| An die Music
-
-
Fanny Mendelssohn -
"Bergeslust"
-
-
Franz Schubert -
"Ständchen"
;
-
-
Clara Schumann -
"Ich Stand In
Dunklen
Träumen"
-
-
Franz Schubert - "An
Die Musik"
-
-
Robert Schumann -
"Er, Der Herrlichste
Von Allen"
-
-
Hugo Wolf -
"Verborgenheit"
-
-
Alban Berg - "Die
Nachtigall"
-
-
Richard Strauss -
"Morgen!"
-
-
Franz Schubert -
"Auf Dem Wasser Zu
Singen"
-
-
Richard Strauss -
"Zueignung"
| | |
| Klingende Orgelbuch Vol. 1 Orgue Schott
Electric organ SKU: HL.49006561 Bekanntes und Beliebtes aus Klassik, V...(+)
Electric organ SKU:
HL.49006561
Bekanntes und
Beliebtes aus Klassik,
Volks- und
Unterhaltungsmusik.
Edited by Willi Draths.
Sheet music. Edition
Schott. Classical. 100
pages. Schott Music #ED
6700. Published by Schott
Music (HL.49006561).
ISBN
9790001071109. Ausg
abe mit Akkordsymbolen,
Tastensymbolen fur
akkordprogrammierte
Orgeln (Easychord,
Chordomatic etc.),
Fingersatzen,
Registrieranweisungen,
Registrierschema,
Akkordgrifftabelle. $20.95 - Voir plus => Acheter | | |
| Processionals & Marches for String Quartet Quatuor à cordes: 2 violons, alto, violoncelle Greenblatt and Seay
String Quartet (violin 1, violin 2, viola, cello) SKU: GS.BSG4PROMAR-P Ar...(+)
String Quartet (violin 1,
violin 2, viola, cello)
SKU:
GS.BSG4PROMAR-P
Arranged by Deborah
Greenblatt. Spiral-bound.
Set of parts. Greenblatt
& Seay #BSG4PROMAR-P.
Published by Greenblatt &
Seay (GS.BSG4PROMAR-P).
8.5 x 11
inches. 30
energetic pieces to get
your audience motivated,
and their toes tapping.
All four parts share the
interesting melodic bits,
and the relentless
rhythms that provide the
energy to forge ahead.
You will enjoy sharing
some old favorites, like
Mendelssohn's Wedding
March, Wagner's Bridal
March, and for you Alfred
Hitchcock fans, Gounod's
Funeral March of a
Marionette. This
collection also includes
works by Sousa, Frederick
II, Joplin, Mozart,
Schubert, etc. $30.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Musikgarten 1 - Tierwelt Matthias Hohner
SKU: M7.MH-15206-50 Phase 1: Wir machen Musik. Composed by Lorna L...(+)
SKU:
M7.MH-15206-50
Phase 1: Wir machen
Musik. Composed by
Lorna Lutz Heyge. This
edition: Saddle-wire
stitching. Sheet music
with CD. Songbook. 48
pages. Matthias Hohner
#MH 15206-50. Published
by Matthias Hohner
(M7.MH-15206-50). ISBN
9783920468303. German.
Cornelia
Kandler. Musikgarte
n 1 - Wir machen Musik
wendet sich an
Musiklehrer, Erzieher und
Eltern, die die
musikalische Veranlagung
von Kindern im Alter von
18 Monaten bis 3 Jahren
weiterentwickeln
möchten. Das Konzept
geht auf den wachsenden
Erlebnisraum der Kinder
ein und möchte
spielerisches Musizieren
zu einem festen
Bestandteil im
Familienleben etablieren.
Denn erst wenn das
Kleinkind aktives
Musizieren in seiner
Umwelt erlebt, wird es
Freude am eigenen
Musizieren entfalten. Die
überarbeitete und
erweiterte Neuauflage in
übersichtlichem Layout
bietet nun 2
Lehrerhandbücher und 4
Liederhefte mit CDs.
Lehrerhandbuch 1
enthält neben einer
didaktischen Grundlegung
einen ausführlichen
Materialteil mit
Kniereitern,
Fingerspielen,
Schaukelliedern,
Tanzliedern,
Wechselliedern etc. sowie
Anregungen zum Hören
und zum
Instrumentalspiel. Alle
Aktivitäten befinden
sich auch auf
Karteikarten. Dem
Lehrerband 1 liegt eine
CD mit Echospielen bei.
