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Original Pieces in Caribbean and Brazilian Style. Composed by Rik Elings. De Has...(+)
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| Gustave Vogt's Musical Album of Autographs Cor anglais, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe SKU:
CF.WF229 15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229). ISBN
9781491153789. UPC:
680160911288. Intro
duction Gustave Vogt's
Musical Paris Gustave
Vogt (1781-1870) was born
into the Age of
Enlightenment, at the
apex of the
Enlightenment's outreach.
During his lifetime he
would observe its effect
on the world. Over the
course of his life he
lived through many
changes in musical style.
When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the grandfather of the
modern oboe and the
premier oboist of Europe.
Through his eighty-nine
years, Vogt would live
through what was perhaps
the most turbulent period
of French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
System Six Triebert oboe
(the instrument adopted
by Conservatoire
professor, Georges
Gillet, in 1882) was only
five years from being
developed. Vogt was born
March 18, 1781 in the
ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school's first
oboe professor,
Alexandre-Antoine
Sallantin (1775-1830).
Vogt's relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed repetiteur,
which involved teaching
the younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school's history. During
his tenure, he became the
most influential oboist
in France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799-1839), Apollon
Marie-Rose Barret
(1804-1879), Charles
Triebert (1810-1867),
Stanislas Verroust
(1814-1863), and Charles
Colin (1832-1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854-1920), and then to
Marcel Tabuteau
(1887-1966), the oboist
Americans lovingly
describe as the father of
American oboe playing.
Opera was an important
part of Vogt's life. His
first performing position
was with the
Theatre-Montansier while
he was still studying at
the Conservatoire.
Shortly after, he moved
to the Ambigu-Comique
and, in 1801 was
appointed as first oboist
with the Theatre-Italien
in Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opera-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opera, the
top orchestra in Paris at
the time. He played with
the Paris Opera until
1834, all the while
bringing in his current
and past students to fill
out the section. In this
position, he began to
make a name for himself;
so much so that specific
performances were
immortalized in memoirs
and letters. One comes
from a young Hector
Berlioz (1803-1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opera's performance of
Mehul's Stratonice and
Persuis' ballet Nina. It
was in response to the
song Quand le bien-amie
reviendra that Berlioz
wrote: I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt's instrument...
Shortly after this,
Berlioz gave up studying
medicine and focused on
music. Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini's (1760-1842)
Ave Maria, with soprano
Anna (Nanette) Schechner
(1806-1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opera. He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artot (1815-1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having lost none of his
superiority over the
oboe.... It's always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to Vogt's oboe.
Vogt was also active
performing in Paris as a
chamber and orchestral
musician. He was one of
the founding members of
the Societe des Concerts
du Conservatoire, a group
established in 1828 by
violinist and conductor
Francois-Antoine Habeneck
(1781-1849). The group
featured faculty and
students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770-1836). After his
retirement from the Opera
in 1834 and from the
Societe des Concerts du
Conservatoire in 1842,
Vogt began to slow down.
His final known
performance was of
Cherubini's Ave Maria on
English horn with tenor
Alexis Dupont (1796-1874)
in 1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of Autographs.
Autograph Albums Vogt's
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death. As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492-1550), a collection
of 212 Latin emblem
poems. In 1558, the first
book conceived for the
purpose of the album
amicorum was published by
Lyon de Tournes
(1504-1564) called the
Thesaurus Amicorum. These
books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans. The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbucher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music. This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his grand tour through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his most valuable
contribution came from
Beethoven in 1815.
Spohr's Notenstammbuch,
comprised only of musical
entries, is
groundbreaking because it
was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbucher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later. Vogt's Musical
Album of Autographs
Vogt's Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod's (1818-1893)
Faust, which premiered in
1859, was submitted.
Within this album we find
sixty-two entries from
musicians whom he must
have known very well
because they were
colleagues at the
Conservatoire, or
composers of opera whose
works he was performing
with the Paris Opera.
Other entries came from
performers with whom he
had performed and some
who were simply passing
through Paris, such as
Joseph Joachim
(1831-1907). Of the
sixty-three total
entries, some are
original, unpublished
works, while others came
from well-known existing
works. Nineteen of these
works are for solo piano,
sixteen utilize the oboe
or English horn, thirteen
feature the voice (in
many different
combinations, including
vocal solos with piano,
and small choral settings
up to one with double
choir), two feature
violin as a solo
instrument, and one even
features the now obscure
ophicleide. The
connections among the
sixty-two contributors to
Vogt's album are
virtually never-ending.
All were acquainted with
Vogt in some capacity,
from long-time
friendships to
relationships that were
created when Vogt
requested their entry.
