| Breaking Point Orchestre d'harmonie [Conducteur] - Intermédiaire FJH
Concert Band Symphonic Band - Grade 4 SKU: FJ.B1788S Score Only. C...(+)
Concert Band Symphonic
Band - Grade 4 SKU:
FJ.B1788S Score
Only. Composed by
Brian Balmages. Concert
Band. FJH Symphonic Band.
Score. Duration 9:00. The
FJH Music Company Inc
#98-B1788S. Published by
The FJH Music Company Inc
(FJ.B1788S).
English. Written
over a several month
period when the
composer's father was
dying, the composer
states: Throughout this
entire experience, I have
reached my own breaking
point. Over and over
again. So I fall apart,
put myself together, and
am then broken all over
again. One of the most
emotional and powerful
pieces Balmages has ever
written, there are
moments of untamed
beauty, anger, rage,
hope, despair, and
frustration. Once you
perform this one, you
will never forget it.
About FJH
Symphonic
Band Appro
priate for accomplished
high school, college, and
professional groups.
Includes expanded
instrumentation and
ranges. Grades 4 - 5 $12.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Breaking Point Orchestre d'harmonie - Intermédiaire FJH
Concert Band Symphonic Band - Grade 4 SKU: FJ.B1788 Composed by Brian Bal...(+)
Concert Band Symphonic
Band - Grade 4 SKU:
FJ.B1788 Composed by
Brian Balmages. Concert
Band; MakeMusic Cloud.
FJH Symphonic Band. Score
and Part(s). Duration
9:00. The FJH Music
Company Inc #98-B1788.
Published by The FJH
Music Company Inc
(FJ.B1788). UPC:
241444405390.
English. Written
over a several month
period when the
composer's father was
dying, the composer
states: Throughout this
entire experience, I have
reached my own breaking
point. Over and over
again. So I fall apart,
put myself together, and
am then broken all over
again. One of the most
emotional and powerful
pieces Balmages has ever
written, there are
moments of untamed
beauty, anger, rage,
hope, despair, and
frustration. Once you
perform this one, you
will never forget it.
About FJH
Symphonic
Band Appro
priate for accomplished
high school, college, and
professional groups.
Includes expanded
instrumentation and
ranges. Grades 4 - 5 $100.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Piano Trio (1979) [Conducteur et Parties séparées] Schott
Piano; Strings (Set) SKU: HL.49006883 Score and Parts. Composed by...(+)
Piano; Strings (Set)
SKU: HL.49006883
Score and Parts.
Composed by Volker David
Kirchner. This edition:
Saddle stitching. Sheet
music. Edition Schott.
'Notturno', the first
movement of Trio
originates from 'E flat',
the note which made
'Schumann in Endenich'
hear the music of heaven.
The famous 'Last
Thought', however, is not
quoted. Instead, the
image of Robert
Schumann's melody is
evoked in the listen.
Classical, Contemporary.
Score and Parts. Composed
1979. 48 pages. Duration
16'. Schott Music #ED
7015. Published by Schott
Music (HL.49006883).
ISBN 9790001073813.
9.0x12.0x0.122
inches. The
'Notturno', the
first movement of
Trio, originates from 'E
flat', the
notewhich made 'Schumann
in Endenich' hear the
music of heaven. The
famous 'Last Thought',
however, is not quoted.
Instead, the image of
Schumann's melody is
evoked in the listener's
mind by the help of an
augmented triad,
stretched to breaking
point, which is inverted
and transposed again and
again.Even the following
movements do not quote
directly but present only
a notion. Accordingly,
Volker David Kirchner
describes his work as a
'procession of musical
visions', the subtitles
of which are no
references to certain
themes but to the
associated composers and
stylistic
means.
'Notturno',
the first movement of
Trio originates from 'E
flat', the note which
made 'Schumann in
Endenich' hear the music
of heaven. The famous
'Last Thought', however,
is not quoted. Instead,
the image of Robert
Schumann's melody is
evoked in the listener's
mind by the help of an
augmented triad,
stretched to breaking
point, which is inverted
and transposed again and
again. The movements that
follow also do not quote
directly but present
merely a notion. $46.00 - Voir plus => Acheter | | |
| Soundbreaking Hal Leonard
SKU: HL.275913 Stories from the Cutting Edge of Recording Music. E...(+)
SKU: HL.275913
Stories from the
Cutting Edge of Recording
Music. Edited by
Robert Santelli. Book.
Biography / Music Bisac,
Biography/Composers &
Musicians,
Recording/Music Business.
Hardcover Media Online.
144 pages. Published by
Hal Leonard (HL.275913).