Die Liederhefte mit CDs
ermöglichen es, den
Musikgarten 'mit nach
Hause zu nehmen'. $29.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Lieder Anthology - High Voice
Voix haute, Piano Hal Leonard
65 Songs by 13 Composers. Arranged by Richard Walters, Virginia Saya. Vocal Coll...(+)
65 Songs by 13 Composers.
Arranged by Richard
Walters, Virginia Saya.
Vocal Collection. Size
8.5x11 inches. 264 pages.
Published by Hal Leonard.
$21.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Accompaniments to The Lieder Anthology - High Voice Voix haute [CD d'accompagnement] Hal Leonard
The Vocal Library High Voice. Composed by Various. Arranged by Richard Walters, ...(+)
The Vocal Library High
Voice. Composed by
Various. Arranged by
Richard Walters, Virginia
Saya. Vocal Collection.
Classical. CD. 8 pages.
Published by Hal Leonard
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Accompaniments to The Lieder Anthology - Low Voice Voix basse [CD d'accompagnement] Hal Leonard
The Vocal Library Low Voice. Composed by Various. Arranged by Richard Walters, V...(+)
The Vocal Library Low
Voice. Composed by
Various. Arranged by
Richard Walters, Virginia
Saya. Vocal Collection.
Classical. CD. 8 pages.
Published by Hal Leonard
(1)$17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Lieder Anthology - Low Voice
Voix basse, Piano Hal Leonard
65 Songs by 13 Composers. Arranged by Richard Walters, Virginia Saya. Vocal Coll...(+)
65 Songs by 13 Composers.
Arranged by Richard
Walters, Virginia Saya.
Vocal Collection. Size
8.5x11 inches. 264 pages.
Published by Hal Leonard.
$21.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Lieder mit Klavierbegleitung Op. 10 Bis Op. 29 Schott
Piano; Voice (Score) SKU: HL.49045562 Strauss Werke Complete Edition B...(+)
Piano; Voice (Score)
SKU: HL.49045562
Strauss Werke Complete
Edition Band 2.
Composed by Richard
Strauss. Edited by
Andreas Pernpeintner.
This edition:
Hardback/Hard Cover.
Sheet music. Edition
Schott. Classical.
Hardcover. Composed
1885-1895. 336 pages.
Schott Music #RSW202.
Published by Schott Music
(HL.49045562). ISBN
9783901974052.
German. Richard
Strauss (1864–1949),
the composer of
large-scale operas and
tone poems, also wrote
lieder throughout his
life. His entire oeuvre
stretching over a period
of 78 years is framed by
lied compositions: the
Weihnachtslied dating
from December 1870 (the
secondentry in the
chronological catalogue
of Strauss's works) and
the lied Malven written
in November 1948
(StraussÂ’s last
completed composition).
His lied compositions
include lieder with piano
accompaniment, genuine
orchestral lieder and
subsequent
orchestrationsof original
lieder with piano.
Strauss frequently
conducted his own operas
and orchestral works and
also gave public
performances ofhis lieder
both as pianist and
conductor. As was
customary in the concert
practice of the time, he
combined lieder with
larger-scaleworks: it was
not uncommon for tone
poems and lieder to
appear on the same
programme. Music
publishing houses were
active in the
dissemination of Strauss
lieder across the world:
in the first prints, the
early lieder were
published in their
original register, mostly
only with German texts,
but numerous editions
were subsequently issued
for other vocal registers
or with additional texts
in English, later also in
French, Italian and
Russian translations. The
broad spectrum was
rounded off by
arrangements of lieder
(such as purely
instrumental piano
arrangements by Max Reger
and Walter Gieseking),
arrangements and
orchestrations by other
composers andlieder
albums containing
collections of Strauss
lieder not ordered
chronologically according
to their opus numbers.
The fact that Strauss is
to this day one of the
most frequently performed
composers is not only due
to his operas and tone
poems, but also his
lieder, particularly the
most treasured
favourites. A number of
these pieces are
contained in this volume:
Zueignung op. 10 No.
1,Nichts op. 10 No. 2,
Die Nacht op. 10 No. 3,
Allerseelen op. 10 No. 8,
Ständchen op. 17 No.
2, Ruhe, meine Seele! op.
27 No. 1, Cäcilie op.
27 No. 2, Heimliche
Aufforderung op. 27 No.
3, Morgen! op. 27 No. 4
and Traum durch die
Dämmerung op. 29 No.
