| Late Romanticism Clarinette et Piano EMB (Editio Musica Budapest)
Clarinet and Piano SKU: HL.50510423 200 Years of Clarinet Music. B...(+)
Clarinet and Piano
SKU: HL.50510423
200 Years of Clarinet
Music. By Berkes. By
Various. Edited by Kocsis
Berkes. Arranged by
Kocsis Berkes. Romantic.
EMB. Pedagogical
performance pieces. Book
Only. 51 pages. Editio
Musica Budapest #Z13973.
Published by Editio
Musica Budapest
(HL.50510423). ISBN
9790080139738. UPC:
073999119770.
9.0x12.0x0.227 inches.
Hungarian, English,
German. Zoltan Kocsis;
Kalman Berkes. The
third volume of the
series provides
clarinettists with
material to play from the
era of the late and
post-Romanticism starting
from Debussy and Ravel
through Rachmaninov to
Kodaly. All arrangements
were successful items of
the common concerts of
the editors. $27.95 - Voir plus => Acheter | | |
| Ten Studies for Trombone Trombone [Partition] - Intermédiaire Cherry Classics
By Johannes Brahms (1833-1897). Arranged by Gordon Cherry. For trombone. Romanti...(+)
By Johannes Brahms
(1833-1897). Arranged by
Gordon Cherry. For
trombone. Romantic
studies. Intermediate.
Textbook. Published by
Cherry Classics
$17.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Chopin - Waltzes Urtext Piano seul G. Henle
Piano SKU: HU.HN131 Composed by Frederic Chopin. Edited by Ewald Zimmermann. Pi...(+)
Piano
SKU: HU.HN131
Composed by Frederic
Chopin. Edited by Ewald
Zimmermann. Piano Solo,
Piano and Keyboard,
Repertoire, Solos.
Waltzes. Classical,
Romantic. Softcover Book.
112 pages. G. Henle
#HN131. Published by G.
Henle
$36.95 - Voir plus => AcheterDélais: 4 to 6 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 | | |
| Classic Mallet Trios -- Beethoven Cloches Alfred Publishing
(4 Classics Arranged for Orchestra Bells, Vibraphone, and Marimba). Composed by ...(+)
(4 Classics Arranged for
Orchestra Bells,
Vibraphone, and Marimba).
Composed by Ludwig van
Beethoven (1770-1827).
Arranged by Brian
Slawson. For Mallet
Percussion. Book;
Percussion - Mallet
Instrument Trio; Trio.
Alfred�s
Percussion Performance
Series. Classical;
Masterwork Arrangement;
Romantic. 12 pages.
Published by Alfred Music
$17.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Two Symphonic Interludes Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000915-010 Composed by Harrie...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.GOB-000915-010
Composed by Harrie
Janssen. Set (Score &
Parts). Gobelin Music
Publications #GOB
000915-010. Published by
Gobelin Music
Publications
(BT.GOB-000915-010).
Based on the
poems by German poet Carl
Hauptmann (late
Romanticism) and the
English poet William
Wordsworth (early
Romanticism).
Carl Hauptmann was in
poor health as a child,
but highly intelligent.
He studied philosophy,
psychology and biology.
In the latter he was
admitted to the degree of
doctor. His marriage
provided financial
independence, so that he
could focus on his
studies. Hauptmann
wrote various novels,
plays, poetry and
scientific works.
Night
Twilight floats above the
valley's night mists
are hanging, there's
a whispering brook.
Now the covering veil is
lifting quite: come
and look! See the
magicland before our
gaze: tall as dreams
the silver mountains
stand, crossed by
silent silver paths
shining from a secret
land. Noble, pure,
the dreaming country
sleeps. By the path
the shadow black and hogh
of a beach. a wisp of
a white smoke creeps to
the dark'ning sky.
Where the valley is the
darkest hued countless
little lights shine
silently. O my
soul! Drink of
solitude!
Carl
Hauptmann
Wordsworth 'introduced' a
new type of poetry, based
on the speech of the
common man. This was his
answer to the poetry of
the classicism which was
bound by rigid rules. His
definition of poetry was:
the spontaneous overflow
of powerful feelings from
emotions recollected in
tranquility.
My
heart leaps up when I
behold a rainbow in the
sky
My heart
leaps up when I behold A
rainbow in the sky:
So was it when my life
began. So is it now I
am a man. So be it
when I shall grow
old, Or let me
die! The Child is
father of the Man.
And I could wish my days
to be Bound each to each
by natural
piety.
William
Wordsworth
In a
truly poetic manner
Harrie Janssen has
transformed the
contemplative thoughts of
the poets into two
compositions for Concert
Band.
