| A Sousa Reader Chorale 3 parties SAB GIA Publications
Essays, Interviews, and Clippings. Composed by John Philip Sousa / Bryan ...(+)
Essays, Interviews,
and Clippings.
Composed by John Philip
Sousa / Bryan J. Proksch.
Music Education. 206
pages. GIA Publications
#9278. Published by GIA
Publications (GI.G-9278).
$19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rise Again Songbook Paroles et Accords Hal Leonard
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Again Songbook Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| A Primer for the Visiting Organist GIA Publications
SKU: GI.G-6814 Composed by Carol A. Doran, James Abbington, and Robert J....(+)
SKU: GI.G-6814
Composed by Carol A.
Doran, James Abbington,
and Robert J. Batastini.
Edited by Fred Moleck.
Sacred. Book. 89 pages.
GIA Publications #6814.
Published by GIA
Publications (GI.G-6814).
ISBN 9781579996352.
English. Text source:
Contributors: James
Abbington, Robert
Batastini, Carol Doran,
David Eicher, Scott
Kumer, David Music, Don
Saliers, Paul
Westermeyer. Pastor
al music makers have
talents that translate
across denominations, and
every now and then a
musician might find him-
or herself playing in
unfamiliar territory
(different order of
service, different
rituals, different
traditions, different
musical styles, etc.).
The question of how to
adapt to another pattern
of worship may arise,
creating a great deal of
confusion or stress for
the musician. A Primer
for the Visiting
Organist, edited by Fred
Moleck, provides a
comprehensive answer for
anyone in this situation.
This book includes
insightful chapters by
some of the foremost
experts on music in
worship that describe, in
detail, what the visiting
organist can expect when
playing for one of the
following eight religious
traditions: African
American Protestant: Dr.
James Abbington Baptist:
Dr. David Music
Episcopalian: Dr. Carol
Doran Reform Jewish: Mr.
Scott Kumer Lutheran: Dr.
Paul Westermeyer
Presbyterian: Mr. David
Eicher Roman Catholic:
Mr. Robert Batastini &
Dr. Fred Moleck United
Methodist: Dr. Don
Saliers A Primer for the
Visiting Organist covers
everything from the order
of service to the
question of receiving
communion. There is a
wealth of information
here—no organist
should travel without
it. A Primer for
the Visiting Organist
covers everything from
the order of service to
the question of receiving
communion. There is a
wealth of information
here—no organist
should travel without
it. $14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Buskers Fake Book All Time Hit Piano seul Music Sales
| | |
| Love Will Find a Way Piano seul Theodore Presser Co.
Chamber Music Piano SKU: PR.140401320 Composed by Eubie Blake. Edited by ...(+)
Chamber Music Piano
SKU: PR.140401320
Composed by Eubie Blake.
Edited by Lara Downes.
Arranged by Jeremy
Siskind. Sws. Score. 8
pages. Duration 3:45.
Theodore Presser Company
#140-40132. Published by
Theodore Presser Company
(PR.140401320). ISBN
9781491134177. UPC:
680160684274. 9 x 12
inches. Key: F
major. LOVE WILL
FIND A WAY is one of the
great hits of the 1920s
– an era of
remarkable cultural
growth giving rise to
“The Roaring
'20s,†“The
Harlem
Renaissance,†and a
fun-loving society known
for the Charleston dance
craze and the surge of
jazz into the mainstream
of American music. A song
from Shuffle Along, the
first all-Black Broadway
musical, LOVE WILL FIND A
WAY has been arranged by
pianist Jeremy Siskind
especially for Lara
Downes’ recording
that launches the Rising
Sun series. According
to Langston Hughes, Eubie
Blake’s 1921
Shuffle Along was the
real start of the Harlem
Renaissance. In
Hughes’ words:
“Everybody was in
the audience, including
me. It gave just the
proper push, a
pre-Charleston kick, to
that Negro vogue of the
'20s that spread to
books, African sculpture,
music, and
dancing.â€As
Broadway’s first
all-Black hit musical,
with an all-star cast
including Paul Robeson
and a young Josephine
Baker, Shuffle Along ran
for an unprecedented 504
performances in New York,
then toured nationally
for three years as the
first Black musical to
play in white theaters
across the United States.
The show’s appeal
to a multi-racial
audience, and its
integration of the jazz
and Broadway communities,
not only changed the
history of the American
musical theater, but made
important strides forward
in American race
relations.Love Will Find
a Way is one of the
show’s most
popular tunes. This
intimate, pensive
arrangement by Jeremy
Siskind celebrates the
song’s centenary
by making it a love song
for our own time as much
as its own – a
reminder that no matter
how dark the path or how
gray the skies, love will
always find a way. $9.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Foundations GIA Publications
SKU: GI.G-10596 The Fundamental Elements for Building a Successful Mid...(+)
SKU: GI.G-10596
The Fundamental
Elements for Building a
Successful Middle School
Band Program.
Composed by Chip De
Stefano & Chris Grifa.
