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Super Friend Piano, Voix et Guitare Alfred Publishing
From the Television Series The Flash. Composed by Rachel Bloom and Tom Root. ...(+)
From the Television
Series
The Flash. Composed by
Rachel Bloom and Tom
Root.
Arranged by Blake Neely.
This edition:
Piano/Vocal/Guitar.
Piano/Vocal/Chords;
Sheet;
SmartMusic; Solo.
Original
Sheet Music Edition. TV.
6
pages. Published by
Alfred
Music
$3.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Hymns – Super Easy Songbook Piano Facile Hal Leonard
Piano; Piano/Keyboard SKU: HL.194659 Composed by Various. Super Easy Song...(+)
Piano; Piano/Keyboard
SKU: HL.194659
Composed by Various.
Super Easy Songbook.
Christian, General
Worship, Hymns.
Softcover. Published by
Hal Leonard (HL.194659).
ISBN 9781495073892.
UPC: 888680641757.
9.0x12.0x0.262
inches.
It's super
easy! This series
features accessible
arrangements for piano,
with simple right-hand
melody, letter names
inside each note, basic
left-hand chord diagrams,
and no page turns. This
edition includes 60
hymns: All Creatures of
Our God and King •
Amazing Grace • Be
Thou My Vision •
Beautiful Savior •
The Church's One
Foundation • Crown
Him with Many Crowns
• For the Beauty of
the Earth • I Love
to Tell the Story •
It Is Well with My Soul
• Just As I Am
• A Mighty Fortress
Is Our God •
Nearer, My God, to Thee
• O Worship the
King • Rock of Ages
• 'Tis So Sweet to
Trust in Jesus • We
Gather Together •
What a Friend We Have in
Jesus • When I
Survey the Wondrous Cross
• and many
more.
$15.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Pop Songs for Kids - Super Easy Songbook Piano Facile - Débutant Hal Leonard
Composed by Various. Super Easy Songbook. Children, Pop. Softcover. 128 pages....(+)
Composed by Various.
Super
Easy Songbook. Children,
Pop.
Softcover. 128 pages.
Published by Hal Leonard
$17.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Disney - Super Easy Songbook Piano Facile [Partition] - Facile Hal Leonard
Composed by Various. Super Easy Songbook. Softcover. 120 pages. Published by Hal...(+)
Composed by Various.
Super Easy Songbook.
Softcover. 120 pages.
Published by Hal Leonard
(HL.199558).
$15.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Lean on Me - Super Easy Piano Piano Facile - Facile Hal Leonard
Songs of Unity, Courage and Hope. By Various. Super Easy Songbook. Pop, Standa...(+)
Songs of Unity, Courage
and
Hope. By Various. Super
Easy
Songbook. Pop, Standards.
Softcover. Published by
Hal
Leonard
$10.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Pop Standards - Super Easy Songbook Piano Facile - Facile Hal Leonard
By Various. Super Easy Songbook. Pop, Rock. Softcover. 120 pages. Published by ...(+)
By Various. Super Easy
Songbook. Pop, Rock.
Softcover. 120 pages.
Published by Hal Leonard
(HL.233770).
$16.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Queen - Super Easy Songbook Piano Facile Hal Leonard
Peaceful Melodies - Super Easy Piano Piano Facile - Débutant Hal Leonard
By Various. Super Easy Songbook. Pop, Standards. Softcover. 120 pages. Publis...(+)
By Various. Super Easy
Songbook. Pop, Standards.
Softcover. 120 pages.
Published by Hal Leonard
$16.99 - Voir plus => Acheter Délais: 24 hours - In Stock
The 1980s – Super Easy Songbook Piano Facile - Débutant Hal Leonard
Piano/Keyboard SKU: HL.1438561 Composed by Various. Super Easy Songbook. ...(+)
Piano/Keyboard
SKU:
HL.1438561
Composed
by Various. Super Easy
Songbook. Classic Rock,
Pop, Standards.
Softcover. Published by
Hal Leonard (HL.1438561).
ISBN 9798350123715.