Two
Symphonic Interludes is
gebaseerd op gedichten
van de Duitse dichter
Carl Hauptmann (laat
Romantiek) en de Engelse
dichter William
Wordsworth (vroeg
Romantiek).
Carl
Hauptmann had als kind
een zeer zwakke
gezondheidmaar was zeer
intelligent. Hij
studeerde Filosofie,
Psychologie en Biologie.
In het laatste vak
promoveerde hij. Het
huwelijk zorgde voor
financiele
onafhankelijkheid zodat
hij zich kon richten op
zijn verdere studie.
Hauptmannschreef enkele
romans, toneelstukken,
poëzie en
wetenschappelijke
werken.
NIGHT -
Carl Hauptmann
Twilight floats above the
valley's night mists
are hanging, there's
a whispering brook.
Now thecovering veil is
lifting quite: come
and look! See the
magic land before our
gaze: tall as dreams
the silver mountains
stand, crossed by
silent silver paths
shining from a secret
land. Noble, pure,
thedreaming country
sleeps. By the path
the shadow black and hogh
of a beech. a wisp of
a white smoke creeps to
the dark'ning sky.
Where the valley is the
darkest hued countless
little lights shine
silently. O
mysoul! Drink of
solitude!
Wordsworth
'introduceerde' een nieuw
soort poëzie, gebaseerd
op de taal van de gewone
man. Het was een reactie
op de aan strenge regels
gebonden poëzie van het
Classicisme. Zijn
definitievan poëzie
luidde: 'the spontaneous
overflow of powerful
feelings from emotions
recollected in
tranquility'.
My
heart leaps up when I
behold a rainbow in the
sky - William
Wordsworth
My
heart leaps up whenI
behold A rainbow in
the sky: So was it
when my life began.
So is it now I am a
man. So be it when I
shall grow old, Or
let me die! The Child
is father of the Man.
And I could wish my days
to be
$229.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Two Symphonic Interludes Orchestre d'harmonie [Conducteur] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000915-140 Composed by Harrie...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.GOB-000915-140
Composed by Harrie
Janssen. Score Only.
Gobelin Music
Publications #GOB
000915-140. Published by
Gobelin Music
Publications
(BT.GOB-000915-140).
Based on the
poems by German poet Carl
Hauptmann (late
Romanticism) and the
English poet William
Wordsworth (early
Romanticism).
Carl Hauptmann was in
poor health as a child,
but highly intelligent.
He studied philosophy,
psychology and biology.
In the latter he was
admitted to the degree of
doctor. His marriage
provided financial
independence, so that he
could focus on his
studies. Hauptmann
wrote various novels,
plays, poetry and
scientific works.
Night
Twilight floats above the
valley's night mists
are hanging, there's
a whispering brook.
Now the covering veil is
lifting quite: come
and look! See the
magicland before our
gaze: tall as dreams
the silver mountains
stand, crossed by
silent silver paths
shining from a secret
land. Noble, pure,
the dreaming country
sleeps. By the path
the shadow black and hogh
of a beach. a wisp of
a white smoke creeps to
the dark'ning sky.
Where the valley is the
darkest hued countless
little lights shine
silently. O my
soul! Drink of
solitude!
Carl
Hauptmann
Wordsworth 'introduced' a
new type of poetry, based
on the speech of the
common man. This was his
answer to the poetry of
the classicism which was
bound by rigid rules. His
definition of poetry was:
the spontaneous overflow
of powerful feelings from
emotions recollected in
tranquility.
My
heart leaps up when I
behold a rainbow in the
sky
My heart
leaps up when I behold A
rainbow in the sky:
So was it when my life
began. So is it now I
am a man. So be it
when I shall grow
old, Or let me
die! The Child is
father of the Man.
And I could wish my days
to be Bound each to each
by natural
piety.
William
Wordsworth
In a
truly poetic manner
Harrie Janssen has
transformed the
contemplative thoughts of
the poets into two
compositions for Concert
Band.
Two
Symphonic Interludes is
gebaseerd op gedichten
van de Duitse dichter
Carl Hauptmann (laat
Romantiek) en de Engelse
dichter William
Wordsworth (vroeg
Romantiek).
Carl
Hauptmann had als kind
een zeer zwakke
gezondheidmaar was zeer
intelligent. Hij
studeerde Filosofie,
Psychologie en Biologie.
In het laatste vak
promoveerde hij. Het
huwelijk zorgde voor
financiele
onafhankelijkheid zodat
hij zich kon richten op
zijn verdere studie.