ISBN 9781495177538.
UPC: 888680745134.
9.0x12.0x0.756 inches. As
Told By The Artists
Foreword by George Martin
Introductory Essays -
Robert
Santelli. This book
was inspired by the
eight-part Grammy(r)
nominated film series
titled, Soundbreaking:
Stories from the Cutting
Edge of Recorded Music.
As Executive Producer,
Sir George Martin, was
the inspiration and
intellectual force behind
the series, which
explores a century's
worth of innovation and
experimentation in the
creation of music to
present a
behind-the-scenes look at
the birth of new sounds.
From the Beatles'
groundbreaking use of
multitrack technology to
the synthesized stylings
of Stevie Wonder, from
disco-era drum machines
to the modern art of
sampling, Soundbreaking
tells the stories behind
the sounds and reveals
how innovation redefined
not only what we listen
to and how we listen to
it, but our very sense of
what music is and can be.
Soundbreaking features
original interviews with
more than 150 of the most
celebrated artists,
producers, and music
industry pioneers of our
time. This volume
presents a curated
selection of those
interviews from across
eras and genres. The
twenty-one artists
featured here share their
personal insights, which
point to themes that
emerge and echo
throughout: the
importance of varied
cultural influences on
music careers; the role
of technology innovation
in the creative process;
and most commonly, the
human connection to
music. Through their lens
we discover fascinating
new insights into music
and especially into the
relationship between
artist and genres, an
area that has been rarely
studied. For some
readers, this book will
evoke many of the sounds
and textures of days gone
by. For others, it will
serve to open doors to
further enjoyment and
that those readers will
pursue artists and others
whose names may not be
familiar. Robert
Santelli's introductions
to each of the profiles
puts each artist in
context. They have all
made valuable
contributions to what has
often been referred to as
the soundtrack of our
lives. Their music is as
relevant today as when we
first heard it. Recorded
music has crossed the
lines that separate
cultures, ideas, and
generations. In exploring
the story of their own
music, the voices in this
book provide thoughtful
insight to the
extraordinary influences
of recorded music on the
modern world. $39.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Acoustic Masterclass Series: DADGAD Guitar Solos Guitare notes et tablatures [Partition + CD] Alfred Publishing
Arrangements and recordings by Laurence Juber, Al Petteway, and Doug Smith. For ...(+)
Arrangements and
recordings by Laurence
Juber, Al Petteway, and
Doug Smith. For Guitar.
This edition: Guitar TAB.
Guitar Method or
Supplement. Acoustic
Masterclass. Acoustic;
play along. Book & CD.
Published by Alfred
Publishing.
$25.99 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Breaking point quintette de jazz + rythmique Orchestre - Intermédiaire Martin, Robert
Jazz ensemble - Grade 5 SKU: RM.BILL04929 Composed by Jean Louis Billoud....(+)
Jazz ensemble - Grade 5
SKU: RM.BILL04929
Composed by Jean Louis
Billoud. Petites
formations. Orchestra.
Duration 8 minutes, 18
seconds. Editions Robert
Martin #BILL04929.
Published by Editions
Robert Martin
(RM.BILL04929). ISBN
9790231049299. $62.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Breaking Point C. Alan Publications
By Rob Smith. Percussion Ensemble. For Multiple Percussion Solo (cowbell, coffee...(+)
By Rob Smith. Percussion
Ensemble. For Multiple
Percussion Solo (cowbell,
coffee can, splash
cymbal, 4 brake drums, 5
clay pots). Medium
difficult. Duration 3:45.
Published by C. Alan
Publications
$10.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Jazz Method **german Version*** [Partition + Accès audio] - Intermédiaire Schott
Alto-(baritone-) saxophone - intermediate SKU: HL.49007788 Vom ersten ...(+)
Alto-(baritone-)
saxophone - intermediate
SKU: HL.49007788
Vom ersten Ton bis
Charlie Parker.
Composed by John O'Neill.
This edition:
Paperback/Soft Cover.
Sheet music with online
material. Edition Schott.
Die Jazzmethode fur
Saxophon zeigt
Instrumentalisten aller
Altersstufen den Weg vom
ersten Ton bis hin zu
klassischen Monk-,
Parker- und
Rollins-Themen.
Classical. Edition with
Online audio file. 100
pages. Schott Music #ED
8111. Published by Schott
Music (HL.49007788).
ISBN 9783795751593.
9.0x12.0x0.31 inches.