Thus, while Vogt is the
person who is central to
each of these musicians,
the web can be greatly
expanded. In general, the
connections are centered
around the Conservatoire,
teacher lineages, the
Opera, and performing
circles. The
relationships between all
the contributors in the
album parallel the
current musical world, as
many of these kinds of
relationships still
exist, and permit us to
fantasize who might be
found in an album created
today by a musician of
the same standing. Also
important, is what sort
of entries the
contributors chose to
pen. The sixty-three
entries are varied, but
can be divided into
published and unpublished
works. Within the
published works, we find
opera excerpts, symphony
excerpts, mass excerpts,
and canons, while the
unpublished works include
music for solo piano,
oboe or English horn,
string instruments
(violin and cello), and
voice (voice with piano
and choral). The music
for oboe and English horn
works largely belong in
the unpublished works of
the album. These entries
were most likely written
to honor Vogt. Seven are
for oboe and piano and
were contributed by
Joseph Joachim, Pauline
Garcia Viardot
(1821-1910), Joseph
Artot, Anton Bohrer
(1783-1852), Georges
Onslow (1784-1853),
Desire Beaulieu
(1791-1863), and Narcisse
Girard (1797-1860). The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work, which he even
included in his
signature. Two composers
contributed pieces for
English horn and piano,
and like the previous
oboe entries, are simple
and repetitive. These
were written by Michele
Carafa (1787-1872) and
Louis Clapisson
(1808-1866). There are
two other entries that
were unpublished works
and are chamber music.
One is an oboe trio by
Jacques Halevy
(1799-1862) and the other
is for oboe and strings
(string trio) by J. B.
Cramer (1771-1858). There
are five published works
in the album for oboe and
English horn. There are
three from operas and the
other two from symphonic
works. Ambroise Thomas
(1811-1896) contributed
an excerpt from the
Entr'acte of his opera La
Guerillero, and was
likely chosen because the
oboe was featured at this
moment. Hippolyte Chelard
(1789-1861) also chose to
honor Vogt by writing for
English horn. His entry,
for English horn and
piano, is taken from his
biggest success, Macbeth.
The English horn part was
actually taken from Lady
Macbeth's solo in the
sleepwalking scene.
Vogt's own entry also
falls into this category,
as he entered an excerpt
from Donizetti's Maria di
Rohan. The excerpt he
chose is a duet between
soprano and English horn.
There are two entries
featuring oboe that are
excerpted from symphonic
repertoire. One is a
familiar oboe melody from
Beethoven's Pastoral
Symphony entered by his
first biographer, Anton
Schindler (1796-1864).
The other is an excerpt
from Berlioz's choral
symphony, Romeo et
Juliette. He entered an
oboe solo from the Grand
Fete section of the
piece. Pedagogical
benefit All of these
works are lovely, and fit
within the album
wonderfully, but these
works also are great oboe
and English horn music
for young students. The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work in the piano. This
repetitive structure is
beneficial for young
students for searching
for a short solo to
present at a studio
recital, or simply to
learn. They also work
many technical issues a
young player may
encounter, such as
mastering the rolling
finger to uncover and
recover the half hole.
This is true of Bealieu's
Pensee as well as
Onslow's Andantino.
Berlioz's entry from
Romeo et Juliette
features very long
phrases, which helps with
endurance and helps keep
the air spinning through
the oboe. Some of the
pieces also use various
levels of ornamentation,
from trills to grace
notes, and short
cadenzas. This allows the
student to learn
appropriate ways to
phrase with these added
notes. The chamber music
is a valuable way to
start younger students
with chamber music,
especially the short
quartet by Cramer for
oboe and string trio. All
of these pieces will not
tax the student to learn
a work that is more
advanced, as well as give
them a full piece that
they can work on from
beginning to end in a
couple weeks, instead of
months. Editorial Policy
The works found in this
edition are based on the
manuscript housed at the
Morgan Library in New
York City (call number
Cary 348, V886. A3). When
possible, published
scores were consulted and
compared to clarify pitch
and text. The general
difficulties in creating
an edition of these works
stem from entries that
appear to be hastily
written, and thus omit
complete articulations
and dynamic indications
for all passages and
parts. The manuscript has
been modernized into a
performance edition. The
score order from the
manuscript has been
retained. If an entry
also exists in a
published work, and this
was not indicated on the
manuscript, appropriate
titles and subtitles have
been added tacitly. For
entries that were
untitled, the beginning
tempo marking or
expressive directive has
been added as its title
tacitly. Part names have
been changed from the
original language to
English. If no part name
was present, it was added
tacitly. All scores are
transposing where
applicable. Measure
numbers have been added
at the beginning of every
system. Written
directives have been
retained in the original
language and are placed
relative to where they
appear in the manuscript.
Tempo markings from the
manuscript have been
retained, even if they
were abbreviated, i.e.,
Andte. The barlines,
braces, brackets, and
clefs are modernized. The
beaming and stem
direction has been
modernized. Key
signatures have been
modernized as some of the
flats/sharps do not
appear on the correct
lines or spaces. Time
signatures have been
modernized. In a few
cases, when a time
signature was missing in
the manuscript, it has
been added tacitly.
Triplet and rhythmic
groupings have been
modernized. Slurs, ties,
and articulations
(staccato and accent)
have been modernized.
Slurs, ties, and
articulations have been
added to parallel
passages tacitly.
Courtesy accidentals
found in the manuscript
have been removed, unless
it appeared to be helpful
to the performer. Dynamic
indications from the
manuscript have been
retained, except where
noted. --Kristin
Leitterman. Introducti
onGustave Vogt’s
Musical ParisGustave Vogt
(1781–1870) was
born into the “Age
of Enlightenment,â€
at the apex of the
Enlightenment’s
outreach. During his
lifetime he would observe
its effect on the world.