Hauptmannschreef enkele
romans, toneelstukken,
poëzie en
wetenschappelijke
werken.
NIGHT -
Carl Hauptmann
Twilight floats above the
valley's night mists
are hanging, there's
a whispering brook.
Now thecovering veil is
lifting quite: come
and look! See the
magic land before our
gaze: tall as dreams
the silver mountains
stand, crossed by
silent silver paths
shining from a secret
land. Noble, pure,
thedreaming country
sleeps. By the path
the shadow black and hogh
of a beech. a wisp of
a white smoke creeps to
the dark'ning sky.
Where the valley is the
darkest hued countless
little lights shine
silently. O
mysoul! Drink of
solitude!
Wordsworth
'introduceerde' een nieuw
soort poëzie,
gebaseerd op de taal van
de gewone man. Het was
een reactie op de aan
strenge regels gebonden
poëzie van het
Classicisme. Zijn
definitievan poëzie
luidde: 'the spontaneous
overflow of powerful
feelings from emotions
recollected in
tranquility'.
My
heart leaps up when I
behold a rainbow in the
sky - William
Wordsworth
My
heart leaps up whenI
behold A rainbow in
the sky: So was it
when my life began.
So is it now I am a
man. So be it when I
shall grow old, Or
let me die! The Child
is father of the Man.
And I could wish my days
to be
$42.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Pastoral Landscape Advance Music
Any B-flat Instrument or Trombone & Piano SKU: AP.1-ADV2002 For Any B-...(+)
Any B-flat Instrument or
Trombone & Piano SKU:
AP.1-ADV2002 For
Any B-flat Instrument or
Trombone and Piano.
Composed by Bill Dobbins.
All Instruments Method or
Collection; Solo; Solo
Small Ensembles. Advance
Music. Jazz. Book.
Advance Music
#01-ADV2002. Published by
Advance Music
(AP.1-ADV2002). UPC:
805095020021.
English. Pastoral
Landscape has definite
leanings toward
Impressionism and late
Romanticism. Both of
these historical styles
have much harmonically in
common with the American
traditions of popular
song writing (Gershwin,
Porter, Arlen, etc.) and
jazz. $20.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| COMPLETE MANDOLINIST, VOLUME 2: MUSIC IN CONTEXT Mandoline - Intermédiaire/avancé Mel Bay
Perfect binding. Exercises. Book. Mel Bay Publications, Inc #30782. Publishe...(+)
Perfect binding.
Exercises.
Book. Mel Bay
Publications,
Inc #30782. Published by
Mel
Bay Publications, Inc
$34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Classical Music for Children Clarinette et Piano - Facile Schott
25 Easy Pieces for Clarinet and Piano. Composed by Various. Edited by Ulr...(+)
25 Easy Pieces for
Clarinet and Piano.
Composed by Various.
Edited by Ulrike
Warnecke. This edition:
Saddle stitching. Sheet
music. Woodwind Solo.
Klassik fur Kinder mochte
Klarinettenschuler an die
Schonheit der
Konzertliteratur des
Barocks, der Klassik und
der Romantik heranfuhren.
Die Stucke sind sehr
leicht bearbeitet und
konnen mit etwa 2 Jahren
Unterricht gut bewaltigt
werden; die dreigestrich.
German Edition,
Classical. Score and
part, Softcover. 21907.
68 pages. Schott Music
#ED21907. Published by
Schott Music
(HL.49044747).
$17.99 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Classical Music for Children [Partition + CD] - Débutant Schott
Clarinet; Piano - very easy to easy SKU: HL.49045180 25 Easy Pieces fo...(+)
Clarinet; Piano - very
easy to easy SKU:
HL.49045180 25
Easy Pieces for Clarinet
and Piano - Book and
CD. Composed by
Various. Edited by Ulrike
Warnecke. This edition:
Saddle stitching. Sheet
music with CD. Woodwind
Solo. Klassik fur Kinder
mochte Klarinettenschuler
an die Schonheit der
Konzertliteratur des
Barocks, der Klassik und
der Romantik heranfuhren.
Die Stucke sind sehr
leicht bearbeitet und
konnen mit etwa 2 Jahren
Unterricht gut bewaltigt
werden; die dreigestrich.
Classical. Softcover with
CD. 68 pages. Schott
Music #ED21150. Published
by Schott Music
(HL.49045180). ISBN
9783795745813. UPC:
841886017276. Andreas
Schuermann. 'Klassi
k für Kinder' wants to
introduce clarinet pupils
to the beauty of Baroque,
Classical and Romantic
concert literature.