Music Education. 208
pages. GIA Publications
#10596. Published by GIA
Publications
(GI.G-10596). ISBN
9781622776238. Cont
ributors: Kim Bain, Chip
De Stefano, Rick
Ghinelli, Corey Graves,
Chris Grifa, Robert
Herrings, Wendy Hart
Higdon, Kazuhiko
Tsuchiya, Heath Wolf
Written by an all-star
team of music educators
with over two hundred
years of combined
experience and success,
Foundations presents the
fundamental elements
necessary for building,
maintaining, and growing
a successful middle
school band program.
Topics covered include:
Creating a culture of
excellence Professional
development and self-care
Organizing your program
and band room Teaching
students how to practice
Developing fundamental
performance skills
Recruitment Student
motivation Communicating
with the administration
and school community
Keeping things in
perspective The ideas in
this book have been
thoroughly researched,
tested, revised, and,
most importantly, are
used in the
authors’ own
classrooms every day to
achieve remarkable
results. Guided by their
skill and passion, the
authors present
actionable and practical
advice that can be
implemented in the
classroom today and for
years to come. Â Chip,
Chris, and their
contributing authors have
put together a
comprehensive guide that
you will want to
reference throughout your
career as a middle school
band director. No matter
when you start your
beginners or how many
grades you serve in your
middle school or junior
high program, there is
something in Foundations
you can use every period
of every day. Once you
have Foundations as part
of your arsenal of
resources, you will be on
your way to “master
teacher†status and
you will LOVE having the
opportunity to share this
information with your
middle school or junior
high groups!
—Richard L.
Saucedo  Â
Composer  Â
Director of Bands, Carmel
High School, retired Chip
De Stefano and Chris
Grifa have collected a
group of rock star
teachers to contribute to
this resource! You will
find many gems in every
chapter to add to your
toolkit! This book is
required reading for
every middle school band
director as well as a
great addition for our
college students as they
prepare for their careers
in music education.
—Cheryl Floyd Â
 Director of Bands,
Hill Country Middle
School, retired  Chip
De Stefano has been
director of bands at
McCracken Middle School
in Skokie, Illinois,
since 1996. He is active
nationally as a
clinician, guest
conductor, and
adjudicator, and he
received his Master of
Music Education degree
from Northwestern
University. Chris Grifa
is the director of bands
at Clay Middle School in
Carmel, Indiana, and has
been teaching since 2004.
He serves as a clinician,
guest conductor, and
adjudicator for concert
bands and marching bands
across the country, and
he received his Master of
Music Education degree
from the University of
Florida. $29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Ultimate Pop/Rock Fake Book - In C
Instruments en Do [Fake Book] Hal Leonard
(4th Edition ) For voice and C instrument. Format: fakebook. With vocal melody, ...(+)
(4th Edition ) For voice
and C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Pop rock, rock and
pop. Series: Hal Leonard
Fake Books. 584 pages.
9x12 inches. Published by
Hal Leonard.
(26)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| National Anthems Orchestre d'harmonie - Intermédiaire C.L. Barnhouse
Grade 3 SKU: CL.026-4661-00 Canada, United Kingdom, France. Arrang...(+)
Grade 3 SKU:
CL.026-4661-00
Canada, United
Kingdom, France.
Arranged by Stanton.
Concert Band.
Build-A-Band. Score and
set of parts. Composed
2018. Duration 3 minutes,
16 seconds. C.L.
Barnhouse #026-4661-00.
Published by C.L.
Barnhouse
(CL.026-4661-00).
Take your
musicians on a cultural
exchange trip to Canada,
France and the United
Kingdom! You can play any
of these three national
anthems individually, or
pair them with the Star
Spangled Banner
(available separately in
Build-A-Band format) as
an opening travel-log at
your next concert. Lots
of ways to teach across
the curriculum with these
easy, great sounding
arrangements meant for
smaller bands with
limited instrumentation.
Hosting foreign exchange
students from these
countries? Honor them at
your concert with their
national anthem! Please
stand, remove hats and
join in the presentation
of the national
anthems!
About
Build-A-Band
Series The
Build-A-Band Series
provides educational and
enjoyable music for bands
with incomplete or
unbalanced
instrumentation. Written
using just four or five
parts (plus percussion),
these effective
arrangements will work
with any combination of
brass, woodwind, string
and percussion
instruments as long as
you distribute the parts
so that each of the five
parts is covered. All of
the publications in the
Build-A-Band Series have
been arranged to be
playable with any
instrumentation as long
as each part is used: 1st
Part, 2nd Part, 3rd Part,
4th Part, and Bass Part.
(Please note: In some of
these arrangements the
4th Part, and the Bass
Part are the same, making
it possible to play those
arrangements with only 4
parts.) $55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| National Anthems Orchestre d'harmonie - Intermédiaire C.L. Barnhouse
Grade 3 SKU: CL.026-4661-01 Canada, United Kingdom, France. Arrang...(+)
Grade 3 SKU:
CL.026-4661-01
Canada, United
Kingdom, France.
Arranged by Stanton.
Concert Band.
Build-A-Band. Extra full
score. Composed 2018.
Duration 3 minutes, 16
seconds. C.L. Barnhouse
#026-4661-01. Published
by C.L. Barnhouse
(CL.026-4661-01).