Over the course of his
life he lived through
many changes in musical
style. When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the “grandfather
of the modern oboeâ€
and the “premier
oboist of
Europe.â€Through his
eighty-nine years, Vogt
would live through what
was perhaps the most
turbulent period of
French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
“System Sixâ€
Triébert oboe (the
instrument adopted by
Conservatoire professor,
Georges Gillet, in 1882)
was only five years from
being developed.Vogt was
born March 18, 1781 in
the ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school’s
first oboe professor,
Alexandre-Antoine
Sallantin
(1775–1830).Vogtâ
€™s relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed
répétiteur, which
involved teaching the
younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school’s history.
During his tenure, he
became the most
influential oboist in
France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799–1839),
Apollon Marie-Rose Barret
(1804–1879),
Charles Triebert
(1810–1867),
Stanislas Verroust
(1814–1863), and
Charles Colin
(1832–1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854–1920), and
then to Marcel Tabuteau
(1887–1966), the
oboist Americans lovingly
describe as the
“father of American
oboe playing.â€Opera
was an important part of
Vogt’s life. His
first performing position
was with the
Théâtre-Montansier
while he was still
studying at the
Conservatoire. Shortly
after, he moved to the
Ambigu-Comique and, in
1801 was appointed as
first oboist with the
Théâtre-Italien in
Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opéra-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opéra,
the top orchestra in
Paris at the time. He
played with the Paris
Opéra until 1834, all
the while bringing in his
current and past students
to fill out the section.
In this position, he
began to make a name for
himself; so much so that
specific performances
were immortalized in
memoirs and letters. One
comes from a young Hector
Berlioz
(1803–1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opéra’s
performance of
Mehul’s Stratonice
and Persuis’
ballet Nina. It was in
response to the song
Quand le bien-amié
reviendra that Berlioz
wrote: “I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt’s
instrument…â€
Shortly after this,
Berlioz gave up studying
medicine and focused on
music.Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini’s
(1760–1842) Ave
Maria, with soprano Anna
(Nanette) Schechner
(1806–1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opéra.He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artôt
(1815–1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having “lost none
of his superiority over
the oboe….
It’s always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to
Vogt’s
oboe.â€Vogt was also
active performing in
Paris as a chamber and
orchestral musician. He
was one of the founding
members of the
Société des
Concerts du
Conservatoire, a group
established in 1828 by
violinist and conductor
François-Antoine
Habeneck
(1781–1849). The
group featured faculty
and students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770–1836).After
his retirement from the
Opéra in 1834 and from
the Société des
Concerts du Conservatoire
in 1842, Vogt began to
slow down. His final
known performance was of
Cherubini’s Ave
Maria on English horn
with tenor Alexis Dupont
(1796–1874) in
1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of
Autographs.Autograph
AlbumsVogt’s
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death.As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492–1550), a
collection of 212 Latin
emblem poems. In 1558,
the first book conceived
for the purpose of the
album amicorum was
published by Lyon de
Tournes
(1504–1564) called
the Thesaurus Amicorum.
These books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans.The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbücher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music.This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his “grand
tour†through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his “most valuable
contribution†came
from Beethoven in 1815.
Spohr’s
Notenstammbuch, comprised
only of musical entries,
is groundbreaking because
it was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbücher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later.Vogt’s
Musical Album of
AutographsVogt’s
Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod’s
(1818–1893) Faust,
which premiered in 1859,
was submitted.Within this
album ... $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Santa Visits the Caribbean Orchestre d'harmonie [Conducteur et Parties séparées] - Facile C.L. Barnhouse
By James Swearingen. For concert band. Young Concert Band. Command. Holiday. Gra...(+)
By James Swearingen. For
concert band. Young
Concert Band. Command.
Holiday. Grade 2.5. Score
and set of parts.
Composed 2005. Duration 2
minutes. Published by
C.L. Barnhouse
$48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Santa Visits the Caribbean Orchestre d'harmonie - Facile C.L. Barnhouse
Grade 2.5 SKU: CL.011-3454-01 Young Concert Band. Command Series. Audio r...(+)
Grade 2.5 SKU:
CL.011-3454-01 Young
Concert Band. Command
Series. Audio recording
available separately
(item CL.WFR342). Extra
full score. Composed
2005. Duration 2 minutes.
C.L. Barnhouse
#011-3454-01. Published
by C.L. Barnhouse
(CL.011-3454-01).
The holiday
season heads South as
Santa packs his bags for
a much-needed trip to the
warm and sunny Caribbean
Islands. Easy Latin
rhythms, fun-to-perform
percussion parts and
playable ranges for both
brass and woodwinds
combine in a tuneful
setting of the
traditional carol Up On
The Housetop. Your
audience will be highly
entertained and the band,
wearing sunglasses of
course, will have
discovered their new
favorite work. A great
holiday choice!
About C.L.
Barnhouse Command
Series The
Barnhouse Command Series
includes works at grade
levels 2, 2.5, and 3.
This series is designed
for middle school and
junior high school bands,
as well as high school
bands of smaller
instrumentation or
limited experience.
Command Series
publications have a
slightly larger
instrumentation than the
Rising Band Series, and
are typically of larger
scope, duration, and
musical content. $6.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Lamb of God for Sinners Slain Chorale SATB SATB, Orgue - Facile GIA Publications
SATB choir, organ accompaniment - Early intermediate SKU: GI.G-1847 Compo...(+)
SATB choir, organ
accompaniment - Early
intermediate SKU:
GI.G-1847 Composed by
Luigi Cherubini. Edited
by Walter Ehret. Choral.
