| Everglades (River of Grass) Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500101F
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F). ISBN
9781491131725. UPC:
680160680252. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Symphony No. 6 Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU:
PR.16500104F Three
Places in the East.
Composed by Dan Welcher.
Full score. Theodore
Presser Company
#165-00104F. Published by
Theodore Presser Company
(PR.16500104F). ISBN
9781491132159. UPC:
680160681082. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hal Leonard Anglo Concertina Method Concertina [Partition + Accès audio] Hal Leonard
Book/Online Audio Anglo Concertina; Concertina SKU: HL.286506 For 20- ...(+)
Book/Online Audio Anglo
Concertina; Concertina
SKU: HL.286506
For 20- and 30-Button
Instruments.
Instructional.
Instruction, Method.
Softcover Audio Online.
48 pages. Published by
Hal Leonard (HL.286506).
ISBN 9781540040237.
UPC: 888680896942.
9.0x12.0
inches. The Hal
Leonard Anglo Concertina
Method is designed for
anyone just learning to
play a 20- or 30-button
Anglo concertina. This
comprehensive beginner's
guide gives students an
overview of the
instrument, including
proper playing technique
and button orientation.
From there, it moves to
easy applications in
music reading and
fingering considerations.
Using familiar melodies
and popular Irish tunes,
this easy-to-use guide
will get you playing like
a pro in no time! Lessons
include over twenty
lessons and audio tracks
along with: detailed
button charts for each
song; reading standard
music notation;
Wheatstone and Jeffries
fingerings; 20-button
considerations; holding
the concertina; using the
air button; example
recordings, and more.
Audio is accessed online
using the unique code
inside the book and can
be streamed or
downloaded. The audio
files include PLAYBACK ,
a multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right. $19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 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 | | |
| Concertino 2 Pianos, 4 mains - Intermédiaire/avancé Schott
2 Pianos, 4 Hands; Piano Duet - intermediate to advanced SKU: HL.49013049 ...(+)
2 Pianos, 4 Hands; Piano
Duet - intermediate to
advanced SKU:
HL.49013049 For 2
Pianos/4 Hands.
Composed by Istvá,
n Szelé, and nyi.
Edited by Laszlo
Szelenyi. This edition:
Saddle stitching. Sheet
music. Edition Schott. I.
Szelenyi schrieb das
Concertino im Jahre 1964.
Das nicht allzuschwere,
musikantische Stucke hat
zwei Satze (Tranquillo -
Vivace).Zum 100.
Geburtstag von I.
Szelenyi am 8. 8. 2004.
Classical. 2 copies
needed for performance.
Composed 1964. 52 pages.
Schott Music #ED 9568.
Published by Schott Music
(HL.49013049). ISBN
9790001134064. UPC:
073999351798.
9.0x12.0x0.191
inches. This work
by Kodaly's pupil
Szelenyi, published here
for the first time, might
be seen as something
approaching the Romantic
piano concerto without
orchestra. Even the
Fugato in this work seems
to point to the Romantic
tradition, recalling as
it does Liszt's Sonata in
B minor. The varied
interplay between
dramatic and lyrical
moods is richly
inventive. This
Concertino offers (young)
piano soloists the
opportunity to mount the
podium as an aspiring
virtuoso, accompanying a
second part that
demonstrates symphonic
pretensions. The two
players are evenly
matched in musical terms
in the dialogue between
the two pianos. $31.00 - Voir plus => Acheter | | |
| Concertino Music Sales
Chamber Ensemble SKU: HL.14007440 Composed by Anders Koppel. Music Sales ...(+)
Chamber Ensemble SKU:
HL.14007440 Composed
by Anders Koppel. Music
Sales America. Score. 48
pages. Music Sales
#KP00818. Published by
Music Sales
(HL.14007440). ISBN
9788759890837.
English. 'Concertin
o for chamber ensemble'
was composed in May 1999
for the Esbjerg Ensemble
to whom it is also
dedicated. The two groups
of the ensemble - winds
and strings - meet each
other in a concertating
play along with and
against each other - with
the drums in the middle
to control the battle.
The piece - which is in
one movement - is subject
to the unity of time in
the sense that it is
urged by a rhythmic
motor, which is ticking
from beginning to end. A
pulse and a tempo. The
composition borrows
traits of the classic
sonata form - and it is
own way it tries to -
during the continuous
conversation of the
instruments - to blow
life, drama and pleasure
in a rhythmic structure -
and get the music
moving.A.K. $51.25 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concertino in Russian Style Opus 35 Violon et Piano [Partition + Accès audio] - Facile De Haske Publications
Violin and Piano - early intermediate SKU: BT.DHP-1043625-404 Composed by...(+)
Violin and Piano - early
intermediate SKU:
BT.DHP-1043625-404
Composed by Alexei
Janschinow. De Haske
Study and Play.
Educational Tool. Book
with Part and
Audio-Online. Composed
2021. 16 pages. De Haske
Publications #DHP
1043625-404. Published by
De Haske Publications
(BT.DHP-1043625-404).