Cautiously, not only
original clarinet
literature was taken up,
but catchy tunes and
themes from the opera
(e.g. The Magic Flute)
and the concert hall
(Four Seasons, Capriccio
italien, and others) were
used as well. The edition
starts with a piece from
the Renaissance period,
followed by the great
composers of the Baroque,
European Classical and
Romantic eras and
completed by several
discoveries off the
common concert programmes
(Reinagel, Sullivan).
Four centuries of music
history which will make
the pupils enjoyclassical
music! The pieces are
presented in easy
arrangements and can be
mastered after about two
years of tuition, with
the three-line octave
being left out. $22.99 - Voir plus => Acheter | | |
| Requiem Orchestre [Conducteur d'étude / Miniature] Schott
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (St...(+)
Soprano, tenor,
Knabensoprano,
flugelhorn, mixed choir
and chamber orchestra
(Study Score) SKU:
HL.49018099 Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099). ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German. On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009. $93.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Adagietto Ensemble de Percussions [Conducteur et Parties séparées] - Intermédiaire Tapspace Publications
(from Symphony No. 5). By Gustav Mahler (1860-1911). Arranged by Jeffrey D. Grub...(+)
(from Symphony No. 5). By
Gustav Mahler
(1860-1911). Arranged by
Jeffrey D. Grubbs. For
percussion ensemble (5
players) (5 players).
This edition: Percussion
quintet. Concert
percussion ensembles.
Note: each marimba is
shared by two players.
Alternately, four
marimbas can be used..
Medium. Score and parts
on CD-Rom. 14 pages.
Duration 10:30
$30.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 6 Part-Songs Op. 18 Breitkopf & Härtel
Chorus a cappella SKU: BR.CHB-5374 Urtext based on the Complete Editio...(+)
Chorus a cappella SKU:
BR.CHB-5374 Urtext
based on the Complete
Edition Jean Sibelius
Works (JSW). Composed
by Jean Sibelius. Edited
by Sakari Ylivuori.
Choir; stapled.
Chor-Bibliothek (Choral
Library). Song; Early
modern; Late-romantic.
Sheet Music. Breitkopf
and Haertel #CHB 5374.
Published by Breitkopf
and Haertel
(BR.CHB-5374). ISBN
9790004413043. 7.5 x 10.5
inches.
Finnish. Jean
Sibelius's Six Songs for
Male Choir Op. 18 are
published as Urtext with
the original Finnish
lyrics for the first time
in this edition. Most of
these stem from the
Finnish national epics
Kalevala and Kanteletar,
but the texts of Sydameni
laulu [Song of My Heart]
and Metsamiehen laulu
[Song of the Woodmen] are
from the poet Aleksis
Kivi. The individual
pieces originated over a
couple of years for
different choirs and
occasions and were only
later combined by
Sibelius under a common
Opus number. Venematka
[Boat Trip] originated as
early as 1893, Saarellaa
palaa [Fire on the
Island] was first
performed in 1895 and
Sortunut aani [The Broken
Voice] in 1899. Sydameni
laulu was published in
the same year together
with Metsamiehen laulu,
while Terve kuu
[Greetings to the Moon]
was not composed by
Sibelius until 1901. The
contents of the
collection Op. 18 were
subsequently extended,
revised and repositioned
by Sibelius many times;
the final shape with six
settings was established
in 1930. Four of these
settings were also
arranged for mixed choir
and have already been
published as an Urtext
edition (CHB 5372). The
edition includes
translations of the
lyrics in German and
English as well as an
informative preface that
is based on volume VII/2
of the complete edition
Jean Sibelius Works, just
like the score. $14.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Musik für Klavierquartett für Anfänger (Erste Lage Piano et Orchestre EMB (Editio Musica Budapest)
String Orchestra and Piano SKU: BT.EMBZ14253 By Lajos Vigh. By Arpad Pejt...(+)
String Orchestra and
Piano SKU:
BT.EMBZ14253 By Lajos
Vigh. By Arpad Pejtsik.
EMB Music for Beginners.
Educational Tool. Book
Only. Composed 2000. 92
pages. Editio Musica
Budapest #EMBZ14253.
Published by Editio
Musica Budapest
(BT.EMBZ14253).
Hungarian-English-Germ
an-French. The
volume comprises works by
classical and romantic
masters for beginners.