Choral. Sacred. Octavo. 4
pages. GIA Publications
#1847. Published by GIA
Publications (GI.G-1847).
Text source:
Catalonian Carol;
Translation: Walter
Ehret. Text Source:
Catalonian Carol. $1.30 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rockschool Ukulele Grade 6 - (2020) Ukulele [Partition + Accès audio] - Intermédiaire Rock School Limited (RSL)
Ukulele - late intermediate SKU: BT.RSK200131 Exam Material. Book with On...(+)
Ukulele - late
intermediate SKU:
BT.RSK200131 Exam
Material. Book with
Online Audio. Composed
2020. 60 pages.
Rockschool #RSK200131.
Published by Rockschool
(BT.RSK200131). ISBN
9781789361179.
English. The 2020
Ukulele syllabus extends
Rockschool's offering to
a full suite of grades.
The syllabus has been
designed in conjunction
with their new Ukulele
Method books, giving
students a comprehensive
pathway from absolute
beginner stages through
to entry into the graded
system, and subsequently
following a progressive
pathway through to grade
8. The syllabus features
six tracks for each grade
that have been
meticulously benchmarked
to support students as
they learn the
instrument. At each
grade, two of the pieces
offer the students an
opportunity to perform
without full band
backing, exploring the
sound and resonance of
their instrument. The
remaining tracks are
ââ¬Ësession
styleââ¬â¢back
ing tracks, performed
with full backing band
and including vocal
accompaniment which is
also shown in the
notation as a melody line
and lyric over the main
ukulele part.
Il
sillabus 2020 Ukulele
amplia l'offerta di
Rockschool a tutti i
livelli di studio. Il
syllabus è stato
pensato come complemento
per il nuovo metodo di
ukulele, offrendo
così agli studenti
un percorso strutturato a
partire dal livello
principiante assoluto
fino al livello 8. I
sei brani inclusi in ogni
volume sono stati
selezionati e arrangiati
attentamente per
consolidare
l'appprendimento di ogni
studente.
El
Syllabus 2020 Ukulele
expande la oferta de
Rockschool en todos los
niveles de estudio.
El syllabus está
pensado para complementar
el nuevo método de
ukelele, ofreciendo a los
estudiantes un camino
estructurado desde el
nivel principiante hasta
el nivel 8. Las seis
piezas incluidas en cada
volumen han sido
cuidadosamente
seleccionadas y
arregladas para
consolidar el aprendizaje
de cada estudiante. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Caribbean Calypso Ensemble de cuivres [Conducteur et Parties séparées] - Facile De Haske Publications
Brass Band - Grade 2 SKU: BT.DHP-1053847-030 Composed by Roland Kernen. F...(+)
Brass Band - Grade 2
SKU:
BT.DHP-1053847-030
Composed by Roland
Kernen. Flexible 6
Series. Concert Piece.
Set (Score & Parts).
Composed 2005. De Haske
Publications #DHP
1053847-030. Published by
De Haske Publications
(BT.DHP-1053847-030).
English-German-French-
Dutch. The music of
the Caribbean is a
mixture of styles
encompassing traditions
that reflect the nature
of its many islands and
ethnic groups which
inherited a multitude of
rhythms imported by
slaves from West Africa.
Europeans brought with
them Western-style
melodies and harmonies,
still used today in
Trinidadian calypso, a
traditional folk genre
which gained worldwide
popularity thanks to
internationally famous
artists such as the
American singer Harry
Belafonte (Calypso,
Island in the Sun,
Day-O/Banana Boat
Song). Fascinated by
this music which embodies
the very spirit of
exoticism, Roland Kernen
composed Caribbean
Calypso, a composition
with softly swaying
rhythms whichfollow a
gentle and subtle melodic
line in a rum and
cigar-flavoured
atmosphere.
Caribische muziek
kent talrijke ritmes die
zijn meegenomen door
slaven uit West-Afrika.
De Europeanen brachten
westerse melodieën en
harmonieën in, die
vandaag de dag nog steeds
worden gebruikt in de
calypso uit Trinidad, een
genredat wereldwijd
populair werd dankzij
beroemde artiesten als
Harry Belafonte
(Island in the
Sun, Day-O/Banana
Boat Song). Roland
Kernen nodigt muzikanten
en luisteraars uit om
zijn Caribbean
Calypso te
ontdekken:een compositie
met zacht wiegende ritmes
die een rustige
melodielijn volgen in een
sfeer van rum en
sigaren.
Die Musik
der Karibik fasziniert
durch die eindrucksvolle
Verbindung vieler
verschiedener Stile, die
aus dem Schmelztiegel der
zahlreichen dort lebenden
ethnischen Gruppen
entstanden sind. Roland
Kernen lädt ein,
seinen Caribbean
Calypso zu entdecken,
eine Komposition mit
leicht wiegenden
Rhythmen, die einer
sanften, raffinierten
Melodielinie folgen in
eine mit Rum und Zigarren
geschwängerte
Atmosphäre.
La
musique des Cara bes est
aussi plurielle que les
îles et les ethnies
qui la composent.
Enrichie par des
siècles de brassage
culturel, elle exprime sa
diversité par un jeu
de couleurs sonores,
d’accents et de
nuances qui reflètent
ses deux composantes
essentielles,
l’une occidentale,
l’autre africaine.