1. $338.00 - Voir plus => Acheter | | |
| 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 => AcheterDélais: 1 to 2 weeks | | |
| Morgen Potenza Music
Tuba and piano SKU: P2.90065 Composed by Richard Strauss. Arranged by Jos...(+)
Tuba and piano SKU:
P2.90065 Composed by
Richard Strauss. Arranged
by Joseph Caldarise. Solo
music. Published by
Potenza Music (P2.90065).
One of Richard
Strauss' most widely
known and often recorded
songs, Morgen is the last
in a set of four lieder
that were written as a
wedding present for
Strauss' wife, Pauline. A
highly melodic piece, the
small nuances are key to
a successful performance.
The performer should also
have a good sense of
rubato, as the
accompaniment allows for
a good amount of artistic
time-stretching. The text
originates from a love
poem of the same name by
John Henry Mackay, a
contemporary of
Strauss. $14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Orchestra Musician's CD-ROM Library, Volume 9 Harp/Keyboard/Other CD Sheet Music
SKU: SU.00220227 Composed by Richard Strauss. Keyboard, Piano/Harpsichord...(+)
SKU: SU.00220227
Composed by Richard
Strauss. Keyboard,
Piano/Harpsichord, Harp.
CD (PDF Scores). CD Sheet
Music #00220227.
Published by CD Sheet
Music (SU.00220227).
AVAILABLE FOR
SALE TO U.S. CUSTOMERS
ONLY The complete
Harp, Keyboard (Piano,
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auxiliary parts
[CD-ROM] for the 50
orchestral works included
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Musician's CD-ROM
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Strauss, Sibelius and
more. If these parts were
purchased separately,
this collection could
cost several hundred
dollars. Parts are easily
viewable and printable on
either PC or Mac using
embedded Adobe® Reader
technology. Contents:
BLOCH Schelomo; J.
STRAUSS II Fledermaus
Overture, Gypsy Baron
Overture, Perpetuum
Mobile; R. STRAUSS Alpine
Symphony, Also sprach
Zarathustra, Aus Italien,
Bürger als Edelmann
(Le Bourgeois
Gentilhomme), Burleske
for Piano and Orchestra,
Cäcilie, Dance of the
Seven Veils, Death and
Transfiguration, Don
Juan, Don Quixote, Ein
Heldenleben, Freundliche
Vision, Horn Concerto No.
1 in Eb, Macbeth, Morgen
(2 keys), Das Rosenband,
Rosenkavalier Waltzes,
Symphonia Domestica, Till
Eulenspiegel's Merry
Pranks, Zueignung (2
keys); SIBELIUS Andante
festivo, En Saga,
Finlandia, Karelia Suite,
Lemminkäinen Suite
Nos. 1-4, Pelleas and
Melisande, Pohjola's
Daughter, Symphonies Nos.
1-5, Valse triste, Violin
Concerto; SCHOENBERG
Chamber Symphony No. 1,
Gurrelieder, Pelleas and
Melisande, 5 Pieces for
Orchestra, Pierrot
lunaire, Verklärte
Nacht; WEBERN
Passacaglia, Op. 1 Visit
for more
information Ple
ase note, customers using
Macintosh computers
running macOS Catalina
(version 10.5) have
reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
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Mac. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Prima la musica e poi le parole - Facile Barenreiter
(Divertimento teatrale in one act). Composed by Antonio Salieri (1750-1825). Edi...(+)
(Divertimento teatrale in
one act). Composed by
Antonio Salieri
(1750-1825). Edited by
Thomas Betzwieser. For 2
soprano voice solos/2
bass voice solos/2
oboes/2 clarinets/2
bassoons/2 horns/2
trumpets/2
violins/viola/double
bass/basso continuo. This
edition: Urtext edition.
Paperback. Level 3. Piano
reduction. Language:
Italian/German, Text
Language: German/English.
Duration 1 hour, 15
minutes. Published by
Baerenreiter Verlag
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| Prima la musica e poi le parole Orchestre Barenreiter
Orchestra (2 Soprano Voice Solo, 2 Bass Voice Solo, 2 Ob, 2 clarinet, 2 bassoon,...(+)
Orchestra (2 Soprano
Voice Solo, 2 Bass Voice
Solo, 2 Ob, 2 clarinet, 2
bassoon, 2 Hn, 2 Trp, 2
V, Va, Basso, Continuo)
SKU: BA.BA08811
Divertimento teatrale
in one act. Operetta for
four voices. Composed
by Antonio Salieri.