UPC:
196288204916.
The
'80s brought on an
electrifying surge of
musical innovation,
marked by the rise of
genres such as synth-pop,
hair metal, and the early
beginnings of hip-hop.
This dynamic period was
distinguished by the
revolutionary influence
of MTV, which changed the
way we consume music and
turned musicians in
visual legends. The
decade's spirited vibe
made a lasting impact on
the music scene, etching
its presence into the
cultural fabric forever.
Grab your hairspray and
teasing comb and jump
into this new Super Easy
songbook, featuring 46
simple arrangements of
the decade's best to
start playing your
favorite songs in no
time! Each song is
arranged with simple
right-hand melody, letter
names inside each note,
basic left-hand chord
diagrams, and no page
turns. Songs include:
Africa ⢠All Outof
Love ⢠Beat It
⢠Danger Zone â¢
Don't Dream It's Over
⢠Ebony and Ivory
⢠Everybody Wants to
Rule the World â¢
Flashdance... What a
Feeling ⢠Footloose
⢠Girls Just Want to
Have Fun ⢠Higher
Love ⢠Hurts so Good
⢠Into the Air
Tonight ⢠Jump
⢠Owner of a Lonely
Heart ⢠Running Up
That Hill ⢠Sweet
Dreams (Are Made of This)
⢠Total Eclipse of
the Heart ⢠You're
the Inspiration â¢
and more!
$16.99 - Voir plus => Acheter Délais: 4 to 6 weeks
Harry Styles ? Super Easy Songbook Piano Facile - Débutant Hal Leonard
By Harry Styles. Super Easy Songbook. Pop. Softcover. Published by Hal Leonard...(+)
By Harry Styles. Super
Easy
Songbook. Pop. Softcover.
Published by Hal Leonard
$12.99 - Voir plus => Acheter Délais: 24 hours - In Stock
The Beatles - Super Easy Songbook Piano grosses notes - Débutant Hal Leonard
By The Beatles. Super Easy Songbook. Softcover. 128 pages. Published by Hal L...(+)
By The Beatles. Super
Easy
Songbook. Softcover. 128
pages. Published by Hal
Leonard
$16.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Beautiful Ballads - Super Easy Songbook Piano Facile - Débutant Hal Leonard
Composed by Various. Super Easy Songbook. Pop, Standards. Softcover. Published...(+)
Composed by Various.
Super
Easy Songbook. Pop,
Standards.
Softcover. Published by
Hal
Leonard
$16.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Country - Super Easy Songbook Piano Facile - Débutant Hal Leonard
By Various. Super Easy Songbook. Country. Softcover. 112 pages. Published by H...(+)
By Various. Super Easy
Songbook. Country.
Softcover.
112 pages. Published by
Hal
Leonard
$16.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Jazz Standards - Super Easy Songbook Piano grosses notes - Facile Hal Leonard
Composed by Various. Super Easy Songbook. Softcover. 128 pages. Published by H...(+)
Composed by Various.
Super
Easy Songbook. Softcover.
128
pages. Published by Hal
Leonard
$16.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Andrew Lloyd Webber - Super Easy Songbook Piano grosses notes - Débutant Hal Leonard
Composed by Andrew Lloyd Webber. Super Easy Songbook. Broadway, Musicals, Movi...(+)
Composed by Andrew Lloyd
Webber. Super Easy
Songbook.
Broadway, Musicals,
Movies.
Softcover. 96 pages.
Published by Hal Leonard
$19.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Christmas Carols - Super Easy Songbook Piano Facile - Débutant Hal Leonard
Composed by Various. Super Easy Songbook. Christmas Secular, Carol, Christmas....(+)
Composed by Various.
Super
Easy Songbook. Christmas
Secular, Carol,
Christmas.
Softcover. 104 pages.
Published by Hal Leonard
$16.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Just Friends [Supersax] Ensemble Jazz [Conducteur et Parties séparées] - Avancé Jazz Lines Publications
By Supersax. Arranged by Med Flory. For jazz ensemble - dectet [7 horns with rhy...(+)
By Supersax. Arranged by
Med Flory. For jazz
ensemble - dectet [7
horns with rhythm
section]. Swing.