Take your
musicians on a cultural
exchange trip to Canada,
France and the United
Kingdom! You can play any
of these three national
anthems individually, or
pair them with the Star
Spangled Banner
(available separately in
Build-A-Band format) as
an opening travel-log at
your next concert. Lots
of ways to teach across
the curriculum with these
easy, great sounding
arrangements meant for
smaller bands with
limited instrumentation.
Hosting foreign exchange
students from these
countries? Honor them at
your concert with their
national anthem! Please
stand, remove hats and
join in the presentation
of the national
anthems!
About
Build-A-Band
Series The
Build-A-Band Series
provides educational and
enjoyable music for bands
with incomplete or
unbalanced
instrumentation. Written
using just four or five
parts (plus percussion),
these effective
arrangements will work
with any combination of
brass, woodwind, string
and percussion
instruments as long as
you distribute the parts
so that each of the five
parts is covered. All of
the publications in the
Build-A-Band Series have
been arranged to be
playable with any
instrumentation as long
as each part is used: 1st
Part, 2nd Part, 3rd Part,
4th Part, and Bass Part.
(Please note: In some of
these arrangements the
4th Part, and the Bass
Part are the same, making
it possible to play those
arrangements with only 4
parts.) $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tristan and Isolde WWV 90 Breitkopf & Härtel
Chorus (with soloists) and orchestra (solos: SMezTTTTBarBarB - choir: TTBB - 3(p...(+)
Chorus (with soloists)
and orchestra (solos:
SMezTTTTBarBarB - choir:
TTBB - 3(picc).2.cor
ang.2.B-clar.3 - 4.3.3.1
- timp.perc(2) - hp - str
/ stage music: cor
ang.6hn.3trp.3tbne)
SKU: BR.CHB-138-02
Music Drama in 3
Acts. Composed by
Richard Wagner. Choir;
stapled. Chor-Bibliothek
(Choral Library).
Richard Wagner wrote
Tristan and
Isolde in the years
1857 to 1859. The first
edition was published by
Breitkopf & Hartel in
Leipzig in 1860. The
world premiere took place
in the Konigliches Hof-
und National-Theater in
Munich on 10 June 1865 u.
Opera; Music theatre;
Romantic. Choral score. 8
pages. Breitkopf and
Haertel #ChB 138-02.
Published by Breitkopf
and Haertel
(BR.CHB-138-02). ISBN
9790004400791. 6 x 8.5
inches. Translation
s: engl. (H. und F.
Comer), french (A.
Ernst/P. Bruck) Place:
Tristan's ship, King
Mark's castle in
Cornwall, Tristan's
castle Characters:
Tristan (tenor) - King
Mark (bass) - Isolde
(soprano) - Kurwenal
(baritone) - Melot
(tenor) - Brangane
(mezzo-soprano) -
Shephard (tenor) - Mate
(baritone) - Voice of a
young sailor (tenor)In
1856 pressing financial
obligations forced Wagner
to interrupt the
composition of the Ring
to work on Tristan und
Isolde. He initially
planned a work that was
modest in its production
and performance demands.
The project was also
given priority not least
because of the prospect
of the royalties which he
would then receive. He
once again turned to
Breitkopf & Hartel for
the performance material:
'Tristan und Isolde' is
scheduled to be given its
first performance at the
end of this year. I still
hope that it will take
place in Karlsruhe under
my guidance. Due to the
celebrity that I have now
acquired, I assume that a
new and easily
performable work of mine
should be able to spread
very quickly across the
German stages in its
first winter season.
Wagner was wrong.
although the publisher
had spent a great deal of
time and money in
producing preliminary
material, Wagner wrote to
Breitkopf & Hartel from
Munich in November 1864:
The squalor of Germany's
opera singers and the
vile condition of its
opera houses have so far
dissuaded me from
allowing a performance of
'Tristan und Isolde'.
What I needed was an
impassioned young monarch
to restore my courage.
Next spring you will hear
about the work's premiere
in Munich, and you will
then hopefully become
more confident about this
publication.
Richa
rd Wagner wrote Tristan
and Isolde in the years
1857 to 1859. The first
edition was published by
Breitkopf & Hartel in
Leipzig in 1860. The
world premiere took place
in the Konigliches Hof-
und National-Theater in
Munich on 10 June 1865
under the direction of
Hans von Bulow. $4.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Allegretto Flûte traversière et Piano PWM (Polskie Wydawnictwo Muzyczne)
Flute; Piano Accompaniment (Score and Solo Part) SKU: HL.253939 Flute ...(+)
Flute; Piano
Accompaniment (Score and
Solo Part) SKU:
HL.253939 Flute
and Piano. Composed
by Jó and zef
Swider. PWM. Classical.
Softcover. 22 pages.
Polskie Wydawnictwo
Muzyczne #12021010.
Published by Polskie
Wydawnictwo Muzyczne
(HL.253939). 9.0x12.0
inches. Allegretto
for flute and piano by
Jozef Swider is a work of
a great artistic value
that comprises a perfect
didactic material,
filling a gap in the
Polish flute literature.
Allegretto for flute and
piano is a one-part
composition of an ABA1
structure with a cadenza.