Edited by Adrian La
Salvia and Thomas
Betzwieser. This edition:
Edition of selected
works, Urtext edition.
Linen. Spectrum of
European Music Theatre in
Separate Editions 1.
Edition of selected
works, Score, Critical
commentary, USB flash
drive. Duration 1 hour,
15 minutes. Baerenreiter
Verlag #BA08811_00.
Published by Baerenreiter
Verlag (BA.BA08811).
ISBN 9790006539840.
33.1 x 26.5 cm inches.
Text Language: Italian.
Preface: Betzwieser,
Thomas. Text:
Giambattista
Casti. A memorable
musical competition
commissioned by the
emperor Joseph II took
place on 7 February 1786
as part of a festival in
the orangery of the
Schönbrunn palace. A
German Singspiel ensemble
performed Mozart’s
“Schauspieldirektor
†whilst Antonio
Salieri’s
“Prima la musica e
poi le parole†was
performed by the Italian
court singers and
musicians. This charming
opera satire belongs to
the genre of
“metamelodrammaâ
in which the opera
itself becomes the
subject of the action.
The people who are part
of an opera production,
for example the
librettist, composer and
prima donna, appear as
characters on the stage
and are presented in a
humorous self-reflection.
In this ‘theatre
about theatre’
Salieri parodies the
music from Giuseppe
Sarti’s
“Giulio
Sabino†in his
insert arias, thus
playing on the music
which was totally
familiar with the
audience of the time. By
reflecting on the
musical-dramatic style of
that period and
discussing whether
‘the word’
or ‘the
music’ should take
priority, this
masterpiece is considered
to be an early forerunner
to Richard
Strauss’s
“Capriccioâ€.<
br> The new edition of
the score is published as
part of “opera
– Spectrum of
European Music Theatre in
Separate Editionsâ€.
There are several
alterations regarding the
libretto text, stage
directions, articulation,
ornamentation, etc. which
have been incorporated
into this newly engraved
vocal score. Furthermore,
all appendix numbers from
the score which concern
the quotations from
Giuseppe Sarti’s
“Giulio
Sabino†have also
been
incorporated.
â
¢ Urtext vocal score
based on the
historical-critical
hybrid score published as
part of “opera
– Spectrum of
European Music Theatre in
Separate Editionsâ€
edited by Thomas
Betzwieser (music
edition) and Adrian La
Salvia (text
edition). •
Original Italian libretto
with singable German
translation •
Comprehensive bilingual
foreword (Ger/Eng) on the
genesis and reception of
the work, on
metamelodramma and
intertextuality
etc. • Includes
an extensive appendix to
the quotations taken from
Giuseppe Sarti’s
“Giulio
Sabino†•
Idiomatic piano
reduction
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
$632.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Neue Studien Musikwissenschaft V.5 Schott
SKU: HL.49007710 Beitrage zu ihrer Gattungsgeschichte. Edited by H...(+)
SKU: HL.49007710
Beitrage zu ihrer
Gattungsgeschichte.
Edited by Herbert
Schneider. This edition:
Paperback/Soft Cover.
Book. Edition Schott.
Classical. 314 pages.
Schott Music #ED 8008.
Published by Schott Music
(HL.49007710). ISBN
9783795717247.
German. Der Motette
als einer der zentralen
musikalischen Gattungen,
die durch das
Spannungsverhaltnis
zwischen ihrer Autonomie
und ihrer liturgischen
Funktion gekennzeichnet
ist, sind die Beitrage
dieses Bandes
gewidmet.Ausgangspunkt
ist eine
Problemgeschichte des
Motetten-Terminus, in der
die Anfange und die
Bestimmung der Motette
sowie die Wandlungen
ihrer Gestalt diskutiert
werden. Im Mittelpunkt
der ersten beiden der
folgenden sechs jeweils
als Referat und
Korreferat entstandenen
Beitrage steht die
Selbstandigkeit bzw.
Abhangigkeit der
italienischen
Trecento-Motette von
franzosischen Vorbildern.