Fasciné par cette
musique qui sent bon
l’exotisme, Roland
Kernen vous invite
découvrir Caribbean
Calypso (“Calypso
des Cara besâ€), une
oeuvre aux rythmes
chaloupés qui distille
une délicieuse ligne
mélodique sur fond de
rhum et de
cigare.
La musica
dei Caraibi è varia
come le isole e le etnie
che la compongono.
Arricchita da secoli di
mescolamento culturale,
essa esprime la sua
diversit con un gioco di
colori sonori, di accenti
e di sfumature che
riflettono le due
componenti essenziali:
quella occidentale e
quella africana.
Affascinato da questa
musica esotica, Roland
Kernen vi invita a
scoprire Caribbean
Calypso, un brano dai
ritmi ondeggiati
caratterizzato da una
deliziosa linea melodica
sullo sfondo di rum e
sigaro. $72.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Chiribim Chiribom Chorale 3 parties SSA, Piano Carl Fischer
Choral SSA choir, piano SKU: CF.CM9525 Composed by Jewish Folk Song. Arra...(+)
Choral SSA choir, piano
SKU: CF.CM9525
Composed by Jewish Folk
Song. Arranged by David
Neches. Fold. Performance
Score. With Standard
notation. 12 pages. Carl
Fischer Music #CM9525.
Published by Carl Fischer
Music (CF.CM9525).
ISBN 9781491150573.
UPC: 680160908073. 6.875
x 10.5
inches. Treble
ensembles of all sizes
will enjoy singing
Chiribim Chiribom, a
Jewish folksong sung the
world over. The text is
mostly in Hebrew
(pronunciation guide
included), and the title
refrain is tons of fun to
sing as it undergoes
delightful melodic
variations in all the
parts. Sure to be a
memorable addition to any
concert program. Also
available for SATB Voices
(CM9464). $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Afro-Caribbean and Brazilian Rhythms for the Drums Batterie [Partition + CD] Hal Leonard
(The Collective: Ethnic Style Series). Percussion. Softcover with CD. 72 pages. ...(+)
(The Collective: Ethnic
Style Series).
Percussion. Softcover
with CD. 72 pages. Hal
Leonard #CO1. Published
by Hal Leonard
$24.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Caribbean Cocktail Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 2.5 SKU: BT.DHP-1135398-215 Co...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2.5 SKU:
BT.DHP-1135398-215
Composed by Roland
Kernen. De Haske Easy
Band Series. Original
Light Music. Score Only.
Composed 2012. 44 pages.
De Haske Publications
#DHP 1135398-215.
Published by De Haske
Publications
(BT.DHP-1135398-215).
9x12 inches.
English-German-French-Dut
ch. The hot
tropical climate of the
Caribbean makes these
islands a wonderful place
to be. The population is
of largely African
ancestry, together with
people of European and
Amerindian origin. The
community is proud of the
local Creole culture that
gave rise to a musical
style characteristic of
these wonderful
islands.This small
Caribbean Cocktail
includes three different
dances:- A traditional
calypso with vibrant
rhythms driving a
typically Caribbean
melody;- A quieter
beguine, featuring warmer
and tranquil sounds;- A
merengue with a strong
sense of exuberance and
joie de vivre is easy to
hear.This popular
composition captures in
music the feelings of a
communitywhere
life’s joys are
all-important.
Caribbean Cocktail
is a light-hearted piece
that is ideally suited to
youth bancs and ensembles
with an incomplete or
imbalanced
instrumentation.
Op de eilanden in
het Caribisch gebied
heerst een aangenaam
warm, tropisch klimaat.
De meeste bewoners zijn
er van Afrikaanse
afkomst, maar er wonen
ook mensen van Europese
en indiaanse origine. De
gemeenschap is trots op
haar creoolse cultuur,
waaruit een muziekstijl
is voortgekomen die
typerend is voor deze
prachtige
eilanden.Caribbean
Cocktail omvat drie
verschillende dansen:-
een traditionele calypso
met levendige ritmes en
een typisch Caribische
melodie;- een rustige
beguine waarin warmere en
serenere klanken naar
voren komen;- een
merengue in een
uitbundige sfeer en met
een grote joi de
vivre.Deze
temperamentvolle
compositie weerspiegelt
het muzikale gevoelvan
een gemeenschap waarin
men veel belang hecht aan
een vreugdevol,
ongecompliceerd leven.
Caribbean Cocktail
is een luchthartig werk
dat ideaal is voor
jeugdorkesten en
-ensembles met een
onvolledige of
onevenwichtige bezetting.
Die Karibik ist
eine vom heißen
Tropenklima verwöhnte
Inselkette. Die Einwohner
sind schwarzafrikanischer
Herkunft, mehr oder
weniger gemischt mit
Europäern und
amerikanischen
Ureinwohnern. Diese
Gemeinschaft ist stolz
auf ihre kreolische
Kultur, aus der ein
charakteristischer und
auf diesen wunderbaren
Inseln einzigartiger
Musikstil entstanden
ist.Dieser kleine
Karibische
Cocktail“ umfasst
drei unterschiedliche
Tänze:- einen
traditionellen Calypso
mit pulsierenden
Rhythmen, die eine
typisch karibische
Melodie vorantreiben;-
eine ruhigere Beguine mit
wärmeren, ruhigeren
Klängen;- ein
Merengue, in dem eine
überschwängliche
Atmosphäre und
Lebensfreude
vorherrschen.Dieseunterha
ltsame Komposition bringt
musikalisch die
Gefühle einer
Gemeinschaft zum
Ausdruck, in der
Lebensfreude und
Gelassenheit ganz hoch
angesiedelt sind.