A four-bar piano
introduction developsinto
the flute part intoning a
dance and folk-style
melody, which becomes
fragmented in terms of
rhythm and densified in
its facture. The dialogue
between the flute and the
piano involves mutual
motif complementation.
The melody gathers
momentum (numerous
ascending and descending
progressions,
undulations, typical
ties, trills), a dynamic
gradation develops into
the middle, more peaceful
and cantilena-style,
part. The culmination,
initially outlined by the
flute and continued by
the piano, leads to the
cadenza characterised by
considerable performative
freedom across motifs in
parts A and B, exhibiting
the colour and sound
values ofthe instrument.
The link A1 comprises a
quasi-variation
development of the first
passage of the work; it
is the most
dynamic,energetic and
diversified in terms of
the applied sound
registers (characteristic
alloctava marking),
articulation and agogics.
Themarking piu vivo in
bar 136, combined with
irregular metric
divisions and shifts in
accents, intensified
dynamics and expression
adds spontaneity,
ultimately leading to the
work's finale. The
application of the minor
mode, the economy of
expressive means and a
changeable course of
narration reflect
introvert characteristics
of the composer a man of
outstanding humbleness
and modesty, at the same
time full of unrest,
self-criticism and little
faith towards himself,
which is confirmed by
recently found notes of
his. $17.99 - Voir plus => Acheter | | |
| Kuimba Nafsi Yangu Carl Fischer
Choral Djembe 1, Djembe 2, Piano, alto 1, alto 2, soprano 1, soprano 2 SKU: C...(+)
Choral Djembe 1, Djembe
2, Piano, alto 1, alto 2,
soprano 1, soprano 2
SKU: CF.CM9791
Composed by Jacob
Narverud. Duration 2
minutes. Carl Fischer
Music #CM9791. Published
by Carl Fischer Music
(CF.CM9791). ISBN
9781491164624. UPC:
680160923533. Key: D
major. Swahili, English.
Original. Sing my
soul, sing my heart. Sing
for peace, sing for
joy.   Â
    Â
    Â
    Â
 There is so much
love here, yes! Kuimba
Nafsi Yangu is a
celebratory song derived
from common Swahili
phrases for joy. Intended
as a concert opener, this
spirited piece is pure
energy from start to
finish. The piano and
djembes drive the
momentum forward while
the choir sings in call
and response. Each
section gets a chance to
shine, all while building
with anticipation to the
final note and stomp.
Accents/articulations,
vocal inflections, and
three part chords call
for vocal flexibility,
rhythmic intensity, and
movement from the
singers. If desired, mm.
3 and 4 may serve as a
vamp, while the
performers enter from
around the auditorium to
take the
stage.PronunciationKuimba
nafsi yangu, Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
[Koo-eehm-bah nahf-see
yahn-goo,]Â Â Â
    Â
    Â
    Â
    Â
    Â
   Â
Kuimba moyo wangu.Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
   Â
 [Koo-eehm-bah moh-yoh
wahn-goo.]Â Â Â
    Â
    Â
    Â
    Â
    Â
   Kuimba kwa
amani,   Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
  Â
 [Koo-eehm-bah kwah
ah-mah-nee,]Â Â
    Â
    Â
    Â
    Â
    Â
    Â
 kuimba kwa
furaha.  Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
   Â
 [Koo-eehm-bah kwah
foo-rah-ha.]Â Â
    Â
    Â
    Â
    Â
    Â
    Â
   Â
 Sana upendo, sana
mpenzi wangu. Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
 [Sah-nah oo-pehn-doh,
sah-nah
mmpehn-zee-wahn-goo.]Â
    Â
    Â
  Na wewe. Ey na
wewe. Ndiyo. Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
  [Nah way-way.
Ay nah way-way.
Nn-dee-yoh.]Â Â
    Â
    Â
    Â
    Â
    Â
  O hey na, hey
na!   Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
    Â
    [Oh
hey nah, hey
nah!]Â About the
ComposerJacob Narverud
(b. 1986) is an American
Composer, Arranger, and
Conductor. A native
Kansan, Jake is the
Founding Artistic
Director of the Tallgrass
Chamber Choir, a
professional ensemble of
musicians from across the
Great Plains. Dr.
Narverud is a frequent
guest lecturer at
universities and
conferences and is the
Editor of Santa Barbara
Music Publishing, Inc. As
a sought-after composer,
Jake has been
commissioned to write new
works for over fifty
choral organizations
nationwide, as well as
ensembles in Australia
and Japan. Many of
Narverud's pieces are
publisher Best Sellers
and are performed
worldwide by choirs of
all levels.Website:
jnarverud.com  Â
    Â
YouTube & Spotify:
jacobnarverud  . $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rise Up Singing
Paroles et Accords [Partition] Hal Leonard
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Pu...(+)
The Group Singing
Songbook. By Various.
Vocal. Size 9.5x12
inches. 281 pages.
Published by Hal Leonard.
(1)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Up Singing Paroles et Accords [Partition] Hal Leonard
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages...(+)
Arranged by Peter Blood,
Annie Patterson. Vocal.
Size 7.5x10.5 inches. 283
pages. Published by Hal
Leonard.
