| Sonata for Solo Violin Violon Merion Music
Chamber Music Violin SKU: PR.144407530 Composed by Lauren Bernofsky. 12 p...(+)
Chamber Music Violin
SKU: PR.144407530
Composed by Lauren
Bernofsky. 12 pages.
Duration 10 minutes, 30
seconds. Merion Music
#144-40753. Published by
Merion Music
(PR.144407530). ISBN
9781491136614. UPC:
680160687992. A
violinist herself, Lauren
Bernofsky has described
SONATA FOR SOLO VIOLIN as
drawn from
autobiographical
inspiration, including
gestures from Bachâ??s
beloved Partita in E
Major. Bernofsky opens
with a Preludio movement
whose references to Bach
may be disguised, but
they are surely lurking.
The second movement is
lusciously contrapuntal
with the idiomatic
finesse of a violinist
composing for her own
instrument, while
musically journaling the
emotional pain of living
through 2020. The third
and final movement is
aptly marked
â??white-hot,â? and
the music certainly
is. My SONATA FOR SOLO
VIOLIN was commissioned
by violinist Megan Healy
as part of The Maud
Powell Project, which
celebrated the 100th
anniversary of the
ratification of the 19th
Amendment. The project
included the creation of
five new works for solo
violin inspired by and
dedicated to the memory
of pioneering American
violinist Maud Powell
(1867-1920). Healy
premiered the sonata on
May 8, 2021 at PianoForte
Studios in Chicago.Among
the works Powell most
frequently performed in
her recitals was the
â??Preludioâ?
movement from Bachâ??s E
major Partita, and I
decided to refer to that
music in my own first
movement, also titled
â??Preludio.â? The
beginning subtly reflects
Bachâ??s opening
three-note motive,
wherein the music dips
down a semitone and then
comes back up. This
melodic material returns
throughout the movement
in various forms. I also
refer to Bachâ??s
sixteenth-note dominated
texture, and the gesture
in the third measure,
which outlines a perfect
fifth and then fills it
in with notes that
alternate between a scale
and a pedal tone. The
corresponding passage in
my piece occurs in the
same place, measure 3.
Apart from these
references to Bach, my
sonata is much more
modern sounding,
especially in its
chromatic character.I was
still thinking of
Bachâ??s solo violin
writing while composing
the second movement,
particularly the
polyphonic nature of the
slow movements, where the
melodic interest moves
around between the
voices. Emotionally, I
wanted my movement to
reflect the acute sadness
I had been experiencing
over the political and
social situation in the
United States as I wrote
the piece. I realized
that this is a
historically noteworthy
time in U.S. history,
marked not only by
political unrest, but
also by a challenge to
the very values that I
consider essential to
what makes a person
fundamentally human. I
wanted to create a record
of that pain in my
music.The final movement
is marked
â??White-hot.â? It is
imbued with a relentless,
passionate intensity.
Wanting again to reflect
aspects of our own time,
I included glissandi that
refer to rock music,
specifically the
â??fall-offsâ? I
frequently hear played by
electric guitarists. I
borrowed from another
(completely different)
musical tradition as
well, one that is
near-and-dear to my
heart: Klezmer. Klezmer
(Eastern European Jewish
folk music) is
characterized in part by
scales colored by
augmented seconds, and is
often performed by solo
instrumentalists who
improvise embellishments
like quick grace notes.
The second, more lyrical
theme in this movement is
my nod to Klezmer
style.While this piece is
an homage to Maud Powell,
I also think of it as my
own musical
autobiography, as it
combines some of my
favorite aspects of
music, and is played on
my own instrument. $12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Quartet No. 3 "in Flight Music" Score And Parts Quatuor à cordes: 2 violons, alto, violoncelle Schott
String quartet (String Quartet) - difficult SKU: HL.49043938 'In Fligh...(+)
String quartet (String
Quartet) - difficult
SKU: HL.49043938
'In Flight Music'.
Composed by Edward Cowie.
This edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed
1982-1983. 122 pages.