Advanced. Full score and
set of parts. Published
by Jazz Lines
Publications
$65.00 - Voir plus => Acheter Délais: 2 to 3 weeks
Superstart Viola - accompaniments Alto, Piano [Set de Parties séparées] Faber Music Limited
(piano accompaniments and viola duet parts). By Mary Cohen and Robert Spearing. ...(+)
(piano accompaniments and
viola duet parts). By
Mary Cohen and Robert
Spearing. For Viola and
Piano. This edition:
Piano Accompaniment and
Viola Duet Parts.
Method/Instruction;
Part(s); String - Viola
Studies or Collection.
Faber Edition:
Superstart. Elementary.
Published by Faber Music
$13.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Masses No. 42-48 Chorale SATB Barenreiter
SATB Choir (Mixed choir) SKU: BA.BA03409 Handschriftlich überliefer...(+)
SATB Choir (Mixed choir)
SKU: BA.BA03409
Handschriftlich
überlieferte Messen
I . Composed by
Orlande De Lassus. Edited
by Siegfried Hermelink.
This edition: complete
edition, urtext edition.
Linen. Orlando di Lasso,
Complete Works (Samtliche
Werke - Neue Reihe),
Volume 9. Messen
(Masses). Complete
edition, Singing Score,
anthology. No. 42-48.
Baerenreiter Verlag
#BA03409_00. Published by
Baerenreiter Verlag
(BA.BA03409).
ISBN
9790006434053. 27.5 x
19.5 cm
inches.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition? <
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$207.95 - Voir plus => Acheter Délais: 1 to 2 weeks
You've Got a Friend [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Flexible Wind Quartet and Percussion - intermediate SKU: BT.DHP-1064068-070(+)
Flexible Wind Quartet and
Percussion - intermediate
SKU:
BT.DHP-1064068-070
Composed by Carole King.
Arranged by Peter Mettke.
Music Box. Set (Score &
Parts). Composed 2006. 8
pages. De Haske
Publications #DHP
1064068-070. Published by
De Haske Publications
(BT.DHP-1064068-070).
ISBN 9789043133906.
9x12 inches.
English-German-French-Dut
ch.
In the sixties
Carole King wrote several
hits with Gerry Goffin,
her first husband, like
The Loco-Motion
(performed by Little Eva
at the time) and (You
Make me Feel Like) A
Natural Woman
(performed by Aretha
Franklin). In 1971, she
released her most
successful solo album
Tapestry , which
contained the track
You've Got a
Friend , a song which
later became a major hit
in James Taylor's
version. Peter Mettke has
made a great-sounding
arrangement of You've
Got a Friend for a
five-part flexible
line-up with an optional
percussion part.Part 1 Fl
Ob Bb Clar S Sax Tpt Part
2 Fl Cor Ang Bb Clar Eb
Clar A Sax Tpt Hn Part 3
Eb Clar TSax Bsn Hn Trom
Euph Part 4 T Sax Bsn
Trom Euph Part 5 Bass
Clar Bari Sax Bsn Trom
Euph Tuba Cont Bsn Opt.
Drum In 1971
schreef de Amerikaanse
singer-songwriter Carole
King het wereldwijd
bekende nummer You've
Got a Friend , dat
later een grote hit werd
in de versie van James
Taylor. Arrangeur Stefan
Schwalgin maakte van deze
song eenmooie bewerking
voor een vijfstemmige
variabele bezetting met
een optionele
slagwerkpartij. Mi
t You’ve Got a
Friend hatte die
amerikanische Sängerin
und Songschreiberin
Carole King im Jahr 1971
einen ihrer größten
Hits, der später
besonders in der
Interpretation von James
Taylor berühmt wurde.