The chamber ensemble
includes violin, viola,
violoncello and piano,
but if the viola is
missing, its part can be
played by a second violin
from the version enclosed
in the appendix. The
string parts do not go
beyond the first
position. As opposed to
the basso continuo part
that children are less
fond of, the piano
assumes a soloistic role
alternating with the
strings. A certain part
of the pieces can already
be played after two years
of serious studies. The
colourful music
containing dance
movements and larger
forms alike offers
possibilities of common
music making for string
players andpianists. $31.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Pieces de Concours Band 2 Alto, Piano - Intermédiaire/avancé Schott
From the Paris Conservatoire repertoire. Composed by Various. Edited by J...(+)
From the Paris
Conservatoire
repertoire. Composed
by Various. Edited by
Jutta
Puchhammer-Sedillot. This
edition: Saddle
stitching. Sheet music.
String. Classical. Score
and part, Softcover.
Composed 1896-1938.
22255. 92 pages. Schott
Music #ED22255. Published
by Schott Music
(HL.49045395).
$31.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Slavonic Dances Op. 46 Breitkopf & Härtel
Violin 1 part (picc.2.2.2.2. - 4.2.3.0. - timp.perc - str) SKU: BR.OB-5273-15...(+)
Violin 1 part
(picc.2.2.2.2. - 4.2.3.0.
- timp.perc - str)
SKU: BR.OB-5273-15
Urtext. Composed
by Antonin Dvorak. Edited
by Klaus Doge. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Dances/marches; Romantic.
Part. 20 pages. Duration
35'. Breitkopf and
Haertel #OB 5273-15.
Published by Breitkopf
and Haertel
(BR.OB-5273-15). ISBN
9790004332498. 10 x 12.5
inches. In his
Slavonic Dances Op. 46,
Dvorak did not draw on
pre-existent music, but
created something
original and new,
projecting his own
compositional will into
the creative process.
What we hear are Dvoraks
melodies,and that it is
due to his creative will
that he cast them as in
Dance 3, for example in
the form of a melodic
four-tone model which is
common to many folk songs
and childrens songs.
Finally, it is his
rhythmic invention and
shaping of the musical
character of each dance
that breathe life into
the elements of Slavonic
dance music. $10.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Slavonic Dances Op. 46 Breitkopf & Härtel
Woodwinds (picc.2.2.2.2. - 4.2.3.0. - timp.perc - str) SKU: BR.OB-5273-30 ...(+)
Woodwinds (picc.2.2.2.2.
- 4.2.3.0. - timp.perc -
str) SKU:
BR.OB-5273-30
Urtext. Composed
by Antonin Dvorak. Edited
by Klaus Doge. Folder.
Orchester-Bibliothek
(Orchestral Library).
Picc.2.2.2.2. - 4.2.3.0.
- timp.perc - str.
Dances/marches; Romantic.
Set of parts. 344 pages.
Duration 35'. Breitkopf
and Haertel #OB 5273-30.
Published by Breitkopf
and Haertel
(BR.OB-5273-30). ISBN
9790004332542. 10 x 12.5
inches. In his
Slavonic Dances Op. 46,
Dvorak did not draw on
pre-existent music, but
created something
original and new,
projecting his own
compositional will into
the creative process.
What we hear are Dvoraks
melodies,and that it is
due to his creative will
that he cast them as in
Dance 3, for example in
the form of a melodic
four-tone model which is
common to many folk songs
and childrens songs.
Finally, it is his
rhythmic invention and
shaping of the musical
character of each dance
that breathe life into
the elements of Slavonic
dance music. $232.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Overture, Scherzo and Finale in E major Op. 52 Breitkopf & Härtel
Violin 2 (2.2.2.2 - 2.2.3.0 - timp - str) SKU: BR.OB-5527-16 Urtext(+)
Violin 2 (2.2.2.2 -
2.2.3.0 - timp - str)
SKU: BR.OB-5527-16
Urtext. Composed
by Robert Schumann.
Edited by Peter Jost.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Urtext of Schumanns
Sinfonietta Overture;
Romantic. Part. 12 pages.
Duration 17'. Breitkopf
and Haertel #OB 5527-16.
Published by Breitkopf
and Haertel
(BR.OB-5527-16). ISBN
9790004340776. 10 x 12.5
inches. That
Schumann truly dug his
heels into symphonic
creation becomes clear at
the latest when we look
not only at his four
well-known symphonies,
but also at the works
between the genres, such
as the Overture, Scherzo
and Finale. Unlike the
traditional symphonic
form, this work has no
slow movement. Schumann
spoke of it as a suite
which hints at a loose
connection of movements
and as a sinfonietta.
Ultimately, he decided to
name it after the
headings of the three
movements which also
share common traits among
one another. Overture,
Scherzo and Finale is
being published here for
the first time with an
Urtext score and parts.