Josquins viel diskutierte
Motette Huc me sydereo
bildet dann den
ausgangspunkt zu einer
neuen Interpretation im
Zusammenhang mit der
Zahlensymbolik und der
Ausbildung einer
motivisch bestimmten
Kompositionstechnik. Auch
der Aufsatz uber die
Rezeption der Motetten im
19. Jahrhundert bezieht
sich auf Kompositionen
Josquin des Pres'. Der
Motette als Objekt
niederlandischer
Musikdarstellungen des
16. Jahrhunderts ist ein
umfangreicher Beitrag mit
zahlreichen unbekannten
Abbildungen gewidmet. In
zwei Beitragen wird der
Fortentwicklung der
Motette nach der
Stilteilung um 1600
nachgegangen, deren
zweiter sich auf den
Einfluss des Madrigals
auf die Motette
konzentriert. Als
spezielle Gattung sind
die franzosischen
Tenebrae-Vertonungen in
solistischer Besetzung
behandelt, die in der
Karwoche musiziert
wurden. Die divergierten
Typen der Motette des 18.
Jahrhunderts (Vivaldi,
Fux, Handel, Mozart etc.)
und der Einfluss des
Konzertsatzes sind Inhalt
des Kapitels uber das 18.
Jahrhundert, wahrend im
letzten Aufsatz der
endgultige Niedergang der
Motette im 20.
Jahrhundert (Strauss,
Schonberg, Karminski, J.
N. David, Pepping etc.)
aufgezeigt wird und die
Anzeichen und Grunde
dafur dargelegt
werden. $73.00 - Voir plus => Acheter | | |
| An Alpine Symphony Op. 64 TrV 233 Orchestre Breitkopf & Härtel
Orchestra (4(2picc).3(cor ang).heck.Eb-clar.2.Bb-cl ar(clar).4(dble bsn) - 8(4T-...(+)
Orchestra (4(2picc).3(cor
ang).heck.Eb-clar.2.Bb-cl
ar(clar).4(dble bsn) -
8(4T-tuba).2alphn.4.4.2 -
org.cel -
2hp.2timp.perc(6).wind
m.thunder m - str - off
stage: 12hn.2trp.2tbne)
SKU: BR.PB-5710
Tone Poem -
Urtext. Composed by
Richard Strauss. Edited
by Nick Pfefferkorn.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Symphonic poem;
Late-romantic; Early
modern. Sheet Music. 204
pages. Duration 50'.
Breitkopf and Haertel #PB
5710. Published by
Breitkopf and Haertel
(BR.PB-5710). ISBN
9790004216477. 10.5 x 14
inches. Richard
Strauss's last completed
tone poem is regarded as
the pinnacle of his art
of orchestration: Now
I've finally learned to
orchestrate, he himself
is once supposed to have
said about it after the
dress rehearsal. The
single-movement Alpine
symphony that we know
today ultimately evolved
- over almost 15 years -
from the original drafts
of an artist's tragedy,
titled Der Antichrist.
Eine Alpensinfonie [The
Antichrist. An Alpine
Symphony] up to the stage
of the last sketches.
With unprecedented
plasticity, the work
showcases a
(metaphysical?) mountain
hike with stops in the
forest, at the waterfall,
on the alpine pasture
and, of course, at the
summit. Apropos alpine
pastures: up to the
score's fair copy stage,
Strauss envisaged a high
and a low alphorn for the
section Auf der Alm [On
the Alpine Pasture] and
the well-known Dulioh
theme, though for various
reasons first detailed in
our new Urtext edition,
these exotic instruments
did not find their way
into the printed version.
In the new edition, the
editor, Nick Pfefferkorn,
reproduces the alphorn
passages in small print,
also adding two alphorn
parts to the performance
material, besides
evaluating the
corrections made by
Walter Seifert at
Strauss's
request.
First
Urtext edition since the
first editionEvaluation
of all available sources,
including sketches and
the score corrected by
Walter Seifert Extensive
preface on the work's
compositional history and
receptionDetailed
Critical ReportFacsimile
pages. $214.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Eckstein Piano Course Book Four Piano seul Carl Fischer
Chamber Music Piano SKU: CF.PL1068 Composed by Anonymous, Carl Philipp Em...(+)
Chamber Music Piano
SKU: CF.PL1068
Composed by Anonymous,
Carl Philipp Emanuel
Bach, Charles Howell,
Cornelius Gurlitt,
Gioachino Rossini, Isaac
Albeniz, Johann Strauss,
Johannes Brahms, John
Philip Sousa, Karen
Khachaturian, Ludwig van
Beethoven, Maxwell
Eckstein, Pieczonka,
Richard Wagner, and etc.
32 pages. Carl Fischer
Music #PL1068. Published
by Carl Fischer Music
(CF.PL1068). ISBN
9781491158746. UPC:
680160917389. $9.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Heile, Heile Gänsje Quatuor à cordes: 2 violons, alto, violoncelle Schott
Score and Parts String Quartet (Score & Parts) SKU: HL.49047293 String...(+)
Score and Parts String
Quartet (Score & Parts)
SKU: HL.49047293
String Quartet Score
and Parts. Composed
by Wolfgang Birtel.