Peter Mettke schuf eine
großartig klingende
Bearbeitung von
You’ve Got a
Friend für eine
variable fünfstimmige
Besetzung mit optionaler
Schlagzeugstimme.Part 1
Fl Ob Kl B S-Sax Trp Part
2 Fl Cor Ang Kl B A-Kl
A-Sax Trp Hn Part 3 A-Kl
T-Sax Fg Hn Pos Euph Part
4 T-Sax Fg Pos Euph Part
5 B-Kl B-Sax Fg Pos Euph
Tuba Kb Opt.
Drum Peter Mettke
a réalisé un
délicieux arrangement
cinq voix pour ensemble
instrumentation variable
(partie de percussion
optionnelle) du superbe
You’ve Got a
Friend , composé et
chanté dans les
années 70 par
l’inégalable
Carole King.Part 1 Fl Ob
Kl B S-Sax Trp Part 2 Fl
Cor Ang Kl B Alt-Kl A-Sax
Trp Hrn Part 3 Alt-Kl
T-Sax Fg Hrn Pos Euph
Part 4 T-Sax Fg Pos Euph
Part 5 B-Kl B-Sax Fg Pos
Euph Tuba Kb Opt. Drum
Peter Mettke ha
realizzato un delicato
arrangiamento della
superba You’ve
Got a Friend ,
composta e cantata negli
anni ’70
dall’ineguagliabil
e Carole King.Part 1 Fl
Ob Kl B S-Sax Trp Part 2
Fl Cor Ang Kl B Alt-Kl
A-Sax Trp Hrn Part 3
Alt-Kl T-Sax Fg Hrn Pos
Euph Part 4 T-Sax Fg Pos
Euph Part 5 B-Kl B-Sax Fg
Pos Euph Tuba Kb Opt.
Drum.
$42.95 - Voir plus => Acheter Délais: 2 to 3 weeks
The Complete Guitar Player Songbook Omnibus 1 Guitare [Partition + CD] Amsco Wise Publications
Guitar SKU: BT.MUSAM996996 Arranged by Russ Shipton. The Complete Guitar ...(+)
Guitar
SKU:
BT.MUSAM996996
Arranged by Russ Shipton.
The Complete Guitar
Player. Pop & Rock. Book
with CD. Wise
Publications
#MUSAM996996. Published
by Wise Publications
(BT.MUSAM996996).
ISBN
9781849380140.
English.
Th
e Complete Guitar
Player series
has taught hundreds of
thousands how to play and
the accompanying
songbooks have featured
hits by Paul Simon, Elvis
Presley, The Beatles,
John Denver and many
othertopartists. N
ow these songbooks are
available in super value
omnibus editions like
this one. The songs are
still graded by ease of
playing and everything is
there... standard
notation, Guitar chord
boxes, full lyrics
andevenstrumming
patterns! Over 180
great songs! Perfect for
all players and
singers! The bonus
CD contains backing
tracks to 16 of the songs
in the book.
$32.95 - Voir plus => Acheter Délais: 2 to 3 weeks
Super Mormon Bignote Piano seul [Partition] - Facile Jackman Music Corporation
By Many. Arranged by Brent Jorgensen. Text: Many. For Easy Songbook. Published b...(+)
By Many. Arranged by
Brent Jorgensen. Text:
Many. For Easy Songbook.
Published by Jackman
Music Corporation.
Level: Easy.
(1) $15.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Super flumina Babylonis Soli, choeur mixte et accompagnement [Conducteur] Barenreiter
Soprano solo, Mixed choir (SATB), Saxophone quartet, Organ, Strings SKU: BA.B...(+)
Soprano solo, Mixed choir
(SATB), Saxophone
quartet, Organ, Strings
SKU: BA.BA11305
Composed by Camille
Saint-Saens. Edited by
Christina M. Stahl. This
edition: urtext edition.
Paperback. Score.
Baerenreiter Verlag
#BA11305. Published by
Baerenreiter Verlag
(BA.BA11305).
ISBN
9790006567027. 31 x 24.3
cm inches. Text Language:
Latin. Preface: Stahl,
Christina M.
Psalm
137 Super flumina
Babylonis also known as
By the rivers of Babylon
was an inspiration for
many composers including
Camille Saint-Saëns.