Duration 15'. Schott
Music #ED13390. Published
by Schott Music
(HL.49043938). ISBN
9790220133923.
9.25x12.0x0.494
inches. The 3rd
String Quartet was
originally composed in
1982-3 to a commission
from The Adelaide
Festival, and premiered
by The Petra Quartet in
1983. Subsequent to this
quartet, I have composed
two more; No. 4 in 1986
and No. 5 in 2002.The
offer to re-publish this
work, led me to begin by
a process of amendment,
but ended in the
composition of a
virtually new quartet!
Only parts of the
original quartet have
been retained. I also
chose to 'frame' (in my
case this means an
inspirational focus and
filter), the quartet in a
new way too.In Flight
Music keeps the
4-movement format of the
original quartet, but is
now directly linked to a
life-long interest in
flight. The first two
movements are concerned
with aspects of humans in
flight, whilst the last
two deal with insects and
birds respectively.Since
all my music is these
days preceded by
visualisations in the
form of drawings,
wherever possible, this
quartet might be
performed with the four
drawings, one for each
movement, back-projected
behind the
players.Digital copies of
these drawings may be
obtained from Schott
Music.Edward
Cowie.Maurens. France.
August, 2010. $73.00 - Voir plus => Acheter | | |
| The Simpsons Songbook - 2nd Edition Piano, Voix et Guitare [Partition] Hal Leonard
By Alf Clausen, Danny Elfman. Piano/Vocal/Chords Songbook (Arrangements for pian...(+)
By Alf Clausen, Danny
Elfman.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords).
Softcover. Size 9x12
inches. 104 pages.
Published by Hal Leonard.
$22.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| E-Z Play Today #147. Lincoln Piano, Voix - Débutant Hal Leonard
(Music from the Motion Picture Soundtrack). By John Williams. For Piano/Keyboard...(+)
(Music from the Motion
Picture Soundtrack). By
John Williams. For
Piano/Keyboard, Organ,
Electronic Keyboard. E-Z
Play Today. Softcover. 32
pages. Published by Hal
Leonard
$7.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| First Amendment Fanfare [Conducteur et Parties séparées] - Facile C.L. Barnhouse
Grade 2 SKU: CL.058-2173-00 Composed by K. Harris. Marching Band. Score a...(+)
Grade 2 SKU:
CL.058-2173-00
Composed by K. Harris.
Marching Band. Score and
set of parts. Composed
1989. C.L. Barnhouse
#058-2173-00. Published
by C.L. Barnhouse
(CL.058-2173-00).
March. $28.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| First Amendment - Facile C.L. Barnhouse
Grade 2 SKU: CL.058-2173-01 Composed by K. Harris. Marching Band. Extra s...(+)
Grade 2 SKU:
CL.058-2173-01
Composed by K. Harris.
Marching Band. Extra
score. C.L. Barnhouse
#058-2173-01. Published
by C.L. Barnhouse
(CL.058-2173-01).
March. $5.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Radamisto HWV 12b Barenreiter
Solo voices, orchestra (4 Soprano Voice Solo, Mezzo-Soprano Voice Solo, 2 Bass V...(+)
Solo voices, orchestra (4
Soprano Voice Solo,
Mezzo-Soprano Voice Solo,
2 Bass Voice Solo, Fl, 2
Ob, bassoon, 2 Hn, 2 Trp,
Str, Continuo) SKU:
BA.BA04066 Opera
seria in three acts.
Composed by George
Frideric Handel. Edited
by Terence Best. This
edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition (HHA) Series II,
Volume 9,2. 2nd version.
Complete edition, Score.
HWV 12. Duration 3
minutes. Baerenreiter
Verlag #BA04066_00.
Published by Baerenreiter
Verlag (BA.BA04066).
ISBN 9790006495832. 33
x 26 cm inches. Text
Language: Italian. Nicola
Francesco
Haym. This volume
of the “Halle
Handel Editionâ€
presents the music of the
second version of the
opera which was premiered
on 28 December 1720 at
the King's Theatre,
Haymarket, London as well
as the amendments made
for November 1721
revival. The appendix
includes the amendments
for the January/February
1728 version.