The genesis of the work
was marked by corrections
and revisions. Schumann
subjected the work to a
thorough revision after
the premiere performance
and, after the
publication of the
orchestral parts in 1846,
made more changes for the
first edition of the
score seven years
later.
Urtext of
Schumanns
Sinfonietta. $8.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Overture, Scherzo and Finale in E major Op. 52 Breitkopf & Härtel
Violin 1 (2.2.2.2 - 2.2.3.0 - timp - str) SKU: BR.OB-5527-15 Urtext(+)
Violin 1 (2.2.2.2 -
2.2.3.0 - timp - str)
SKU: BR.OB-5527-15
Urtext. Composed
by Robert Schumann.
Edited by Peter Jost.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Urtext of Schumanns
Sinfonietta Overture;
Romantic. Part. 12 pages.
Duration 17'. Breitkopf
and Haertel #OB 5527-15.
Published by Breitkopf
and Haertel
(BR.OB-5527-15). ISBN
9790004340769. 10 x 12.5
inches. That
Schumann truly dug his
heels into symphonic
creation becomes clear at
the latest when we look
not only at his four
well-known symphonies,
but also at the works
between the genres, such
as the Overture, Scherzo
and Finale. Unlike the
traditional symphonic
form, this work has no
slow movement. Schumann
spoke of it as a suite
which hints at a loose
connection of movements
and as a sinfonietta.
Ultimately, he decided to
name it after the
headings of the three
movements which also
share common traits among
one another. Overture,
Scherzo and Finale is
being published here for
the first time with an
Urtext score and parts.
The genesis of the work
was marked by corrections
and revisions. Schumann
subjected the work to a
thorough revision after
the premiere performance
and, after the
publication of the
orchestral parts in 1846,
made more changes for the
first edition of the
score seven years
later.
Urtext of
Schumanns
Sinfonietta. $8.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Music Theory for the Successful String Musician, Book 2 - Bass GIA Publications
SKU: GI.G-10118 A Curriculum of Theory, History, and Creativity Lesson...(+)
SKU: GI.G-10118
A Curriculum of
Theory, History, and
Creativity Lessons and
Exercises for
Well-Rounded String
Students. Composed by
Christopher Selby.
Habits. Music Education.
Book. 52 pages. GIA
Publications #10118.
Published by GIA
Publications
(GI.G-10118). ISBN
9781622774326. The
perfect solution for
distance learning!
Concise lessons and
exercises are designed
for students to learn and
practice on their
own • Workbooks
give all students equal
access to quality
instruction • No
computer apps, Wi-Fi, or
additional programs are
needed •
Teacher’s edition
with hundreds of
activities, worksheets,
and quizzes will be
available
this summer—no
special apps needed.
Music Theory for the
Successful String
Musician is the music
theory and history
curriculum string
programs have been
waiting for. In two
carefully crafted books,
author Christopher Selby
presents a comprehensive
and pedagogically sound
sequence specifically for
orchestral string
students and also
addresses questions and
offers guidance in
resolving problems that
are unique to the
orchestra classroom. This
curriculum will help
directors teach music
theory, music literacy,
music history, and
creativity—all of
those hard-to-reach
standards that ultimately
help music students
become more well-rounded
and better performers,
creators, and consumers
of great music. Students
will learn:Â Tonal
literacy. Fingerboard
maps and diagrams teach
students how all sharp,
flat, and natural notes
on the staff relate to
the spaces on the
fingerboard. Sequential
lessons introduce
students to minor and
major seconds and the
effects that key
signatures and
accidentals have on
finger patterns. Students
also learn about thirds,
tetrachords, and key
signatures for all major
and minor scales.Â
Rhythmic literacy. The
rhythm units teach
students how to mark
their music so they can
perform rhythms
independently, correctly,
and confidently. Students
will learn to read and
decipher complex dotted,
tied, and syncopated
rhythms, as well as the
longer notes and rests
that are common in
orchestra music.Â
Historical awareness.
Students will learn the
evolution of string
instruments and how
string music has evolved
over the past four
centuries. They will
learn about some of the
great composers and
musical genres from the
Baroque, Classical,
Romantic, and Modern
eras. Creative
activities. Creativity
units teach students how
to write down their ideas
while also encouraging
them to break free from
written notation and
focus on the enjoyment of
making their own music
with friends. These units
give students
opportunities to
contribute their own
ideas to the
ever-evolving field of
string music. . $8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fantasia for Organ Orgue PWM (Polskie Wydawnictwo Muzyczne)
Organ SKU: HL.253940 Composed by Jan Rybarski. PWM. Classical. Softcover....(+)
Organ SKU:
HL.253940 Composed by
Jan Rybarski. PWM.