String Ensemble. Chamber,
Classical. Softcover.
Schott Music #ED21282.
Published by Schott Music
(HL.49047293). ISBN
9798350118797. Who
doesn't know the famous
Mainz carnival song
“Heile, heale
Gänsjeâ€. It
became a comforting song
that is sung on all sorts
of occasions. Wolfgang
Birtel takes the melody
on a humorous journey
through music history,
transforming it - more or
less hidden - into the
guise of famous
composers. So
“Heile, heile
Gänsje†appears
in the little sentences
sometimes with a powdered
Bach wig or at the court
ball with Johann Strauss,
with Haydn at Fürst
Esterházy or at the
Schubertiade, etc. Humor
is the trump card in
these parodies, which
involve enjoyable
music-making in a string
quartet - ad libitum with
double bass –
guaranteed.
Special Import
titles are specialty
titles that are not
generally offered for
sale by US based
retailers. These items
must be obtained from our
overseas suppliers. When
you order a special
import title, it will be
shipped from our overseas
warehouse. The shipment
time will be slower than
items shipped directly
from our US warehouse and
may be subject to
delays. $35.00 - Voir plus => Acheter | | |
| Ultimate Classical Collection Piano seul [Partition] - Intermédiaire/avancé Hal Leonard
73 Selections from the All-Time Greatest Music. Piano Solo Songbook (Intermediat...(+)
73 Selections from the
All-Time Greatest Music.
Piano Solo Songbook
(Intermediate to advanced
piano arrangements with
no lyrics). Size 9x12
inches. 272 pages.
Published by Hal Leonard.
(1)$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Partiturspiel Old Clefs (Score Playing) Schott
SKU: HL.49005065 Volume 4. Composed by Heinrich Creuzburg. This ed...(+)
SKU: HL.49005065
Volume 4. Composed
by Heinrich Creuzburg.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. 64
pages. Schott Music #ED
4643. Published by Schott
Music (HL.49005065).
ISBN 9790001054201.
UPC: 073999695861.
9.0x12.0x0.24 inches.
German - English -
French. German -
English - French. $31.00 - Voir plus => Acheter | | |
| The New Imperial Edition Voix Soprano, Piano [CD d'accompagnement] Boosey and Hawkes
Accompaniment CDs Soprano Songs. Performed by Various. Boosey and Hawkes Voice. ...(+)
Accompaniment CDs Soprano
Songs. Performed by
Various. Boosey and
Hawkes Voice. CD only.
Size 9x12 inches. 8
pages. Published by
Boosey and Hawkes.
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Soprano Songs
Voix Soprano, Piano Boosey and Hawkes
The New Imperial Edition. By Various. Arranged by Sydney Northcote. (Soprano). ...(+)
The New Imperial Edition.
By Various. Arranged by
Sydney Northcote.
(Soprano). Boosey and
Hawkes Voice. Size 9x12
inches. 124 pages.
Published by Boosey and
Hawkes.
(1)$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Jimi Hendrix - People, Hell and Angels Guitare notes et tablatures Hal Leonard
By Jimi Hendrix. For Guitar. Guitar Recorded Version. Softcover. Guitar tablatur...(+)
By Jimi Hendrix. For
Guitar. Guitar Recorded
Version. Softcover.
Guitar tablature. 144
pages. Published by Hal
Leonard
$27.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Lieder Anthology Complete Package (High Voice) Voix haute, Piano [Partition + Accès audio] Hal Leonard
Book/Pronunciation Guide/Accompaniment Online Audio. Composed by Various. Edited...(+)
Book/Pronunciation
Guide/Accompaniment
Online Audio. Composed by
Various. Edited by
Richard Walters, Virginia
Saya. Vocal Collection.
German, Classical.
Softcover Audio Online.
344 pages. Published by
Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Lieder Anthology Complete Package - Low Voice Voix basse [Partition + Accès audio] Hal Leonard
Book/Pronunciation Guide/Accompaniment Audio Online The Vocal Library. Composed ...(+)
Book/Pronunciation
Guide/Accompaniment Audio
Online The Vocal Library.
Composed by Various.
Edited by Richard
Walters, Virginia Saya.
Vocal Collection. German,
Classical. Softcover
Audio Online. 344 pages.
Published by Hal Leonard
$44.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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