The
first season of the Royal
Academy ended on 25 June
1720. The new vocal
soloists arrived in
London in September. As
the first version of
“Radamistoâ€
had been a great success
during the first season,
Handel revised the opera
for the oncoming season
to accommodate it to his
new more proficient
cast.
The revision
was extensive. It
included: 1) Changes
to the vocal range of
Radamisto (soprano to
alto for the singer
Senesino), Zenobia (alto
to soprano for the female
singer Durastanti) and
Tiridate (tenor to bass
for the singer
Boschi), 2)
compositions of new arias
and ensembles, 3)
significant changes to
the plot consisting of
the reduction of
Fraartes’ role
from brother to servant
Tiridates and the
omission of his not so
original love affair to
Zenobia.
For most
of Handel's operas it can
be said that the first
version is the best
version. This is due to
the fact that when a work
was performed again in
later seasons, Handel was
often forced to make
changes due to casting
constraints which often
affected the equilibrium
and the dramatic context
of the work.
“Radamistoâ€
is an exception to this
rule – the
December 1720 adaptation
is a much more superior
composition than the
version performed in
April of the same
year.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$479.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Psalm 98 "Sing to the Lord a new-made Song" op. posth. 91 MWV A 23 Orgue Barenreiter
Organ SKU: BA.BA09076-67 Composed by Felix Bartholdy Mendelssohn. Edited ...(+)
Organ SKU:
BA.BA09076-67
Composed by Felix
Bartholdy Mendelssohn.
Edited by John Michael
Cooper. This edition:
urtext edition. Folded.
Barenreiter Urtext.
Single part. MWV A 23. 3
pages. Baerenreiter
Verlag #BA09076_67.
Published by Baerenreiter
Verlag (BA.BA09076-67).
ISBN 9790006531554.
32.5 x 25.5 cm inches.
Text: William
Bartholomew. Mendel
ssohn's setting of Psalm
98 was written in a few
weeks to satisfy a
commission in his new
position as general music
director of Prussia and
was premiered by the
Berlin Cathedral Choir on
1 January 1844. As he
neither released the work
for publication nor
produced a vocal score,
his psalm setting did not
appear in print until
after his
death.
For this
edition the authoritative
Mendelssohn specialist
John Michael Cooper drew
primarily on the
autograph score with its
many subsequent
corrections and
amendments. In this way
it differs from many
other editions, which
tend to treat the
autograph as a
subordinate source.
Rounding off the edition
are an informative
Foreword and a detailed
Critical Commentary. The
piano reduction is based
on the first printed
edition, published by F.
Kistner and Evers & Co.
in 1851.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts - Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto No. 1 in B-flat Minor, Op. 23 Schott
Orchestra; Piano (Score) SKU: HL.49047099 Score and Critical Report, C...(+)
Orchestra; Piano (Score)
SKU: HL.49047099
Score and Critical
Report, Complete
Edition. Composed by
Peter Illyich
Tchaikovsky. Edited by
Ada G. Ajnbinder and
Polina Vajdman. Edition
Schott. Classical.
Hardcover. Schott Music
#NCE2085. Published by
Schott Music
(HL.49047099). ISBN
9781705187517. UPC:
196288121718. The
aim of the edition is to
present the composers
enormous legacy as it is
known today, as
exhaustively as possible.
Every musicaltext
published in this edition
is an outcome of the
comprehensive analysis of
extant sources realized
by the scientific editor
of the respective volume.
According to several
sources, P. I.