Caribbean Cocktail
ist ein unbeschwertes
Stück, das sich ideal
für
Jugendblasorchester und
Ensembles mit
unvollständiger oder
unausgewogener Besetzung
eignet.
Les Cara
bes sont un ensemble
d’îles où le
chaud climat tropical est
agréable. La
population est
d’origine noire
africaine plus ou moins
métissée
d’Européens et
d’Améridiens.
Cette communauté se
revendique d’une
culture créole qui met
en évidence une
musique propre cette
magnifique région.Ce
petit Caribbean
Cocktail se compose
de 3 danses distinctes :-
Un Calypso traditionnel
dont les rythmes
chaleureux soutiennent
une mélodie
typiquement antillaise.-
Une Beguine plus calme
aux sonorités plus
chaudes et sereines.- Un
Merengue où
l’enthousiasme et
la joie de vivre sont les
éléments mis en
évidence.Cette
composition populaire
exprime les sentiments
musicaux d’une
population où lajoie
de vivre dans la
sérénité est
primordiale. Caribbean
Cocktail est une
pièce lumineuse
parfaitement adaptée
aux formations de jeunes
instrumentistes et aux
formations confrontées
un déséquilibre des
pupitres. $25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Caribbean Cocktail Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 2.5 SKU: BT.DHP-1135398-015 Co...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2.5 SKU:
BT.DHP-1135398-015
Composed by Roland
Kernen. De Haske Easy
Band Series. Original
Light Music. Set (Score &
Parts). Composed 2012. De
Haske Publications #DHP
1135398-015. Published by
De Haske Publications
(BT.DHP-1135398-015).
9x12 inches.
English-German-French-Dut
ch. The hot
tropical climate of the
Caribbean makes these
islands a wonderful place
to be. The population is
of largely African
ancestry, together with
people of European and
Amerindian origin. The
community is proud of the
local Creole culture that
gave rise to a musical
style characteristic of
these wonderful
islands.This small
Caribbean Cocktail
includes three different
dances:- A traditional
calypso with vibrant
rhythms driving a
typically Caribbean
melody;- A quieter
beguine, featuring warmer
and tranquil sounds;- A
merengue with a strong
sense of exuberance and
joie de vivre is easy to
hear.This popular
composition captures in
music the feelings of a
communitywhere
life’s joys are
all-important.
Caribbean Cocktail
is a light-hearted piece
that is ideally suited to
youth bancs and ensembles
with an incomplete or
imbalanced
instrumentation.
Op de eilanden in
het Caribisch gebied
heerst een aangenaam
warm, tropisch klimaat.
De meeste bewoners zijn
er van Afrikaanse
afkomst, maar er wonen
ook mensen van Europese
en indiaanse origine. De
gemeenschap is trots op
haar creoolse cultuur,
waaruit een muziekstijl
is voortgekomen die
typerend is voor deze
prachtige
eilanden.Caribbean
Cocktail omvat drie
verschillende dansen:-
een traditionele calypso
met levendige ritmes en
een typisch Caribische
melodie;- een rustige
beguine waarin warmere en
serenere klanken naar
voren komen;- een
merengue in een
uitbundige sfeer en met
een grote joi de
vivre.Deze
temperamentvolle
compositie weerspiegelt
het muzikale gevoelvan
een gemeenschap waarin
men veel belang hecht aan
een vreugdevol,
ongecompliceerd leven.
Caribbean Cocktail
is een luchthartig werk
dat ideaal is voor
jeugdorkesten en
-ensembles met een
onvolledige of
onevenwichtige bezetting.
Die Karibik ist
eine vom heißen
Tropenklima verwöhnte
Inselkette. Die Einwohner
sind schwarzafrikanischer
Herkunft, mehr oder
weniger gemischt mit
Europäern und
amerikanischen
Ureinwohnern. Diese
Gemeinschaft ist stolz
auf ihre kreolische
Kultur, aus der ein
charakteristischer und
auf diesen wunderbaren
Inseln einzigartiger
Musikstil entstanden
ist.Dieser kleine
Karibische
Cocktail“ umfasst
drei unterschiedliche
Tänze:- einen
traditionellen Calypso
mit pulsierenden
Rhythmen, die eine
typisch karibische
Melodie vorantreiben;-
eine ruhigere Beguine mit
wärmeren, ruhigeren
Klängen;- ein
Merengue, in dem eine
überschwängliche
Atmosphäre und
Lebensfreude
vorherrschen.Dieseunterha
ltsame Komposition bringt
musikalisch die
Gefühle einer
Gemeinschaft zum
Ausdruck, in der
Lebensfreude und
Gelassenheit ganz hoch
angesiedelt sind.
Caribbean Cocktail
ist ein unbeschwertes
Stück, das sich ideal
für
Jugendblasorchester und
Ensembles mit
unvollständiger oder
unausgewogener Besetzung
eignet.
Les Cara
bes sont un ensemble
d’îles où le
chaud climat tropical est
agréable. La
population est
d’origine noire
africaine plus ou moins
métissée
d’Européens et
d’Améridiens.