Classical. Softcover. 32
pages. Duration 960
seconds. Polskie
Wydawnictwo Muzyczne
#11700010. Published by
Polskie Wydawnictwo
Muzyczne (HL.253940).
12.0x9.0
inches. Jan
Rybarskis Fantasia for
Organ is a work of a
great emotional impact.
Its romantic dramaturgy
leads the listener into
the state of deep
reflections. The work is
monumental; its structure
resembles a one-part
sonata with a fugue in
the middle fragment. The
arrangement requires
organs with minimum 16-18
voices in two manuals.
Despite fast passages and
at times complicated
harmony that require a
lot of practice, the work
is played with comfort.
The author, as an
organist-practitioner,
uses difficult technical
elements that he controls
in a perfect manner. The
proportion of the
traditional and modern
harmonics is ideal, which
means it perfectly
corresponds to the
dramaturgy of the work.
The main formative
element is the rhythm
that - as the author
claims himself -
inspires, opens both the
performer and the
listener to the
experience. The structure
of the Fantasia brings
connotations to the
course of a human life,
with a film story that
apparently is different
for everyone, but conveys
one truth common to all
people: in order to
overcome difficulties,
you need to trust
God. $34.00 - Voir plus => Acheter | | |
| Slavonic Dances Op. 46 Breitkopf & Härtel
Viola part (picc.2.2.2.2. - 4.2.3.0. - timp.perc - str) SKU: BR.OB-5273-19(+)
Viola part (picc.2.2.2.2.
- 4.2.3.0. - timp.perc -
str) SKU:
BR.OB-5273-19
Urtext. Composed
by Antonin Dvorak. Edited
by Klaus Doge. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Picc.2.2.2.2. - 4.2.3.0.
- timp.perc - str.
Dances/marches; Romantic.
Part. 24 pages. Duration
35'. Breitkopf and
Haertel #OB 5273-19.
Published by Breitkopf
and Haertel
(BR.OB-5273-19). ISBN
9790004332511. 10 x 12.5
inches. In his
Slavonic Dances Op. 46,
Dvorak did not draw on
pre-existent music, but
created something
original and new,
projecting his own
compositional will into
the creative process.
What we hear are Dvoraks
melodies,and that it is
due to his creative will
that he cast them as in
Dance 3, for example in
the form of a melodic
four-tone model which is
common to many folk songs
and childrens songs.
Finally, it is his
rhythmic invention and
shaping of the musical
character of each dance
that breathe life into
the elements of Slavonic
dance music. $10.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Slavonic Dances Op. 46 Breitkopf & Härtel
Violoncello part (picc.2.2.2.2. - 4.2.3.0. - timp.perc - str) SKU: BR.OB-5273...(+)
Violoncello part
(picc.2.2.2.2. - 4.2.3.0.
- timp.perc - str)
SKU: BR.OB-5273-23
Urtext. Composed
by Antonin Dvorak. Edited
by Klaus Doge. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Picc.2.2.2.2. - 4.2.3.0.
- timp.perc - str.
Dances/marches; Romantic.
Part. 26 pages. Duration
35'. Breitkopf and
Haertel #OB 5273-23.
Published by Breitkopf
and Haertel
(BR.OB-5273-23). ISBN
9790004332528. 10 x 12.5
inches. In his
Slavonic Dances Op. 46,
Dvorak did not draw on
pre-existent music, but
created something
original and new,
projecting his own
compositional will into
the creative process.
What we hear are Dvoraks
melodies,and that it is
due to his creative will
that he cast them as in
Dance 3, for example in
the form of a melodic
four-tone model which is
common to many folk songs
and childrens songs.
Finally, it is his
rhythmic invention and
shaping of the musical
character of each dance
that breathe life into
the elements of Slavonic
dance music. $10.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Music Theory for the Successful String Musician, Book 2 - Violin GIA Publications
SKU: GI.G-10115 A Curriculum of Theory, History, and Creativity Lesson...(+)
SKU: GI.G-10115
A Curriculum of
Theory, History, and
Creativity Lessons and
Exercises for
Well-Rounded String
Students. Composed by
Christopher Selby.
Habits. Music Education.
Book. 52 pages. GIA
Publications #10115.
Published by GIA
Publications
(GI.G-10115). ISBN
9781622774296. The
perfect solution for
distance learning!
Concise lessons and
exercises are designed
for students to learn and
practice on their
own • Workbooks
give all students equal
access to quality
instruction • No
computer apps, Wi-Fi, or
additional programs are
needed •
Teacher’s edition
with hundreds of
activities, worksheets,
and quizzes will be
available
this summer—no
special apps needed.