Tchaikovsky himself was
aware that the changes
and amendments, he
enteredinto his scores,
would be of great
importance for his works'
future performers. The
present project's
important scientific
objectives include the
fixation and thoroughly
verified reproduction of
all the changes made by
the composer, so that the
scholars and musicians of
today could perceive and
realize the author's
creative ideas in all
their entirety. $315.00 - Voir plus => Acheter | | |
| Morrissey and Marr: The Severed Alliance Livre - Pas de partitions Biographie Omnibus Press
Performed by Morrissey. by Johnny Rogan. Music Biography. 392 pages, 6 x 9. This...(+)
Performed by Morrissey.
by Johnny Rogan. Music
Biography. 392 pages, 6 x
9. This item is a book
(not sheet music).
Published by Omnibus
Press.
$21.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Matteo Carcassi: 25 Études op. 60 Vol. 14 Guitare - Facile Music Distribution Services
Guitar - easy to intermediate SKU: M7.GHE-914 Faksimile of Llobet's em...(+)
Guitar - easy to
intermediate SKU:
M7.GHE-914
Faksimile of Llobet's
emendet copy of the
Rowies Edition, Paris
1914. Composed by
Matteo Carcassi. Edited
by Stefano Grondona. This
edition: Saddle-wire
stitching. Sheet music.
Op. 60. 36 pages. MDS
(Music Distribution
Services) #GHE 914.
Published by MDS (Music
Distribution Services)
(M7.GHE-914). ISBN
9783890449142.
English. The
fingering on nearly all
'modern' editions of the
Carcassi studies Op. 60,
to a very large extent if
not almost completely,
derives originally from
Llobet, who in his
Rowies, Paris 1914
edition was the very
first to publish RH
fingering for them. Many
modern editors just put
their own names on what
was Llobet's fingering,
thus silently claiming it
as their own. A process
being continued even to
this day. We are pleased
to present a carefully
restored facsimile of
this edition from
Llobet's library with all
his fingering and
emendations intact. $23.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Concerto for Piano No.4 in G minor, Op.40 (Second revised version 1939-41) LudwigMasters Publications
3, 3, 2, 2 - 4, 2, 3, 1, timp, perc, hp, str, solo piano]FULL SCORE ONLY SKU:...(+)
3, 3, 2, 2 - 4, 2, 3, 1,
timp, perc, hp, str, solo
piano]FULL SCORE ONLY
SKU: AP.36-A701601
Composed by Sergei
Rachmaninoff. Chamber
Orchestra; Performance
Music Ensemble. Edwin F.
Kalmus. Form: Concerto.
Romantic. Score.
LudwigMasters
Publications #36-A701601.
Published by
LudwigMasters
Publications
(AP.36-A701601). UPC:
660355013560.
English. Rachmanino
ff's Piano Concerto No. 4
in G minor, Op. 40, was
completed in 1926. The
work exists in three
versions. Following its
unsuccessful premiere,
the composer made cuts
and other amendments
before publishing it in
1928. With continued lack
of success, he withdrew
the work, eventually
revising and republishing
it in 1941 (Second
revised version, most
generally performed
today). The original
manuscript version was
released in 2000 by the
Rachmaninoff Estate to be
published and recorded.
The work is dedicated to
Nikolai Medtner, who in
turn dedicated his Second
Piano Concerto to
Rachmaninoff the
following year.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $80.00 - Voir plus => Acheter | | |
| Concerto for Violin and Orchestra in E minor, op. 64 Orchestre, Violon Barenreiter
Solo Violin and Orchestra (V-solo,2Fl,2Ob,2Clar-iA, 2bassoon,2Hn,2Trp,Timp,2V ,V...(+)
Solo Violin and Orchestra
(V-solo,2Fl,2Ob,2Clar-iA,
2bassoon,2Hn,2Trp,Timp,2V
,Va,Vc,Db) SKU:
BA.TP00394 Composed
by Felix Bartholdy
Mendelssohn. Edited by
Clive Brown and R. Larry
Todd. This edition:
urtext edition.
Paperback. Barenreiter
Urtext. Late version
1845. Study score. Opus
64. Duration 00:26:00.
Baerenreiter Verlag
#TP00394_00. Published by
Baerenreiter Verlag
(BA.TP00394). ISBN
9790006203086. 22.5 x
16.5 cm inches. Key: E
minor. Preface: Todd, R.