(1)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hymns of the American Landscape Piano seul - Intermédiaire/avancé Lorenz Publishing Company
Composed by John Turner. Sacred. Lorenz Publishing Company #70/2220L. Publishe...(+)
Composed by John Turner.
Sacred. Lorenz Publishing
Company #70/2220L.
Published
by Lorenz Publishing
Company
$26.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Phillips Collection of Traditional American Fiddle Tunes Vol 1 Violon [Partition] Mel Bay
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For
fiddle. All styles,
fiddle tunes. Level:
Multiple Levels. Book.
Solos. Size 8.75x11.75.
268 pages. Published by
Mel Bay Pub., Inc.
(1)$39.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 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 | | |
| Santorella's Six Stave Manuscript and Lesson Log Papeterie [Papier vierge] Santorella Publications
By Tony Santorella. This edition: Paperback. Teaching Aid. Manuscript. Manuscrip...(+)
By Tony Santorella. This
edition: Paperback.
Teaching Aid. Manuscript.
Manuscript paper. Text
Language: English. 64
pages. Published by
Santorella Publications
$5.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cake Walks and Classic Rags for Fingerstyle Guitar Guitare [Partition + Accès audio] - Intermédiaire Mel Bay
Saddle-stitched. Folk. Book and online audio. 172 pages. Mel Bay Publications,...(+)
Saddle-stitched. Folk.
Book
and online audio. 172
pages.
Mel Bay Publications, Inc
#31061M. Published by Mel
Bay
Publications, Inc
$24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Roy Clark's Big Note Songbook for Guitar (with poster and decals) Guitare notes et tablatures [Partition + DVD] Santorella Publications
Composed by Roy Clark. This edition: Paperback. Instructional. Method. Book and ...(+)
Composed by Roy Clark.
This edition: Paperback.
Instructional. Method.
Book and DVD. With Text
Language: English; Big
Note notation, chords and
tablature. 208 pages.
Published by Santorella
Publications
$29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Country and Western Gospel Hymnal - Volume 2 (Book)
Chorale [Partition] Brentwood-Benson
For voice. Format: vocal songbook (spiral bound). With vocal score and chord nam...(+)
For voice. Format: vocal
songbook (spiral bound).
With vocal score and
chord names. Gospel and
Country. 9x12 inches.
Published by
Brentwood-Benson Music
Publishing. Click here
for Listening
Cassette (5)$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Patriotic Songs Piano seul - Facile Santorella Publications
Patriotic Songs for Easy Piano composed by Various. Arranged by Alexander Cole. ...(+)
Patriotic Songs for Easy
Piano composed by
Various. Arranged by
Alexander Cole. For easy
piano. This edition:
Paperback. Collection.
Patriotic. Book. Text
Language: English. 48
pages. Published by
Santorella Publications
$9.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Stand Up CD Chorale Hal Leonard
Choral (SHOWTRAX CD) SKU: HL.338556 From Harriet. By Cynthia Erivo...(+)
Choral (SHOWTRAX CD)
SKU: HL.338556
From Harriet. By
Cynthia Erivo. By Cynthia
Echeumuna-Erivo and
Joshuah Campbell.
Arranged by Mac Huff. Pop
Choral Series.
African-American,
Concert, General Worship,
Gospel, Movies,
Multicultural, Pop, Show
Choir. CD. Duration 275
seconds. Published by Hal
Leonard (HL.338556).
UPC: 840126913736.
5.0x5.0x0.15
inches. There was
no greater live
performance on the night
of the 2020 Academy
Awards ceremony than
Cynthia Erivo's dynamic
and compelling
performance of
“Stand Upâ€,
the lead single from the
soundtrack to the
biographical film
Harriet. Backed by a
gospel choir, this song
is ready to be performed
across the nation, from
choirs large to small, to
further the message of
abolitionist Harriet
Tubman. $26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| First Steps in Global Music GIA Publications
SKU: GI.G-9966 Composed by Karen Howard. First Steps in Music. Music Educ...(+)
SKU: GI.G-9966
Composed by Karen Howard.
First Steps in Music.
Music Education. 164
pages. GIA Publications
#9966. Published by GIA
Publications (GI.G-9966).
ISBN
9781622773992. What
better way to discover
the world than to sing
songs that have
captivated the
imaginations of children
across the continents. In
this amazing collection
of songs children love to
sing, Karen Howard truly
opens the door to
encountering songs from
diverse cultures and
experiences, on themes
from family, animals,
flowers, food, and more.
The repertoire
in First Steps in
Global Music is
particularly accessible
for teachers and children
wishing to discover these
great songs. Organized by
geographical region,
Howard provides the
context and
guidance—including
references to
recordings—for
these songs to come
alive. She further
organizes the songs based
on First Steps activity
categories: Fragment
Singing, Simple Songs,
Movement for Form and
Expression, Movement with
the Beat, and Songtales.
Take a look, have a
listen, and see what
captures your
attention—and what
might capture the
imaginations of the
children in your life!