German. Das
Saxophon ist das
Jazzinstrument
schlechthin, und es gibt
ein reichhaltiges,
aufregendes Repertoire,
das darauf wartet, von
Neueinsteigern entdeckt
zu werden. Die
Jazzmethode fur Saxophon
zeigt Anfangern aller
Altersstufen den Weg vom
ersten Ton bis hin zu
klassischen Monk-,
Parker- und
Rollins-Themen. Aber auch
Jazzstucke heutiger
fuhrender Jazzmusiker und
Komponisten werden
behandelt. Das Buch
enthalt eine
Play-along-CD mit 69
Tracks. Mit einer
schrittweisen Einfuhrung
und speziell fur diese
Schule geschriebener
Stucke werden die
grundlegenden Elemente
einer soliden
Saxophon-Technik -
Atemkontrolle,
Tonbildung, Ansatz,
Zungenstoss und Griffe -
zusammen mit den
rhythmischen Finessen der
Jazzmusik (zum Beispiel
synkopierte Rhythmen und
Achtelphrasierung)
erklart. Durch das
systematische Studium von
Tonleitern, Arpeggien,
Akkordfolgen und Tipps
zur Gehorbildung wird der
Schuler von Anfang an zum
Improvisieren ermuntert.
Zusatzliche Praxis-Tipps
wie Aussuchen von
Blattern, Pflege des
Instruments sowie eine
Bibliographie und eine
Diskographie machen die
Jazzmethode fur Saxophon
zu einem idealen
Begleiter sowohl fur
Schuler, die im
Selbstunterricht lernen
wollen, als auch fur
diejenigen, die
zusatzlich Unterricht bei
einem Lehrer nehmen. Die
Begleit-CD, die extra fur
diese Schule aufgenommen
wurde, liefert den
musikalischen Hintergrund
fur alle Stucke, so dass
der Saxophon-Schuler von
Anfang an durch das
Spielen mit einer
erstklassigen
Rhyhtmusgruppe (Bass,
Gitarre und Schlagzeug)
in den Genuss eines
authentischen Jazz-Sounds
kommt, und sie hilft ihm
spater bei den ersten
Improvisationsversuchen.<
/p>
$38.00 - Voir plus => Acheter | | |
| Mirages 1 Piano, 4 mains Billaudot
(pour Piano a 4 Mains). By Karol Beffa. Piano, 4-Hands. For piano, 4-hands. 22 p...(+)
(pour Piano a 4 Mains).
By Karol Beffa. Piano,
4-Hands. For piano,
4-hands. 22 pages.
Duration 11:00. Published
by Gerard Billaudot
Editeur
$24.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Bullet for My Valentine - Temper Temper Guitare notes et tablatures Hal Leonard
By Bullet for My Valentine. For Guitar. Guitar Recorded Version. Softcover. Guit...(+)
By Bullet for My
Valentine. For Guitar.
Guitar Recorded Version.
Softcover. Guitar
tablature. 114 pages.
Published by Hal Leonard
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Acoustic Masterclass Series: Laurence Juber -- The Guitarist Anthology Vol. 2 Guitare [Partition + CD] Alfred Publishing
Laurence Juber. For Guitar. Guitar Method or Supplement. Acoustic Masterclass. A...(+)
Laurence Juber. For
Guitar. Guitar Method or
Supplement. Acoustic
Masterclass. Acoustic.
Book & CD. 112 pages.
Published by Alfred
Publishing.
$24.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Surfin' Santa (Holiday Musical) Chorale Hal Leonard
By Emily Crocker, John Higgins. (teacher edition). Choral. Size 9x12 inches. 72...(+)
By Emily Crocker, John
Higgins. (teacher
edition). Choral. Size
9x12 inches. 72 pages.
Published by Hal Leonard.
(8)$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| John Tavener: Agraphon Chester
String Instruments, Soprano SKU: HL.14032750 Composed by John Tavener. Mu...(+)
String Instruments,
Soprano SKU:
HL.14032750 Composed
by John Tavener. Music
Sales America. 20th
Century. Book
[Softcover]. Composed
2002. 28 pages. Chester
Music #CH61160. Published
by Chester Music
(HL.14032750). ISBN
9780711992771. John
Tavener 'Agraphon'
arranged for soprano,
timpani and strings.
Commissioned by the
Athens Concert Hall,
first performed on 29th
October 1995. The music
contains two symbolic
ideas - the first being
the opening series of
intervals which appear to
be inexhaustible in their
multifaceted symbolism,
representing the music of
the spheres. If the
angel's song is indeed
one of knowledge, they
could not choose a better
theme of harmony. And
then there is the
apparent evil of the
endless series of
spiralling sixths and
sevenths, falling without
apparent hope of
redemption through an
eternal geometric series,
down into a hellish
realm. Agraphon must be
performed with great
intensity, literally at
the breaking point of
intensity and
petrification. For the
voice the style
alternates between
European and classical
Indian singing; for
example, the passage
beginning on page 12 is
entirely semi-improvised.