Larry / Brown, Clive /
Sutcliffe,
Richard. This
standard work of the
cello literature has been
extracted from volume II
of the Complete Works for
Violoncello and
Pianoforte (BA 9096 and
BA 9097) which was
published in 2016.
Mendelssohn scholar R.
Larry Todd edited the
scholarly-critical
edition ofSong without
Words.
This work
is not based on the
surviving autograph
manuscript, which could
not have been the basis
for the posthumous first
edition, but rather on
the only plausible
source: the German first
edition itself. This was
published in 1868 as op.
109 and is unquestionably
based on an untraceable
complete final
manuscript, perhaps once
previously owned by the
dedicatee, French cellist
Lisa Barbier
Cristiani.
The
publication is free from
editorial amendments and
modern performance
instructions and provides
an excellent basis for
musical
interpretation.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$22.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bianca Da Molena: Music to the Drama 'The White Dove' by Jozefat Nowinski PWM (Polskie Wydawnictwo Muzyczne)
Score SKU: HL.254195 The Works of Mieczyslaw Karlowicz - Volume III(+)
Score SKU:
HL.254195 The
Works of Mieczyslaw
Karlowicz - Volume
III. Composed by
Mieczyslaw Karlowicz.
PWM. Classical.
Hardcover. 98 pages.
Polskie Wydawnictwo
Muzyczne #11624010.
Published by Polskie
Wydawnictwo Muzyczne
(HL.254195). 9.5x12.25
inches. Extensive
introduction presented in
Polish, German, and
English. This edition of
the works of Mieczyslaw
Karlowicz is based on
critically examined
sources. The aim of the
edition is to present the
composer's original text
as authentically as
possible. This is not an
easy task. The source
materials of Karlowicz's
music are very diverse in
nature. Apart from most
of the songs, the
composer prepared for
printing and published in
his lifetime the
following: Serenade for
string orchestra Op. 2,
Prelude and Fugue Op. 5,
Concerto in A major for
violin and orchestra Op.
8, Returning Waves Op. 9
and Eternal Songs Op. 10.
Being highly experienced
in writing for a symphony
orchestra, and
knowledgeable in the
modern method of
instrumentation in the
neoromantic style, he
prepared his scores with
great care. The remaining
symphonic poems were not
published before the
composer's death; and
theRebirth Symphony, the
manuscript of which
miraculously survived the
ravages of World War II,
was issued only in 1993,
as part of the present
Complete Works edition.
During this war the
autographs of the most
compositions by
Karlowicz, including all
his symphonic poems
(except for The Sorrowful
Tale), were lost. The
present publication,
therefore, is based as a
rule on the first
editions, compared with
extant autographs or
authorized copies of the
scores. The amendments of
misprints or self-evident
mistakes on the part of
the composer are not
indicated graphically in
the text but referred to
in the Editorial
Notes. $68.00 - Voir plus => Acheter | | |
| Music for Two Pianos Vol. 2 2 Pianos, 4 mains - Intermédiaire/avancé Schott
2 Pianos, 4 Hands; Piano Duet - intermediate to advanced SKU: HL.49030414 ...(+)
2 Pianos, 4 Hands; Piano
Duet - intermediate to
advanced SKU:
HL.49030414
Lincolnshire Posy.
Composed by Percy
Aldridge Grainger. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Composed 1938.
40 pages. Duration 16'.
Schott Music #ED12580.
Published by Schott Music
(HL.49030414). ISBN
9790220118623. UPC:
841886031890.
9.0x12.0x0.194
inches. $27.95 - Voir plus => Acheter | | |
| Idomeneo K. 366 (Vocal score) Soli, choeur mixte et accompagnement Barenreiter
Dramma per musica in three Acts. Composed by Wolfgang Amadeus Mozart (1756-179...(+)
Dramma per musica in
three
Acts. Composed by
Wolfgang
Amadeus Mozart
(1756-1791).