Featuring music from:
Africa (Ghana, Kenya,
Tanzania, Ethiopia,
Zimbabwe) Oceania
(Tahiti, Australia, New
Zealand) Asia (China,
Japan, Pakistan,
Indonesia) Middle East
(Israel and Lebanon)
North America (Quebec,
Guatemala, Mexico,
Jamaica, Puerto Rico,
Cuba, Haiti)Â South
America (Brazil, Peru,
Chile)Â Europe
(Lithuania, Bulgaria,
Poland, Republic of
Georgia) For
more information and
resources about global
music,
visit giamusic.com/fir
ststepsglobal. Special
message:Â Since the
summer of 2019, it has
come to the attention of
GIA editors that some of
the American folk songs
in the First Steps in
Music series and other
publications have racist
histories. GIA is
committed to providing
resources that uphold the
highest possible values
for children and for our
classrooms. We are
excited about the efforts
of the Feierabend
Association for Music
Education’s
Diversity, Equity, and
Inclusion Committee to
develop standards through
which repertoire should
be evaluated. We intend
to revise our
publications based on
those standards at the
earliest possible
opportunity. Learn more
at giamusic.com/dei.
p>
$24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Glitter, Doom, Shards, Memory Theodore Presser Co.
Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello SKU: PR.11441...(+)
Chamber Music Viola 1,
Viola 2, Violin 1, Violin
2, Violoncello SKU:
PR.11441690S
String Quartet No.
3. Composed by
Shulamit Ran. Sws.
Contemporary. Full score.
With Standard notation.
Composed March 9 2013. 32
pages. Duration 23
minutes. Theodore Presser
Company #114-41690S.
Published by Theodore
Presser Company
(PR.11441690S). UPC:
680160626021. 9 x 12
inches. Ran's third
string quartet was
written for the Pacifica
Quartet, who are
featuring it in numerous
performances from May
2014 through February
2016, across the country
and abroad. Their blog
page dedicated to the
work also features the
composer's notes, for
more indepth insight.
...impassioned solos
emerge from ominous
quiet, and high arpeggios
in the violins quiver
alongside the earthy
cello. Ms. Ran skillfully
deploys these extremes of
color, volume and pitch,
yet the overall somewhat
chilly impression is one
of poise. -- Zachary
Woolfe, The New York
Times. My third string
quartet was composed at
the invitation of the
Pacifica
Quartet, whose
music-making I have come
to know closely and
admire hugely as resident
artists at the University
of Chicago. Already
in our early
conversations Pacifica
proposed that this
quartet might, in some
manner, refer to the
visual arts as a point of
germination. Probing
further, I found out that
the quartet members had
special interest in art
created during the
earlier part of the 20th
century, perhaps between
the two world wars.Â
It was my good fortune to
have met, a short while
later, while in residence
at the American Academy
in Rome in the fall of
2011, art conservationist
Albert Albano who steered
me to the work of Felix
Nussbaum (1904-1944), a
German-Jewish painter
who, like so many others,
perished in the Holocaust
at a young age, and who
left some powerful,
deeply moving art that
spoke to the life that
was unraveling around
him. The title of my
string quartet takes its
inspiration from a major
exhibit devoted to art by
German artists of the
period of the Weimar
Republic (1919-1933)
titled “Glitter and
Doom: German Portraits
from the 1920sâ€,
first shown at New
York’s
Metropolitan Museum of
Art in 2006-07.Â
Nussbaum would have been
a bit too young to be
included in this
exhibit. His most
noteworthy art was
created in the last very
few years of his short
life. The
exhibit’s
evocative title, however,
suggested to me the idea
of “Glitter, Doom,
Shards, Memory†as
a way of framing a
possible musical
composition that would be
an homage to his life and
art, and to that of so
many others like him
during that era.
 Knowing that their
days were numbered, yet
intent on leaving a mark,
a legacy, a memory, their
art is triumph of the
human spirit over
annihilation. Parallel
to my wish to compose a
string quartet that,
typically for this genre,
would exist as
“pure musicâ€,
independent of a
narrative, was my desire
to effect an awareness in
my listener of matters
which are, to me, of
great human concern.
 To my mind there is
no contradiction between
the two goals. Â As in
several other works
composed since 1969, this
is my way of saying
‘do not
forget’, something
that, I believe, can be
done through music with
special power and
poignancy. Â Â The
individual titles of the
quartet’s four
movements give an
indication of some of the
emotional strands this
work explores. 1)
“That which
happened†(das was
geschah) – is how
the poet Paul Celan
referred to the Shoah
– the Holocaust.
 These simple words
served for me, in the
first movement, as a
metaphor for the way in
which an
“ordinaryâ€
life, with its daily flow
and its sense of sweet
normalcy, was shockingly,
inhumanely, inexplicably
shattered. 2)
“Menace†is a
shorter movement,
mimicking a Scherzo.
 It is also
machine-like, incessant,
with an occasional,
recurring, waltz-like
little tune –
perhaps the chilling
grimace we recognize from
the executioner’s
guillotine mask. Â Like
the death machine it
alludes to, it gathers
momentum as it goes, and
is
unstoppable. 3) â
If I must perish - do
not let my paintings
dieâ€; these words
are by Felix Nussbaum
who, knowing what was
ahead, nonetheless
continued painting till
his death in Auschwitz in
1944. Â If the heart of
the first movement is the
shuddering interruption
of life as we know it,
the third movement tries
to capture something of
what I can only imagine
to be the conflicting
states of mind that would
have made it possible,
and essential, to
continue to live and
practice one’s art
– bearing witness
to the events.