Music Theory for the
Successful String
Musician is the music
theory and history
curriculum string
programs have been
waiting for. In two
carefully crafted books,
author Christopher Selby
presents a comprehensive
and pedagogically sound
sequence specifically for
orchestral string
students and also
addresses questions and
offers guidance in
resolving problems that
are unique to the
orchestra classroom. This
curriculum will help
directors teach music
theory, music literacy,
music history, and
creativity—all of
those hard-to-reach
standards that ultimately
help music students
become more well-rounded
and better performers,
creators, and consumers
of great music. Students
will learn:Â Tonal
literacy. Fingerboard
maps and diagrams teach
students how all sharp,
flat, and natural notes
on the staff relate to
the spaces on the
fingerboard. Sequential
lessons introduce
students to minor and
major seconds and the
effects that key
signatures and
accidentals have on
finger patterns. Students
also learn about thirds,
tetrachords, and key
signatures for all major
and minor scales.Â
Rhythmic literacy. The
rhythm units teach
students how to mark
their music so they can
perform rhythms
independently, correctly,
and confidently. Students
will learn to read and
decipher complex dotted,
tied, and syncopated
rhythms, as well as the
longer notes and rests
that are common in
orchestra music.Â
Historical awareness.
Students will learn the
evolution of string
instruments and how
string music has evolved
over the past four
centuries. They will
learn about some of the
great composers and
musical genres from the
Baroque, Classical,
Romantic, and Modern
eras. Creative
activities. Creativity
units teach students how
to write down their ideas
while also encouraging
them to break free from
written notation and
focus on the enjoyment of
making their own music
with friends. These units
give students
opportunities to
contribute their own
ideas to the
ever-evolving field of
string music. . $8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Slavonic Dances Op. 46 Breitkopf & Härtel
Double bass part (picc.2.2.2.2. - 4.2.3.0. - timp.perc - str) SKU: BR.OB-5273...(+)
Double bass part
(picc.2.2.2.2. - 4.2.3.0.
- timp.perc - str)
SKU: BR.OB-5273-27
Urtext. Composed
by Antonin Dvorak. Edited
by Klaus Doge. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Picc.2.2.2.2. - 4.2.3.0.
- timp.perc - str.
Dances/marches; Romantic.
Part. 20 pages. Duration
35'. Breitkopf and
Haertel #OB 5273-27.
Published by Breitkopf
and Haertel
(BR.OB-5273-27). ISBN
9790004332535. 10 x 12.5
inches. In his
Slavonic Dances Op. 46,
Dvorak did not draw on
pre-existent music, but
created something
original and new,
projecting his own
compositional will into
the creative process.
What we hear are Dvoraks
melodies,and that it is
due to his creative will
that he cast them as in
Dance 3, for example in
the form of a melodic
four-tone model which is
common to many folk songs
and childrens songs.
Finally, it is his
rhythmic invention and
shaping of the musical
character of each dance
that breathe life into
the elements of Slavonic
dance music. $10.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Overture, Scherzo and Finale in E major Op. 52 Breitkopf & Härtel
Woodwinds (2.2.2.2 - 2.2.3.0 - timp - str) SKU: BR.OB-5527-30 Urtext(+)
Woodwinds (2.2.2.2 -
2.2.3.0 - timp - str)
SKU: BR.OB-5527-30
Urtext. Composed
by Robert Schumann.
Edited by Peter Jost.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library).
Urtext of Schumanns
Sinfonietta Overture;
Romantic. Set of parts.
98 pages. Duration 17'.
Breitkopf and Haertel #OB
5527-30. Published by
Breitkopf and Haertel
(BR.OB-5527-30). ISBN
9790004340813. 10 x 12.5
inches. That
Schumann truly dug his
heels into symphonic
creation becomes clear at
the latest when we look
not only at his four
well-known symphonies,
but also at the works
between the genres, such
as the Overture, Scherzo
and Finale. Unlike the
traditional symphonic
form, this work has no
slow movement. Schumann
spoke of it as a suite
which hints at a loose
connection of movements
and as a sinfonietta.
Ultimately, he decided to
name it after the
headings of the three
movements which also
share common traits among
one another. Overture,
Scherzo and Finale is
being published here for
the first time with an
Urtext score and parts.
The genesis of the work
was marked by corrections
and revisions. Schumann
subjected the work to a
thorough revision after
the premiere performance
and, after the
publication of the
orchestral parts in 1846,
made more changes for the
first edition of the
score seven years
later.
Urtext of
Schumanns
Sinfonietta. $102.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
Page suivante 1 31 61 |