Edited by Daniel Heartz.
Arranged by Hans-Georg
Kluge.
This edition: urtext
edition.
Hardback. Barenreiter
Urtext.
Vocal score vokal. KV
366.
Baerenreiter Verlag
#BA04562-
93. Published by
Baerenreiter
Verlag
$102.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fernando Sor: Études pour la guitare op. 6, 29, 31, 35 Vol. 13 Guitare - Avancé Simrock
Guitar - advanced SKU: M7.GHE-913 Faksimiles of Llobet's annotated cop...(+)
Guitar - advanced SKU:
M7.GHE-913
Faksimiles of Llobet's
annotated copies.
Composed by Fernando Sor.
Edited by Stefano
Grondona. Arranged by
Miguel Llobet. This
edition: Saddle-wire
stitching. Sheet music.
Op. 6, 29, 31, 35. 124
pages. MDS (Music
Distribution Services)
#GHE 913. Published by
MDS (Music Distribution
Services) (M7.GHE-913).
ISBN 9783890449135.
English. A unique
view of Llobet, as a
champion and arranger of
Sor. The Sor studies
reproduced in facsimile
are from Llobet's own
library. In an interview
in Barcelona in 1929,
which is reproduced in
full in this edition,
Llobet announced his
intention of preparing a
new edition of the Sor
studies. Judging by the
density of his marking
and copious added and
altered fingering in this
facsimile edition, he
seemed in fact to be
doing just this.
Unfortunately, a new
edition edited by him
never came to fruition!
We have prepared our
facsimile edition of
these later printings of
Simrock editions (a gift
from Erwin
Schwarz-Reiflingen in
1928), carefully
restoring the originals
to make these pages
clearer, so that not only
is everything more
legible, but most
importantly, all of
Llobet´s fingerings
and amendments are
clearly legible. In this
volume dedicated to Sor,
we have re-engraved for
inclusion here all 6 of
Llobet's very fine Sor
transcriptions from La
Guitarra in Argentina,
fingered and arranged by
Llobet. $53.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Gurrelieder: History Of The Work And Documents Orchestre Schott
Vocal soloists, choir and orchestra SKU: HL.49017759 History of the wo...(+)
Vocal soloists, choir and
orchestra SKU:
HL.49017759
History of the work
and documents.
Composed by Arnold
Schoenberg. Edited by
Ulrich Kraemer. This
edition: Full-cloth
binding. Sheet music.
Arnold Schoenberg -
Complete Works. Complete
edition. 332 pages.
Schott Music #AS1016-23.
Published by Schott Music
(HL.49017759). ISBN
9783795794187.
9.0x12.0x0.997 inches.
German. This volume
contains the editorial
notes on the
'Gurre-Lieder' score
published in series A,
volume 16, 1. Apart from
a detailed description of
the sources and critical
notes, it provides a
tabular list of errata,
omissions and oversights
in the musical text of
the primary source. In
addition, it contains a
line-by-line comparison
of the different texts
and versions as well as a
comparison of the
subsequent amendments,
tracing back to
Schoenberg himself, to
the primary source and
all secondary sources
included in the revision
process. $323.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| An Episode at a Masquerade: Symphonic Poem for Orchestra, Op. 14 Orchestre PWM (Polskie Wydawnictwo Muzyczne)
Orchestra SKU: HL.215244 The Works of Mieczyslaw Karlowicz Volume 11(+)
Orchestra SKU:
HL.215244 The
Works of Mieczyslaw
Karlowicz Volume 11.
Composed by Mieczystaw
Karlowicz. PWM.
Classical. Hardcover. 140
pages. Polskie
Wydawnictwo Muzyczne
#11592010. Published by
Polskie Wydawnictwo
Muzyczne (HL.215244).