 Creating must have
been, for Nussbaum and
for so many others, a way
of maintaining sanity,
both a struggle and a
catharsis – an act
of defiance and salvation
all at the same
time. 4)
“Shards,
Memory†is a direct
reference to my
quartet’s title.
 Only shards are left.
 And memory.  The
memory is of things large
and small, of unspeakable
tragedy, but also of the
song and the dance, the
smile, the hopes. All
things human. Â As we
remember, in the face of
death’s silence,
we restore dignity to
those who are
gone.—Shulamit
Ran . $29.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sonata No. 6 "Kharkiv", Op. 48 Guitare Guitare classique - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4244 Composed by Konstantin Bliokh. Sco...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4244
Composed by Konstantin
Bliokh. Score. Les
Productions d'OZ #DZ
4244. Published by Les
Productions d'OZ
(DZ.DZ-4244). ISBN
9782898521614. La
Sonate n° 6 Kharkiv
pour guitare solo a
été composée en
2021, Ã la fin du
confinement lié au
COVID-19. Ã? ce
moment-là , ma famille
et moi étions
restés dans notre
ville natale de Kharkiv
(également connue sous
le nom de Kharkov), en
Ukraine, pendant près
de deux ans. Nous
considérions cette
période de pandémie
comme un désastre,
mais nous avons
réalisé plus tard
que c'était en fait un
moment plutôt heureux,
car la guerre est
arrivée dans notre
pays quelques mois plus
tard. Depuis 2022, une
fraction considérable
des 1,5 million de
citoyens de Kharkiv ont
quitté leur foyer,
ceux qui sont restés
vivent sous des attaques
incessantes de missiles,
et beaucoup ont été
tués. Je voudrais
dédier cette Sonate
à la ville
frontalière de Kharkiv
et, surtout, Ã ses
citoyens souffrant de la
guerre.
Pourtant,
la musique de la Sonate
n'a aucun programme
spécifique. Ici, je
donnerai un bref
aperçu de ses
principaux éléments
de composition pour
faciliter les
interprétations
futures.
Les
premier et quatrième
mouvements de cette
Sonate sont basés sur
l'interaction entre le
principe
dodécaphonique et le
centre tonal de sol
majeur, naturel pour la
guitare. En particulier,
le premier mouvement est
basé sur l'interaction
de la triade de sol
majeur Solâ??Siâ??Ré
des cordes de guitare
à vide 2â??3â??4, le
motif ascendant 1
impliquant les notes
Miâ??Fa#â??Laâ??Do#
(Ã l'origine sur la
première corde), et le
motif descendant 2
utilisant les notes
Miâ??Doâ??Sibâ??La
(Ã l'origine sur la
corde de basse 6). Ces
éléments se
complètent presque
pour former douze tons
(Ã l'exception du Fa
manquant), et les motifs
alternent avec des
fragments ostinato où
chaque note de la triade
de sol majeur est
déplacée pas Ã
pas d'un demi-ton vers le
haut ou vers le
bas.
Le
deuxième mouvement est
un Scherzo impliquant de
nombreux demi-tons dans
des accords accentués
et des passages rapides,
ainsi qu'un mouvement
mélodique chromatique
dans la voix de basse. Il
est presque atonal dans
certains fragments, mais
a un centre tonal global
de la mineur.
Le
troisième mouvement
est un Adagio
méditatif basé sur
un thème composé
dans l'échelle
hexatonique
Réâ??Miâ??Faâ??Sol#
â??Laâ??Si et des
accords ostinato
impliquant les cordes de
basse à vide
Miâ??Laâ??Ré et le
demi-ton
Siâ??Do.
Enfin,
le quatrième mouvement
est basé sur le
thème
dodécaphonique complet
composé de deux
phrases comprenant les
motifs 1 et 2 du premier
mouvement :
Solâ??Faâ??Sibâ??Labâ
??Doâ??Mibâ??Ré et
Miâ??Siâ??Do#â??Laâ??
Fa#. Ce thème est
présenté dans ses
formes prime et
rétrograde. Il y a des
dialogues entre la
première corde, les
basses et les cordes
médianes à vide,
similaires au premier
mouvement. Ã? son
apogée, le thème
dodécaphonique est
interprété en
utilisant le mouvement
parallèle de l'accord
de sol majeur standard de
la guitare avec les
cordes médianes Ã
vide sur douze
positions.
La
Sonate a été
créée en
première et
enregistrée (CD Naxos
No. 8.574630) par le
célèbre guitariste
ukrainien Marko Topchii,
qui a également
vécu et étudié
à Kharkiv. Je lui suis
extrêmement
reconnaissant pour
l'interprétation
brillante de cette
pièce.
Je suis
très redevable envers
Productions d'Oz d'avoir
conservé mes notations
originales là où
celles-ci ne
correspondent pas au
style de
l'éditeur.