The singer must listen to
many examples of
classical Indian music,
or else be trained by a
master. The music ends
fiercely at the
incomprehensible clash
and union between the
Divine and the human.
Duration 22 minutes.
Instrumental parts are
available on hire
only. $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Die Jazzmethode fur Klarinette - Intermédiaire Schott
Book/Online Audio Clarinet (NOTEN+CD) - intermediate SKU: HL.49032791 Com...(+)
Book/Online Audio
Clarinet (NOTEN+CD) -
intermediate SKU:
HL.49032791 Composed
by O'neill. This edition:
Paperback/Soft Cover.
Sheet music with CD.
Edition Schott. Die
Jazzmethode fur
Klarinette zeigt
Anfangern aller
Altersstufen den Weg vom
ersten Ton bis zu
klassischen Themen. Mit
einer schrittweisen
Einfuhrung und speziell
fur diese Schule
geschriebenen Stucken
werden die grundlegenden
Elemente einer soliden
Klar. German Edition,
Method. Edition with CD.
96 pages. Schott Music
#ED 8808. Published by
Schott Music
(HL.49032791). ISBN
9783795753726. German.
John Minnion. Die
Jazzmethode fur
Klarinette eroffnet
Neueinsteigern das
reichhaltige und
aufregende Repertoire des
Jazz, in welchem die
Klarinette eine
bedeutende Rolle spielt.
Sie zeigt Anfangern aller
Altersstufen den Weg vom
ersten Ton bis hin zu
Stucken von Legenden des
Jazz und fuhrenden
Jazzmusikern unserer
Zeit. Mit einer
schrittweisen Einfuhrung
und speziell fur diese
Schule geschriebenen
Stucken werden die
grundlegenden Elemente
einer soliden
Klarinettentechnik --
Atemkontrolle,
Tonbildung, Ansatz und
Griffe -- zusammen mit
den rhythmischen Finessen
der Jazzmusik (z. B.
synkopierte Rhythmen und
Swing-Phrasierung)
erklart. Die Audio-Tracks
(Download mittels Code)
liefern den musikalischen
Hintergrund fur alle
Stucke, so dass der
Klarinettenschuler von
Anfang an durch das
Spielen mit einer
erstklassigen
Rhythmusgruppe aus Bass,
Gitarre und Schlagzeug in
den Genuss eines
authentischen Jazz-Sounds
kommt. Spater helfen die
Playback-Tracks bei den
ersten
Improvisationsversuchen.<
/p>
$38.00 - Voir plus => Acheter | | |
| Journeyman Off The Record Guitar Tab Music Sales
| | |
| Ice Break Schott
Vocal SKU: HL.49002726 Vocal Score. Composed by Sir Michael Tippet...(+)
Vocal SKU:
HL.49002726 Vocal
Score. Composed by
Sir Michael Tippett. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott.
Classical, Opera. Piano
reduction. Composed
1973-1976. 358 pages.
Duration 70'. Schott
Music #ED 11253.
Published by Schott Music
(HL.49002726). ISBN
9781495076602. UPC:
073999930863.
8.75x11.5x1.128 inches.
English -
German. Splintered
and rich in reference as
Tippett's operas are in
their music and in their
text, they carry at their
heart a glowing
confidence in the power
ofhuman beings to find a
centre and, from that
centre, to sing. In The
Ice Break that confidence
has a global reach. The
settings are anonymous:
an airportlounge, a
hospital, the street. For
the first time since The
Midsummer Marriage,
Tippett uses a chorus,
here to represent the
mass of humanity, whose
divisions are pointed in
the central cast:
divisions between
generations, between
sexes, between races,
between exile and native.
Lev arrives in a new
world to join his wife
Nadia, who had emigrated
with their baby son,
Yuri. Also at the airport
are Yuri's girlfriend
Gayle and her friend
Hannah, there to meet the
black 'champion',
Olympion together with
his fans. Out of a series
of violent tensions,
individual and
collective, there
develops a riot in which
Olympion and Gayle are
killed and Yuri is
near-fatally wounded.
Nadia dies peacefully.