Cette communauté se
revendique d’une
culture créole qui met
en évidence une
musique propre cette
magnifique région.Ce
petit Caribbean
Cocktail se compose
de 3 danses distinctes :-
Un Calypso traditionnel
dont les rythmes
chaleureux soutiennent
une mélodie
typiquement antillaise.-
Une Beguine plus calme
aux sonorités plus
chaudes et sereines.- Un
Merengue où
l’enthousiasme et
la joie de vivre sont les
éléments mis en
évidence.Cette
composition populaire
exprime les sentiments
musicaux d’une
population où lajoie
de vivre dans la
sérénité est
primordiale. Caribbean
Cocktail est une
pièce lumineuse
parfaitement adaptée
aux formations de jeunes
instrumentistes et aux
formations confrontées
un déséquilibre des
pupitres. $98.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Colin Evans: Sounds For Swinging Strings (Parts) Music Sales
Four pieces in popular style for violin and cello using open strings with parts ...(+)
Four pieces in popular
style for violin and
cello using open strings
with parts for optional
viola and classroom
instruments with piano
accompaniment, for group
music making! The first
two pieces 'Nice 'N'
Easy' and 'October Rain'
have open strings
pizzicato. 'Waltz in
Jazz-Min Time' uses open
strings pizzicato and
arco whilst 'Caribbean
Dance' uses open strings
and first finger,
pizzicato and arco.
Complete parts
comprising: Violin,
Viola, cello and
Glockenspiel
$14.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Caribbean Calypso Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.DHP-1053847-015 Comp...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2 SKU:
BT.DHP-1053847-015
Composed by Roland
Kernen. Flexible 6
Series. Concert Piece.
Set (Score & Parts).
Composed 2005. De Haske
Publications #DHP
1053847-015. Published by
De Haske Publications
(BT.DHP-1053847-015).
English-German-French-
Dutch. The music of
the Caribbean is a
mixture of styles
encompassing traditions
that reflect the nature
of its many islands and
ethnic groups which
inherited a multitude of
rhythms imported by
slaves from West Africa.
Europeans brought with
them Western-style
melodies and harmonies,
still used today in
Trinidadian calypso, a
traditional folk genre
which gained worldwide
popularity thanks to
internationally famous
artists such as the
American singer Harry
Belafonte (Calypso,
Island in the Sun,
Day-O/Banana Boat Song).
Fascinated by this music
which embodies the very
spirit of exoticism,
Roland Kernen composed
Caribbean Calypso, a
composition with softly
swaying rhythms which
followa gentle and subtle
melodic line in a rum and
cigar-flavoured
atmosphere.
Caribische muziek
kent talrijke ritmes die
zijn meegenomen door
slaven uit West-Afrika.
De Europeanen brachten
westerse melodieën en
harmonieën in, die
vandaag de dag nog steeds
worden gebruikt in de
calypso uit Trinidad, een
genredat wereldwijd
populair werd dankzij
beroemde artiesten als
Harry Belafonte
(Island in the
Sun, Day-O/Banana
Boat Song). Roland
Kernen nodigt muzikanten
en luisteraars uit om
zijn Caribbean
Calypso te
ontdekken:een compositie
met zacht wiegende ritmes
die een rustige
melodielijn volgen in een
sfeer van rum en
sigaren.
Die Musik
der Karibik fasziniert
durch die eindrucksvolle
Verbindung vieler
verschiedener Stile, die
aus dem Schmelztiegel der
zahlreichen dort lebenden
ethnischen Gruppen
entstanden sind. Roland
Kernen lädt ein,
seinen Caribbean Calypso
zu entdecken, eine
Komposition mit leicht
wiegenden Rhythmen, die
einer sanften,
raffinierten Melodielinie
folgen in eine mit Rum
und Zigarren
geschwängerte
Atmosphäre.
La
musique des Cara bes est
aussi plurielle que les
îles et les ethnies
qui la composent.
Fasciné par cette mosa
que qui sent bon
l’exotisme, Roland
Kernen vous invite
découvrir Caribbean
Calypso
(“Calypso des Cara
besâ€), une
œuvre aux rythmes
chaloupés qui distille
une délicieuse ligne
mélodique sur fond de
rhum et de cigare.
La musica dei
Caraibi è varia come
le isole e le etnie che
la compongono.
Affascinato da questa
musica esotica, Roland
Kernen vi invita a
scoprire Caribbean
Calypso, un brano dai
ritmi ondeggianti
caratterizzato da una
deliziosa linea melodica
sullo sfondo di rum e
sigaro. $98.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Caribbean Calypso [Conducteur] - Facile De Haske Publications
6-Part Flexible Band - Grade 2 SKU: BT.DHP-1053847-215 Composed by Roland...(+)
6-Part Flexible Band -
Grade 2 SKU:
BT.DHP-1053847-215
Composed by Roland
Kernen. Flexible 6
Series. Concert Piece.
Score Only. Composed
2005. 12 pages. De Haske
Publications #DHP
1053847-215. Published by
De Haske Publications
(BT.DHP-1053847-215).
English-German-French-
Dutch. The music of
the Caribbean is a
mixture of styles
encompassing traditions
that reflect the nature
of its many islands and
ethnic groups which
inherited a multitude of
rhythms imported by
slaves from West Africa.