Sona
ta No. 6 Kharkiv for
guitar solo was composed
in 2021, in the end of
the COVID-19 lockdown. At
that time my family and I
were staying in our home
city of Kharkiv (also
known as Kharkov),
Ukraine for almost two
years. We considered that
pandemic period as a
disaster, but later have
realized that it actually
was a rather happy time,
because a war came to our
homeland just a few
months later. Since 2022
a considerable fraction
of the 1.5 millions of
Kharkiv citizens have
left their homes, those
who stayed have been
living under ceaseless
missile attacks, and many
have been killed. I would
like to dedicate this
Sonata to the frontier
city of Kharkiv and, most
of all, to its citizens
suffering from the
war. Yet, the music of
the Sonata does not have
any specific program.
Here I will give a brief
overview of its main
composition elements to
facilitate future
interpretations. The
first and fourth
movements of this Sonata
are based on the
interplay between the
twelve-tone principle and
the G-major tonal center,
natural for the guitar.
Namely, the first
movement is based on the
interaction of the
G-major triad Gâ??Bâ??D
of the open guitar
strings 2â??3â??4,
ascending motif 1
involving the notes
Eâ??F#â??Aâ??C#
(originally on the first
string), and descending
motif 2 using the notes
E-â??Câ??Bbâ??A-
(originally, on the bass
string 6). These elements
supplement each other to
almost make up twelve
tones (apart from the
missing F), and the
motifs alternate with
ostinato fragments where
each note in the G major
triad is step-by-step
moved by a semitone up or
down. The second
movement is a Scherzo
involving numerous
semitones in accented
chords and fast passages,
as well as chromatic
melodic motion in the
bass voice. It is almost
atonal in some fragments,
but has an overall tonal
center of A-minor. The
third movement is a
meditative Adagio based
on a theme composed
within hexatonic scale
Dâ??Eâ??Fâ??G#â??Aâ?
?B and ostinato chords
involving open bass
strings Eâ??Aâ??D and
semitone
Bâ??C. Finally, the
fourth movement is based
on the complete
twelve-tone theme
consisting of two phrases
including motifs 1 and 2
from the first movement:
Gâ??Fâ??Bbâ??Abâ??Câ
??Ebâ??D and
Eâ??Bâ??C#â??Aâ??F#.
This theme is presented
in its prime and
retrograde forms. There
are dialogues between the
first string, basses and
open middle strings,
similar to the first
movement. In the
culmination, the
twelve-tone theme is
performed using the
parallel motion of the
standard guitar G-major
chord with open middle
strings across twelve
positions. The Sonata
was premiered and
recorded (CD Naxos No.
8.574630) by the
prominent Ukrainian
guitarist Marko Topchii
who has also lived and
studied in Kharkiv. I am
extremely grateful to him
for the brilliant
performance of this
piece. I am greatly
indebted to Productions
dâ??Oz for keeping my
original notations in
places where these do not
conform to the
publisherâ??s style. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Joy and Peace - Guitar edition Guitare GIA Publications
Guitar SKU: GI.G-9330G Eucharistic Acclamations for Holy Communion...(+)
Guitar SKU:
GI.G-9330G
Eucharistic
Acclamations for Holy
Communion. Composed
by Tony Alonso S.J. This
edition: Guitar edition.
Sacred. Guitar part. With
guitar chord names. 8
pages. GIA Publications
#9330G. Published by GIA
Publications
(GI.G-9330G). UPC:
785147933076. English.
Text Source: English
Language Liturgical
Consultation (ELLC),
1988, alt. Doxology,
Evangelical Lutheran
Worship When
the revised English
translation of the
Catholic Mass was
introduced in 2010, Tony
Alonso’s Mass of
Joy and Peace quickly
became one of the most
widely sung eucharistic
settings. In this
edition, Tony has adapted
the eucharistic
acclamations for
ecumenical use. The Joy
and Peace acclamations
will find a home in
organ-based worship or
celebrations led by
piano, guitar, or
contemporary ensemble. A
setting of great
versatility and
accessibility, Joy and
Peace will help inspire
the sung prayer of
assemblies across
Christian denominations.
This is the guitar
edition. $9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Joy and Peace - Instrument edition GIA Publications
Guitar, C instrument 1, C instrument 2 SKU: GI.G-9330INST Eucharistic ...(+)
Guitar, C instrument 1, C
instrument 2 SKU:
GI.G-9330INST
Eucharistic
Acclamations for Holy
Communion. Composed
by Tony Alonso S.J.
Arranged by Chris De
Silva. This edition:
Instrument edition.
Sacred. Instrumental
part(s). 4 pages. GIA
Publications #9330INST.
Published by GIA
Publications
(GI.G-9330INST).
When the
revised English
translation of the
Catholic Mass was
introduced in 2010, Tony
Alonso’s Mass of
Joy and Peace quickly
became one of the most
widely sung eucharistic
settings. In this
edition, Tony has adapted
the eucharistic
acclamations for
ecumenical use. The Joy
and Peace acclamations
will find a home in
organ-based worship or
celebrations led by
piano, guitar, or
contemporary ensemble. A
setting of great
versatility and
accessibility, Joy and
Peace will help inspire
the sung prayer of
assemblies across
Christian denominations.
This instrumental edition
includes two parts for
optional C
intruments. $9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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