During an interlude in
which a group attempts a
psychadelic 'trip', the
messenger, Astron, is
mistaken for God - a
claim he dismisses
ironically. Yuri is
operated on by Luke, a
young doctor, and,
released from the
cracking plaster, he
finds reconciliation with
his father.(Paul
Griffiths)
2
(2pic).2.ca.2
(Ebcl)*bcl.2.cbn-4.2.3.1-
timp.7perc (s.d., t.d.,
b.d., slit dr., 5 tuned
dr., jazz kit, timbales,
bng., cym., sus.cym.,
w.bl., t.bl., cast., wh.,
tri., large tri., sleigh
bells, flexatone,
tam-tam, xyl., vib.,
glock., tub.bells,
claves, guiro, glass
chimes, bamboo wind
chimes, metal bar, wind
machine)-hrp.pno.cel.elec
tric
organ.egtr.bgtr-str. $101.00 - Voir plus => Acheter | | |
| Twenty Services For The Church Organist
Orgue Hal Leonard
| | |
| The Fiddler's Fakebook
Violon [Fake Book] Oak Publications
Edited by David Brody. For violin. Format: fake book. With lead melody, chord na...(+)
Edited by David Brody.
For violin. Format: fake
book. With lead melody,
chord names,
instructional text and
performance notes. Folk,
americana and british.
302 pages. 9x12 inches.
Published by Oak
Publications.
(7)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Lyrics Paroles Seulement [Partition] Hal Leonard
Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Lib...(+)
Complete Lyrics for Over
1000 Songs from Broadway
to Rock. By Various.
Lyric Library. Softcover.
Size 8.5x11 inches. 373
pages. Published by Hal
Leonard.
(1)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Che Faro Orchestre d'harmonie [Conducteur] - Facile G and M Brand Music Publishers
Concert band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd...(+)
Concert band (1st Flute,
2nd Flute, Oboe*, 1st Bb
Clarinet, 2nd Bb
Clarinet, 3rd Bb
Clarinet, Bb Bass
Clarinet*, Eb Alto
Saxophone*, Bb Tenor
Saxophone*, Eb Baritone
Saxophone*, 1st F Horn,
2nd F Horn, 1st Bb
Trumpet, 2nd Bb Trumpet,
Trombone, Euphonium, (TC
Baritone),) - grade 2
SKU: CN.S11185
From 'Orpheus'.
Composed by E.
Michaelson. Arranged by
Edward Michaelson. Band
Music. Score only.
Duration 3:45. Published
by G & M Brand Music
Publishers (CN.S11185).
Michaelson
utilizes the flutes as
the featured instrument
in this heartbreaking
arrangement of Gluck's
most famous aria from the
opera Orpheus. Orpheus is
in despair at this point
in the opera: he sings of
losing his love Eruidice,
She is gone and gone
forever, (Che Faro senza
Euridice). What is the
point of staying on earth
without her?
This
is probably Gluck's most
famous aria, coming from
the opera Orpheus which
was based on the Greek
legend and produced in
Vienna in 1762. Orpheus
is in despair at this
point in the opera: he
sings of losing his love
Eruidice, She is gone and
gone forever, (Che Faro
senza Euridice). What is
the point of staying on
earth without her? $7.50 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Che Faro Orchestre d'harmonie [Conducteur et Parties séparées] - Facile G and M Brand Music Publishers
Concert band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd...(+)
Concert band (1st Flute,
2nd Flute, Oboe*, 1st Bb
Clarinet, 2nd Bb
Clarinet, 3rd Bb
Clarinet, Bb Bass
Clarinet*, Eb Alto
Saxophone*, Bb Tenor
Saxophone*, Eb Baritone
Saxophone*, 1st F Horn,
2nd F Horn, 1st Bb
Trumpet, 2nd Bb Trumpet,
Trombone, Euphonium, (TC
Baritone),) - grade 2
SKU: CN.R10185
From 'Orpheus'.
Composed by E.
Michaelson. Arranged by
Edward Michaelson. Band
Music. Score and parts.
Duration 3:45. Published
by G & M Brand Music
Publishers (CN.R10185).
Michaelson
utilizes the flutes as
the featured instrument
in this heartbreaking
arrangement of Gluck's
most famous aria from the
opera Orpheus. Orpheus is
in despair at this point
in the opera: he sings of
losing his love Eruidice,
She is gone and gone
forever, (Che Faro senza
Euridice). What is the
point of staying on earth
without her?
This
is probably Gluck's most
famous aria, coming from
the opera Orpheus which
was based on the Greek
legend and produced in
Vienna in 1762. Orpheus
is in despair at this
point in the opera: he
sings of losing his love
Eruidice, She is gone and
gone forever, (Che Faro
senza Euridice). What is
the point of staying on
earth without her? $35.00 - Voir plus => AcheterDélais: 3 to 4 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 | | |
| Come By Here Chorale SATB SATB, Piano MorningStar Music Publishers
Composed by Kyle Pederson. Instrumental part. MorningStar Music Publishers #5...(+)
Composed by Kyle
Pederson.