Europeans brought with
them Western-style
melodies and harmonies,
still used today in
Trinidadian calypso, a
traditional folk genre
which gained worldwide
popularity thanks to
internationally famous
artists such as the
American singer Harry
Belafonte (Calypso,
Island in the Sun,
Day-O/Banana Boat Song).
Fascinated by this music
which embodies the very
spirit of exoticism,
Roland Kernen composed
Caribbean Calypso, a
composition with softly
swaying rhythms which
followa gentle and subtle
melodic line in a rum and
cigar-flavoured
atmosphere.
Caribische muziek
kent talrijke ritmes die
zijn meegenomen door
slaven uit West-Afrika.
De Europeanen brachten
westerse melodieën en
harmonieën in, die
vandaag de dag nog steeds
worden gebruikt in de
calypso uit Trinidad, een
genredat wereldwijd
populair werd dankzij
beroemde artiesten als
Harry Belafonte
(Island in the
Sun, Day-O/Banana
Boat Song). Roland
Kernen nodigt muzikanten
en luisteraars uit om
zijn Caribbean
Calypso te
ontdekken:een compositie
met zacht wiegende ritmes
die een rustige
melodielijn volgen in een
sfeer van rum en
sigaren.
Die Musik
der Karibik fasziniert
durch die eindrucksvolle
Verbindung vieler
verschiedener Stile, die
aus dem Schmelztiegel der
zahlreichen dort lebenden
ethnischen Gruppen
entstanden sind. Roland
Kernen lädt ein,
seinen Caribbean Calypso
zu entdecken, eine
Komposition mit leicht
wiegenden Rhythmen, die
einer sanften,
raffinierten Melodielinie
folgen in eine mit Rum
und Zigarren
geschwängerte
Atmosphäre.
La
musique des Cara bes est
aussi plurielle que les
îles et les ethnies
qui la composent.
Fasciné par cette mosa
que qui sent bon
l’exotisme, Roland
Kernen vous invite
découvrir Caribbean
Calypso
(“Calypso des Cara
besâ€), une
œuvre aux rythmes
chaloupés qui distille
une délicieuse ligne
mélodique sur fond de
rhum et de cigare.
La musica dei
Caraibi è varia come
le isole e le etnie che
la compongono.
Affascinato da questa
musica esotica, Roland
Kernen vi invita a
scoprire Caribbean
Calypso, un brano dai
ritmi ondeggianti
caratterizzato da una
deliziosa linea melodica
sullo sfondo di rum e
sigaro. $17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Songs of the 1980s Piano Facile Hal Leonard
Easy Piano Piano/Keyboard SKU: HL.282480 The New Decade Series. Co...(+)
Easy Piano Piano/Keyboard
SKU: HL.282480
The New Decade
Series. Composed by
Various. Easy Piano
Songbook. Pop, R&B, Rock.
Softcover. 368 pages.
Published by Hal Leonard
(HL.282480). ISBN
9781540034373. UPC:
888680789244.
9.0x12.0x0.868
inches. Over 80
songs from the decade of
excess where Generation X
came of age. This
collection features
arrangements for easy
piano with lyrics. Songs
include: Another Brick in
the Wall * Billie Jean *
Caribbean Queen (No More
Love on the Run) *
Chariots of Fire * Don't
Stop Believin' * Endless
Love * Eye of the Tiger *
Flashdance...What a
Feeling * Girls Just Want
to Have Fun * How Will I
Know * I Love Rock 'N
Roll * Jump * Karma
Chameleon * Let's Hear It
for the Boy * Like a
Virgin * Missing You *
Nothing's Gonna Stop Us
Now * One More Night *
Pour Some Sugar on Me *
Right Here Waiting *
Sweet Child O' Mine *
Sweet Dreams (Are Made of
This) * Take on Me * Time
After Time * Up Where We
Belong * What's Love Got
to Do with It * When
Doves Cry * With or
Without You * and
more. $24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Premier Piano Course Duet, Book 4 1 Piano, 4 mains Alfred Publishing
Edited by Gayle Kowalchyk and E. L. Lancaster. For Piano. Book; Graded Standard ...(+)
Edited by Gayle Kowalchyk
and E. L. Lancaster. For
Piano. Book; Graded
Standard Repertoire;
Method/Instruction; Piano
- Alfred's Premier Piano
Course. Premier Piano
Course. Children;
Recital. 40 pages.
Published by Alfred Music
$9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| You Can't Keep a Good Song Down. Songbook Stainer and Bell
Voice & Piano (or guitar) SKU: ST.Y330 Composed by Ruthie Thomas. Hymns &...(+)
Voice & Piano (or guitar)
SKU: ST.Y330
Composed by Ruthie
Thomas. Hymns & Relgious
Drama. Eleven songs to
warm the heart and praise
the Lord. Vocal score.
Stainer & Bell Ltd.
#Y330. Published by
Stainer & Bell Ltd.
(ST.Y330). ISBN
9790220224904. The
words and music of Ruthie
Thomas proclaim the power
of Christ in our world,
through a distinctive
voice and vision blending
African-Caribbean, jazz,
soul and calypso styles.
Singing in her father's
Pentecostal Church was an
important part of her
childhood, preparing the
ground for her vocation
to offer the Lord's
praises through her very
special gifts as
performer and songwriter.
Her message flows from
the heart, affirming the
good tidings of faith and
of the Bible as balm and
inspiration for all
believers. $7.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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