzamer
en marsachtig van
karakter,VariationIII is
een sinister langzaam
deel en Variation IV
heeft tot slot de vorm
van een fuga. Between the
Two Rivers zal beslist
een belangrijk
concertwerk worden in het
repertoire van
blaasorkesten. Het werk
is verplichtgesteld op
het Wereld Muziek
Concours 2005 te
Kerkrade. Philip
Sparke wählte sich den
berühmten
Luther-Choral Ein'
feste Burg als Thema
für eine Reihe von
Variationen. Nach einer
kurzen, lebhaften
Eröffnung folgen vier
abwechslungsreiche
Variationen über den
Choral. Between the
Two Rivers , dessen
Name sich auf die
zwischen zwei Flüssen
liegende, Auftrag gebende
Stadt Aals in Holland
bezieht, ist ein
prachtvolles Werk, in dem
alle Register des
Blasorchesters zum Zuge
kommen. Philip
Sparke a composé
Between the Two Rivers n
l'occasion du centenaire
de la Fanfare Prins
Hendrik (1904-2004) de la
ville d'Aalst aux
Pays-Bas. Le titre de
cette composition trouve
son origine dans le fait
que la ville est
enserrée entre deux
affluents de la
rivi¬re Dommel. Aalst
est une cité pieuse.
La création d'un
ensemble de variations
sur le th¬me du
cél¬bre choral
luthérien Ein' feste
Burg (C'est un rempart
que notre Dieu)
s'imposait comme une
évidence. Between the
Two Rivers est une ?uvre
fluide, lyrique,
mystérieuse et
élégante.
$35.95 - Voir plus => Acheter Délais: 2 to 3 weeks
Piano Pieces (11) Piano seul Peters
By Frederic Chopin. Edited by Scholtz, Pozniak. For piano. Op.12,Variations bril...(+)
By Frederic Chopin.
Edited by Scholtz,
Pozniak. For piano.
Op.12,Variations
brillantes sur le rondo
favoriJe vends de
scapulaires(Ludovic);
Op.19,Bolero;
Op.43,Tarantelle;
Op.46,Allegro de concert;
Op.57,Berceuse(D|);
Op.60,Barcarolle;
Op.72,No.2 Funeral
March;Op.72,No.3.Three
Ecossaises;
Op.posth.Variations on.
Published by C.F. Peters.
$31.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Renaissance Trios for Strings - Violin A [Part Book] Greenblatt and Seay
Arranged by Deborah Greenblatt. String Trio. For violin 1. This edition: spiral-...(+)
Arranged by Deborah
Greenblatt. String Trio.
For violin 1. This
edition: spiral-bound.
Trios for Strings. Part
book. 48 pages. Published
by Greenblatt & Seay
$9.00 - Voir plus => Acheter Délais: 2 to 3 weeks
Une belle histoire Orchestre d'harmonie [Conducteur] - Facile Music Sales
Concert Band/Harmonie - Grade 3 SKU: BT.1418-07-140-MS Composed by Michel...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.1418-07-140-MS
Composed by Michel Fugain
and Pierre Leroyer.
Arranged by Roland
Kernen. Pop, Film and
Show. Pop & Rock. Score
Only. Composed 2007. 20
pages. Music Sales
#1418-07-140 MS.
Published by Music Sales
(BT.1418-07-140-MS).
9x12 inches.
English-German-French-Dut
ch.
For Une
Belle Histoire ,
Roland Kernen took his
inspiration from the
seventies French singer
and composer Michel
Fugain and his troop of
singers and dancers known
as “Le Big
Bazarâ€. The
cheerful melodic line of
his 1972 hit Une belle
histoire lends itself
perfectly for brass band.
Add a little French charm
to any concert with this
throwback to the hippy
period of the early
seventies. In
1972 werd het gezelschap
Michel Fugain et le Big
Bazar opgericht, een
kleurrijk geheel van
muzikanten, zangers en
dansers met een
hippieachtige
uitstraling. Met deze
formatie bracht Fugain
tot eind jaren zeventig
veel vrolijkeen mooie
hits uit, waaronder
Une belle
histoireM . Roland
Kernen schreef een fraai
arrangement van deze
levendige en tijdloze
hit. De melodieuze muziek
zal elk concert voorzien
van een vleugje Franse
charme. Mit Une
belle histoire (Eine
schöne Geschichte)
kam die französische
Gruppe Michel Fugain et
le Big Bazar“ - ein
bunter Haufen aus
Tänzern und Musikern
im Hippie-Stil - in den
siebziger Jahren groß
heraus. Roland Kernen
schrieb diese reizvolle
Bearbeitung des
lebhaften, zeitlosen
Hits. Die melodische
Musik verleiht jedem
Konzert etwas vom Charme
Frankreichs und der
fröhlichen, schönen
Hippiemusik der
Siebziger. Michel
Fugain est un
auteur-compositeur et
interprète
français, né en
1942 Grenoble. Il
débute sa carrière
dans l’industrie
du cinéma tout en
écrivant plusieurs
chansons pour Michel
Sardou. Son talent
musical s’impose
alors comme une
évidence. En 1969, il
enregistre son tout
premier album Je
n’aurai pas le
temps . Trois ans plus
tard, en 1972, il crée
la célèbre troupe
du Big Bazar, composée
de musiciens, chanteurs,
comédiens et danseurs
aux couleurs hippies.
Ensemble, ils sortent le
single Une belle
histoire qui
connaît un immense
succès. Jusqu’
la fin des années
1970, la troupe va
égrener quelques
tubes, avant de se
séparer. Dans les
années 1980,
MichelFugain se
diversifie et se lance
dans l'animation
télé. Si pour la
grande majorité du
public, il est resté
le leader du Big Bazar,
Michel Fugain a
néanmoins réussit
son renouveau artistique
après plusieurs
années
d’absence.Roland
Kernen a réalisé un
charmant arrangement du
premier grand succès
du Big Bazar, Une
belle histoire . La
mélodie,
délicieusement
légère, chemine sur
des notes au charme et
aux parfums de
France.
$18.95 - Voir plus => Acheter Délais: 2 to 3 weeks
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