Instrumental part.
MorningStar Music
Publishers
#50-6144. Published by
MorningStar Music
Publishers
$2.85 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Norgard 3 Hymniske Ansatser Satb Chor Book Chorale SATB SATB A Cappella Music Sales
SATB Choir a Cappella SKU: HL.14023411 3 Hymnic Dispositions. Comp...(+)
SATB Choir a Cappella
SKU: HL.14023411
3 Hymnic
Dispositions.
Composed by Per Norgard.
Music Sales America.
Hymns & Chorals. Vocal
Score. 22 pages. Music
Sales #KP01343. Published
by Music Sales
(HL.14023411). ISBN
9788759866191.
10.25x14.5x0.083 inches.
Danish. 3 Hymniske
Ansatser (3 Hymnic
Dispositions) for mixed
choir SATB was composed
by Per Norgard in
1985-86. The work
consists of music
composed to 3 poems,
e.g. Gunnar Ekelof
'Komposition
(Composition),
Thoger Larsen
'Strandvalmue'('Beach
Poppy') Rainer
Maria Rilke 'Die
Parke'('The Parks')
Programme note
Just as the three
movements in their
succession move from the
sea (Ekelof), across the
beach (Larsen) and into
the country, to the parks
(Rilke), in an analogous
way each of the three
movements in their point
of departure is hymnic in
character - but later on
moves into the more
varied and complex tone
paths of the inner
regions of themind.
3 Hymniske Ansatser (3
Hymnic Dispositions) is
sung in Swedish (1.
Komposition”,
Gunnar Ekelof), in Danish
(2. Strandvalmue”,
Thoger Larsen) and in
German (3. “Die
Parke”, R.M.
Rilke). The work could be
performed in a programme
with 'Prelude to
Breaking', performed
after this instrumental
piece. Per
Norgard . $11.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Banjo Pickers Fake Book Banjo [Fake Book] Oak Publications
By David Brody. For Banjo Tab, with chord symbols. Traditional, Bluegrass. Sheet...(+)
By David Brody. For Banjo
Tab, with chord symbols.
Traditional, Bluegrass.
Sheet Music. 216 pages.
Published by Oak
Publications.
$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Preambles and Interludes Orgue Schott
Organ SKU: HL.49004968 Organ. Composed by Hermann Schroeder. Edite...(+)
Organ SKU:
HL.49004968
Organ. Composed by
Hermann Schroeder. Edited
by Rainer Mohrs. This
edition: Saddle
stitching. Sheet music.
Edition Schott. Die
Beschrankung auf die
kleine Form half
Schroeder offensichtlich
bei der Loslosung von der
Romantik; Klarheit, und
formale Pragnanz treten
an die Stelle der
monumentalen Grossform.
Geeignet fur Konzert und
Liturgie. Classical.
Composed 1954. 24 pages.
Duration 12'. Schott
Music #ED 4539. Published
by Schott Music
(HL.49004968). ISBN
9790001053273. UPC:
073999678697.
9.0x12.0x0.095
inches. Hermann
Schroeder (1904-1984)
studied with Heinrich
Lemacher and Walter
Braunfels and became
Professor of Composition
and Music Theory at the
Academy of Music in
Cologne. From the end of
the 1920s he made an
important contribution to
the new stylistic
developments in organ
music His smaller-scale
compositions in
particular, such as the
Preambles and Interludes
(1954) or the Little
Preludes and Intermezzos
(1932, ED 2221) point in
new directions: the
constraints of form have
evidently been helpful in
the process of breaking
away from Romanticism;
clarity and formal
precision take the place
of monumental grandeur of
form. Suitable for
concert or liturgical
performance. $19.95 - Voir plus => Acheter | | |
| The Transposed Musician GIA Publications
SKU: GI.G-10049 Teaching Universal Skills to Improve Performance and B...(+)
SKU: GI.G-10049
Teaching Universal
Skills to Improve
Performance and Benefit
Life. Composed by
Dylan Savage. Music
Education. 278 pages. GIA
Publications #10049.