12.0x17.0x0.63
inches. Hardcover
full score. Text in
Polish, German, and
English. This edition of
the works of Mieczyslaw
Karlowicz is based on
critically examined
sources. It includes all
his compositions. The aim
of the edition is to
present the composer's
original text as
authentically as
possible. This is not an
easy task. The source
materials of Karlowicz's
music are very diverse in
nature. Apart from most
of the songs, the
composer prepared for
printing and published in
his lifetime the
following: Serenade for
Strings Op. 2, Prelude
and Fugue Op. 5, Concerto
in A major for Violin and
Orchestra Op. 8,
Returning Waves Op. 9 and
Eternal Songs Op. 10.
Being highly experienced
in writing for a symphony
orchestra, and
knowledgeable in the
modern method of
instrumentation in the
neoromantic style, he
prepared his scores with
great care. The remaining
symphonic poems were not
published before the
composer's death; and the
'Rebirth' Symphony, the
manuscript of which
miraculously survived the
ravages of World War II,
was issued only in 1993,
as part of the present
Complete Works edition.
During this war the
autographs of the most
compositions by
Karlowicz, including all
his symphonic poems
(except for The Sorrowful
Tale), were lost. The
present publication,
therefore, is based as a
rule on the first
editions, compared with
extant autographs or
authorized copies of the
scores. The amendments of
misprints or self-evident
mistakes on the part of
the composer are not
indicated graphically in
the text but referred to
in the Editorial
Notes. $112.00 - Voir plus => Acheter | | |
| Psalm 98 "Sing to the Lord a new-made Song" op. posth. 91 MWV A 23 Barenreiter
2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, ti...(+)
2 flutes, 2 oboes, 2
clarinets, 2 bassoons, 2
horns, 2 trumpets, 3
trombones, timpani, harp
(Flutes (2), Oboes (2),
Clarinets (2), Bassoons
(2), Horns (2), Trumpets
(2), Trombones (3),
Timpani, Harp) SKU:
BA.BA09076-65
Composed by Felix
Bartholdy Mendelssohn.
Edited by John Michael
Cooper. This edition:
urtext edition. Folded.
Barenreiter Urtext. Set
of wind parts. MWV A 23.
3/3/3/3/3/3/3/3/3/3/3/3/3
/3/3/1/3 pages.
Baerenreiter Verlag
#BA09076_65. Published by
Baerenreiter Verlag
(BA.BA09076-65). ISBN
9790006531547. 32.5 x
25.5 cm inches. Text
Language: German,
English. Text: William
Bartholomew. Mendel
ssohn's setting of Psalm
98 was written in a few
weeks to satisfy a
commission in his new
position as general music
director of Prussia and
was premiered by the
Berlin Cathedral Choir on
1 January 1844. As he
neither released the work
for publication nor
produced a vocal score,
his psalm setting did not
appear in print until
after his
death.
For this
edition the authoritative
Mendelssohn specialist
John Michael Cooper drew
primarily on the
autograph score with its
many subsequent
corrections and
amendments. In this way
it differs from many
other editions, which
tend to treat the
autograph as a
subordinate source.
Rounding off the edition
are an informative
Foreword and a detailed
Critical Commentary. The
piano reduction is based
on the first printed
edition, published by F.
Kistner and Evers & Co.
in 1851.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts - Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
$45.95 - 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 | | |
| Le Martyre de Saint Sebastien Durand
(Serie VI, volume 4) Piano; Voice SKU: HL.50565881 Mystere en cinq act...(+)
(Serie VI, volume 4)
Piano; Voice SKU:
HL.50565881
Mystere en cinq actes
de G. d'Annunzio Vocal
Score. Composed by
Claude Debussy. Editions
Durand. Classical.
Softcover. 112 pages.
Editions Durand
#DD1620300. Published by
Editions Durand
(HL.50565881).