He repeatedly occupied
himself with his psalm
motet for solo soprano,
mixed choir, saxophone
quartet, string orchestra
and organ, originally
composed in 1854. Two of
the four versions â??
the first version in
Latin and a much later
version in English for
alto solo, SATB choir and
piano â?? are now
available for the first
time in Urtext performing
editions taking a
meticulous account of all
the
sources. Saint-Sa
«ns lived up to his
reputation as an
innovative composer by
exploring the use of the
saxophone family in
sacred music just a few
years after the invention
of these instruments. The
successful combination of
voice and saxophone
creates a special sound
experience.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition? <
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$33.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Christmas Songs with 3 Chords Piano seul - Facile Hal Leonard
Super Easy Songbook. Composed by Various. Super Easy Songbook. Christmas. Sof...(+)
Super Easy Songbook.
Composed
by Various. Super Easy
Songbook. Christmas.
Softcover. 48 pages.
Published by Hal Leonard
$12.99 - Voir plus => Acheter Délais: 24 hours - In Stock
The Beatles: Rewind Chorale SATB Hal Leonard
Choral (SATB) SKU: HL.428247 A Beatles Super Medley . By The Beatle...(+)
Choral (SATB)
SKU:
HL.428247
A
Beatles Super Medley .
By The Beatles. By George
Harrison, John Lennon,
and Paul McCartney.
Arranged by Mark A.
Brymer. Pop Choral
Series. Classic Rock,
Medley, Novelty, Pop,
Pop/Rock, Rock, Sixties.
Octavo. 20 pages.
Duration 240 seconds.
Published by Hal Leonard
(HL.428247).
UPC:
196288063384.
6.75x10.5x0.045
inches.
A Fab Four
Medley with 18 classic
songs in just four
minutes!? As Brian Wilson
once said, “There's
no outdoing the
Beatles.†Includes:
All You Need Is Love,
Blackbird, Come Together,
Eight Days a Week,
Eleanor Rigby, A Hard
Day's Night, Here Comes
the Sun, Hey Jude, I Want
to Hold Your Hand, In My
Life, Let It Me, Love Me
Do, Penny Lane,
Strawberry Fields
Forever, We Can Work it
Out, With a Little Help
from My Friends and
Hello, Goodbye.
$3.25 - Voir plus => Acheter Délais: 24 hours - In Stock
The Beatles: Rewind Chorale 3 parties SAB Hal Leonard
Choral (SAB Choir) SKU: HL.428248 A Beatles Super Medley . By The B...(+)
Choral (SAB Choir)
SKU: HL.428248
A Beatles Super
Medley . By The
Beatles. By George
Harrison, John Lennon,
and Paul McCartney.
Arranged by Mark A.
Brymer. Pop Choral
Series. Classic Rock,
Medley, Novelty, Pop,
Pop/Rock, Rock, Sixties.
Octavo. Duration 240
seconds. Published by Hal
Leonard (HL.428248).
UPC: 196288063391.
6.75x10.5x0.045
inches.
A Fab Four
Medley with 18 classic
songs in just four
minutes!? As Brian Wilson
once said, “There's
no outdoing the
Beatles.†Includes:
All You Need Is Love,
Blackbird, Come Together,
Eight Days a Week,
Eleanor Rigby, A Hard
Day's Night, Here Comes
the Sun, Hey Jude, I Want
to Hold Your Hand, In My
Life, Let It Me, Love Me
Do, Penny Lane,
Strawberry Fields
Forever, We Can Work it
Out, With a Little Help
from My Friends and
Hello, Goodbye.
$3.25 - Voir plus => Acheter Délais: 24 hours - In Stock
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 ...
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The Best Rock Pop Fake Book Instruments en Do [Fake Book] Hal Leonard
(For C Instruments). By Various. For C Instruments. Fake Book. Softcover. 576 pa...(+)
(For C Instruments). By
Various. For C
Instruments. Fake Book.
Softcover. 576 pages.
Published by Hal Leonard
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