Published by GIA
Publications
(GI.G-10049). ISBN
9781622774333. Musi
c teachers know their
students don’t
just learn to play music,
they are also exposed to
universal life skills
along the way. But
that’s just part
of the story. Currently,
most students are largely
left to learn these
universal
skills—like
problem-solving,
patience, focus,
collaboration, critical
thinking, creativity, and
communication—on
their own and often not
very effectively. The
Transposed Musician is a
practical guide to
teaching these universal
skills within the context
of a traditional music
lesson. The results not
only empower students to
better confront the
challenges of the
twenty-first century,
they significantly
improve
musicianship—a
double benefit. Author
Dylan Savage spent two
decades refining his
approach to teaching
universal skills through
music, and he shares them
in this book. Each of the
eight chapters of The
Transposed Musician
focuses on a specific
universal skill
(problem-solving, focus,
patience, critical
thinking, communication,
collaboration,
improvisation, and
creativity) and shows how
students can apply that
skill to music. He then
shows how teachers can
guide those students to
“transposeâ€
that skill to life and
back again to music with
far deeper understanding
and musicianship. With
practical examples and
clear writing, this book
is for music educators
wishing to help their
students become both
better musicians and also
better-equipped citizens
of the world. Students
truly become
“transposed
musicians†for life
and for music. Dylan
Savage is Associate
Professor of Piano at the
University of North
Carolina–Charlotte
. He is also a
Bösendorfer Concert
Artist, a Capstone
Records Recording Artist,
and a winner of the Rome
Festival Orchestra
Competition.
https://thetransposedmusi
cian.com/ This book is
priceless and contains a
wealth of music teaching
information that every
teacher should apply to
their studio. Dylan
Savage’s use of
universal skills
transforms music teaching
into a viable and
essential part of
education in the
twenty-first-century.
This teaching approach of
using universal skills
can revolutionize
teaching music in both
the private studio and
college level and will
give teachers a greater
sense of purpose and
satisfaction in their
work. This book
challenges many
preconceived ideas about
teaching music and
mastering performance.
Bravo for shaking up the
status quo.
—Randall Hartsell
  Composer,
Clinician, Teacher This
book asks and explores
fascinating questions
about what it means to
study music in a changing
world. Are there skills
we can learn in our music
lessons which can enrich
our lives in
other non-musical
areas, and then can we
bring those expanded
skills back into our
study of music itself?
Too often our
conservatories are
dead-ends, stuck with
outdated, one-dimensional
approaches which can lead
to stunted personal
development. This book
suggests ways in which we
can break down doors, for
students and teachers
alike, and celebrate
music as something
life-affirming, in and
out of the studio.
—Stephen Hough
  Pianist,
Composer, Writer Dylan
Savage has given us a
fresh and creative
pedagogy to guide our
music students toward
life as
twenty-first-century
musicians. His career as
pianist and teacher, and
his firsthand experience
in the marketplace of
business and industry,
allow him to forge a
systematic approach to
teaching universal skills
in the music lesson. In
each of the eight
chapters, skills such as
problem-solving, focus,
critical thinking,
collaboration, and
improvisation are defined
and applied to musical
skills. These in turn are
“transposedâ€
to non-musical
applications. We observe
the music lessons and the
active
“transpositionâ€
or transfer of
universal skills
exemplified through
descriptions of
particular lessons. The
anxieties, confusions,
and ultimate comfort and
understanding of students
are guided by the
questions of the teacher.
The book is beautifully
organized and is enriched
by quotations of artists,
musicians and
philosophers, and
suggested readings and
references. I really
think this is an
important and helpful
book with a point of view
that is much needed. The
empathy and knowledge of
the author steer the
reader toward the
realities of
today’s musical
world, a world that
requires skilled
musicians to have
universal skills that
benefit their lives,
regardless of their
ultimate career paths.
—Phyllis Alpert
Lehrer  Â
Professor Emerita,
Westminster Choir College
of Rider University Â
 Artist Faculty,
Westminster Conservatory
In The Transposed
Musician, Dylan Savage
combines a
visionary’s deep
understanding of the
challenges music students
and teachers face with an
eminently practical way
to meet those challenges.
Using a master
teacher’s insight,
Savage
“transposesâ€
eight potential stumbling
blocks into eight
universal skills that can
be acquired through a
beautifully organized,
step-by-step approach. In
turn, he shows how these
skills can be applied to
other areas in our
rapidly changing world,
helping us lead more
satisfying, meaningful,
and fulfilling lives, not
only as musicians, but as
human beings. For
students and teachers
alike, an inspired and
inspiring book.
—Barbara
Lister-Sink, Ed.D. Â
 Producer, Freeing
the Caged Bird The
Transposed Musician is an
important contribution to
our literature on
teaching essential life
skills including
problem-solving,
patience, focus, critical
thinking, and creativity
within the traditional
music lesson. Teachers
and students both can
benefit from the study
and application of these
skills. Applications are
made both to the
traditional lesson as
well as to non-music
applications.