In this new
version, the vocal score
of Debussy Martyre de
saint Sebastien made by
Andre Caplet has been
made consistent to the
critical edition of the
work by Edmond Lemaitre,
by reporting texts
missing in the original
edition (DD 8171) and by
amending music
errors. $30.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Himmelskonig, sei willkommen (King of heaven, be most welcome) Chorale SATB - Intermédiaire Carus Verlag
ATB vocal soli, SATB choir, recorder, violin solo, violin, 2 viola, cello, basso...(+)
ATB vocal soli, SATB
choir, recorder, violin
solo, violin, 2 viola,
cello, basso continuo -
Level 3 SKU:
CA.3118219 Cantata
for Palm Sunday or for
the feast of the
Annunciation.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. German
title: Himmelskonig, Sei
Willkommen A-Dur. Sacred
vocal music, Cantatas,
Lent and Passiontide,
Holy Week, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Set of
Orchestra Parts. Composed
1714. BWV 182. Duration
30 minutes. Carus Verlag
#CV 31.182/19. Published
by Carus Verlag
(CA.3118219). ISBN
9790007136949. Key: A
major. Language:
German/English. Text:
Franck, Salomo. Text:
Salomo
Franck. Version in
A major (version in G
major: Carus 31.182/50)
The cantata Himmelskonig,
sei willkommen BWV 182
holds a special place in
Johann Sebastian Bach's
biography. He had been
employed as organist and
chamber musician at the
court of Weimar since
1708; on 2 March 1714, he
was appointed concert
master of the court, and
his inauguration music
for this occasion was
Himmelskonig, sei
willkommen. The cantata
was first performed on
Palm Sunday of that year,
25 March 1714. Bach
performed this cantata
several times - always
revising and amending it
- both in Weimar and in
Leipzig. Of the
altogether four versions,
the first Leipzig version
has been selected for the
present new edition.
Unlike the Weimar
versions, it can be
realized effectively
using modern performance
means. In his debut
composition of 1714, the
newly appointed concert
master demonstrated his
abilities: the eight
movements contain a
multitude of beautiful
and rewarding challenges
for choir and vocal
soloists alike, and in
addition there is the
unusual attraction of a
virtuoso solo part for
the recorder. Score and
parts available
separately - see item
CA.3118200. $84.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Himmelskonig, sei willkommen (King of heaven, be most welcome) Soli, choeur mixte et accompagnement - Intermédiaire Carus Verlag
ATB vocal soli, SATB choir, recorder, violin solo, violin, 2 viola, cello, basso...(+)
ATB vocal soli, SATB
choir, recorder, violin
solo, violin, 2 viola,
cello, basso continuo -
Level 3 SKU:
CA.3118212 Cantata
for Palm Sunday or for
the feast of the
Annunciation.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Paul Horn. German
title: Himmelskonig, Sei
Willkommen A-Dur. Sacred
vocal music, Cantatas,
Lent and Passiontide,
Holy Week, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Single Part,
Viola 1. Composed 1714.
BWV 182. 8 pages.
Duration 30 minutes.
Carus Verlag #CV
31.182/12. Published by
Carus Verlag
(CA.3118212). ISBN
9790007050290. Key: A
major. Language:
German/English. Text:
Franck, Salomo. Text:
Salomo
Franck. Version in
A major (version in G
major: Carus 31.182/50)
The cantata Himmelskonig,
sei willkommen BWV 182
holds a special place in
Johann Sebastian Bach's
biography. He had been
employed as organist and
chamber musician at the
court of Weimar since
1708; on 2 March 1714, he
was appointed concert
master of the court, and
his inauguration music
for this occasion was
Himmelskonig, sei
willkommen. The cantata
was first performed on
Palm Sunday of that year,
25 March 1714. Bach
performed this cantata
several times - always
revising and amending it
- both in Weimar and in
Leipzig. Of the
altogether four versions,
the first Leipzig version
has been selected for the
present new edition.
Unlike the Weimar
versions, it can be
realized effectively
using modern performance
means. In his debut
composition of 1714, the
newly appointed concert
master demonstrated his
abilities: the eight
movements contain a
multitude of beautiful
and rewarding challenges
for choir and vocal
soloists alike, and in
addition there is the
unusual attraction of a
virtuoso solo part for
the recorder. Score and
part available separately
- see item
CA.3118200. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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