—Jane Magrath Â
 Pianist, Author,
Teacher  Â
University of Oklahoma
Twenty-five hundred years
ago Plato recommended
music first in his ideal
curriculum for potential
leaders of
Athens—before
sport, mathematics, and
moral philosophy. None of
his candidates, one may
assume, aspired to become
a professional musician.
Nevertheless, throughout
centuries, otherwise
people have acknowledged
that the study and
practice of music
generates collateral
benefits essential to
human fulfillment. In his
new book The
Transposed Musician,
Professor Dylan Savage of
the University of North
Carolina at Charlotte
identifies eight of these
benefits—Problem
Solving, Focus, Patience,
Critical Thinking,
Communication,
Collaboration,
Improvisation, and
Creativity—and
calls them
“universal
skills†which may
be developed consciously
and systematically within
the context of
traditional music
lessons. Doing so takes
what has been implicit
all along and makes it
explicit. Music is good
for us! Music teachers,
even at the highest
conservatory level, learn
from Professor Savage
that they are not so much
professional trainers as
guides to a happier, more
successful life.
—Dr. Joseph
Robinson  Â
Principal Oboe, New York
Philharmonic
(1978–2005) Â
 Successful author,
teacher, producer, and
arts advocate Savage's
excellent book couldn't
be more timely, unique,
clear, full of wisdom,
and exactly what we need.
As he points out, music
teachers have known for
generations—in a
rather generalized
way—that musical
skills can strengthen
life skills in many ways.
Dylan Savage is the first
to address this
'transposition'
intentionally, with
specific exercises in the
transferrable skills.
What better gift could
there be for music
students facing an
ever-changing world?
—William Westney
  Award-winning
concert pianist (Geneva
Competition) and teacher
  Author
of The Perfect Wrong
Note: Learning to Trust
Your Musical Self. $22.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Stream Theodore Presser Co.
Chamber Music Clarinet, Viola, Violin 1, Violin 2, Violoncello SKU: PR.114417...(+)
Chamber Music Clarinet,
Viola, Violin 1, Violin
2, Violoncello SKU:
PR.114417500 For
Clarinet And String
Quartet. Composed by
Shulamit Ran. Premiered
by Anthony McGill,
clarinet, and Brentano
String Quartet; Kimmel
Center, Philadelphia, PA.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2016.
32+12+12+12+12+12 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41750. Published by
Theodore Presser Company
(PR.114417500). UPC:
680160634910. 9.5 x 13
inches. Stream for
Clarinet and String
Quartet (2015) was
commissioned by the
Philadelphia Chamber
Music Society in
celebration of its 30th
Anniversary Season,
through support of The
William Penn Foundation.
The first performance was
in April 2016 at the
Kimmel Center in
Philadelphia. Notes from
the composer: The 'line'
in Stream is often
threaded together into a
chain made up of separate
'points' played by the
strings, and sometimes by
the string and the
clarinet. An analogy
might be that each
instrument, at times,
produces a single 'ray of
light' from within the
larger light source.
Moreover, there are many
passages where the
intended effect is that
of the strings providing
a 'halo' surrounding the
solo clarinet. Similarly,
the clarinet often
dovetails with, as well
as emerges or submerges
in and out of, a strand
in the string
music.. What's in a
name? Â Â In my
titles, I generally aim
to capture something that
I believe to be essential
about the particular
work. Â At some level
this is to offer an
entry-point for the
listener, a glimpse of
the composition in its
totality. Â STREAM as a
title came to be when
much of the music was
already fully composed,
and it encapsulates much
of what I wish to say in
words about this work: it
suggests flow - whether
gentle or forceful; it
implies a journey, one
that could take us onto
unexpected terrains yet
is always moving forward;
embedded into this word
is also the idea of
stream of consciousness,
and with it, free
association and
unexpected twists of
fancy. Approximately
16 minutes in duration,
STREAM is to be played
without a break, yet
there are strong elements
of a three-movement
structure here. An
expository
quasi-first-movement lays
out important materials
of varying character; the
middle part, suggesting
contrast and repose, is
initially slow and
reflective, but then
embarks on new
explorations of the
notion of stasis, while
the final movement is
dominated by fast-moving
music of high energy that
consolidates the previous
materials. Important
throughout is the way in
which seemingly
transitional stretches of
music emerge and propel
the music onward in ways
that are at once
unexpected and
fantastical. A
composer's statement
about this work would not
be complete without
acknowledging the degree
to which the work was
inspired by the awareness
that it was being created
for a quintet of
extraordinary performers
of the most beautiful and
flowing musicianship -
clarinet virtuoso Anthony
McGill and the intrepid
Brentano
Quartet. Shulamit
Ran . $63.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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