ISBN 9789043161763.
9x12 inches.
English-German-French-Dut
ch. Study and
Play is ideal for
developing your playing
in an enjoyable and
musically sound way. Each
edition within this
concept features audio
recordings to add
something extra to your
study routine.When you
play
thisConcertino you
will be able to practise
at a slower study tempo,
as well as the normal
tempo, so that you can
work on your violin
playing in a more
concentrated way whilst
improving your insight
into the music. You
cancontinue to study in
this goal-orientated way
until you have achieved
the desired result.
The title of this piece
suggests a concert
situation: playing a solo
partwith accompaniment.
There are thousands of
such works for theviolin
but many of these cannot
be tackled until you have
been playing for a
considerable time.
Concertino in Russian
Style Opus 35 enables
you to gain necessary
experience for this type
of playing: namely having
sufficientmusical and
technical control over
your instrument whilst
having the support of an
accompanist during
performance. This
carefully chosen
concertino will enrich
your repertoire.
Dit fraaie
concertino in Russische
stijl van Alexei
Janschinow is leerzaam
én prachtig om te
spelen. Kortom, een
fraaie aanvulling op uw
repertoire. Deze boeken
zijn gemaakt binnen het
Study and
Play-concept, dat de
leerlinghelpt om
zijn/haar spel op een
plezierige en
verantwoorde manier te
ontwikkelen. Bij elke
uitgave onder deze noemer
worden
begeleidingsopnames
meegeleverd die iets
extraââ¬â¢s
toevoegen aan de
studie-methode. Deze
opnames bieden
demogelijkheid om te
studeren in zowel het
gewone tempo als een
rustig oefentempo. De
verzorgde set bestaat
verder steeds uit een
vioolpartij en
pianopartij.
St
udy and Play ist das
ideale Konzept, um auf
vergnügliche und
sinnvolle Weise ein gutes
Spiel zu entwickeln.
Jedem Buch mit diesem
Konzept sind
Begleitaufnahmen
beigefügt, welche
die tägliche
ÃÅbungsroutine
individuellergänze
n. Mit Hilfe dieser
Aufnahmen kann das
Concertino im
langsameren
ÃÅbetempo sowie
auch im normalen Tempo
gespielt werden, sodass
man sich zunächst
ganz auf das Violinspiel
konzentrieren kann und
dabei die Musik
kennenlernt. So kann
zielgerichtet
geübt werden, bis
das gewünschte
Ergebnis erreicht
wird. Der Titel dieses
Stückes beschreibt
die Situation in einem
Konzert: Es wird ein Solo
mit Begleitung gespielt.
Solche Werke gibt es
zutausenden für
Violine, viele
können jedoch erst
nach vielen Jahren
Spielerfahrung gemeistert
werden. Mit Concertino
in Russian Style Opus
35 kann man wichtige
Erfahrungen mit genau
dieser Art des Spiels
sammeln,
nämlichausreichend
musikalische und
technische Beherrschung
über das
Instrument zu erlangen
und gleichzeitig mit der
Unterstützung
eines Pianisten spielen
zu können. Dieses
sorgfältig
ausgewählte
Concertino ist auf
jeden Fall
eineBereicherung Ihres
Repertoires.
Study and
Play est le concept
idéal pour
développer votre
jeu dans un environnement
plaisant et solidement
structuré. Chaque
recueil basé sur
ce concept est
accompagné des
enregistrements audio qui
apportent un plus
votreroutine de travail.
Ces enregistrements vous
permettent de jouer ce
Concertino tant
dans le tempo normal que
dans un tempo
dââ¬â¢Ã©
tude plus lent afin que
vous puissiez vous
concentrer plus amplement
sur votre technique de
jeutout en ayant un
meilleur aperçu de
la structure de la
pièce. Vous pouvez
continuer travailler dans
cette optique
jusquââ¬â¢ ce
que vous ayez atteint le
résultat
souhaité. Le
titre de la pièce
évoque le contexte
dââ¬â¢unconcer
t :
lââ¬â¢interpr
©tation
dââ¬â¢une
partie soliste avec
accompagnement. On compte
des milliers
dââ¬â¢oeuvres
similaires pour violon
mais un grand nombre
dââ¬â¢entre
elles ne peuvent
être
abordées sans
expérience et
pratique
musicalesconsidéra
bles. Concertino in
Russian Style Opus 35
vous permet
dââ¬â¢acquÃ
©rir
lââ¬â¢expÃ
©rience
nécessaire
lââ¬â¢interpr
©tation de ce genre
de pièces,
cââ¬â¢est-
-dire être capable
de dominer les aspects
techniques et musicaux
propres votre instrument
tout en ayant le soutien
dââ¬â¢un
accompagnateur lors de
lââ¬â¢interpr
©tation. Choisi
avec soin, ce
Concertino
enrichira votre
répertoire.
Study and
Play è il
concetto ideale per
sviluppare il vostro modo
di suonare in un contesto
piacevole e solidamente
strutturato. Le
registrazione di
accompagnamento vi
permettono di suonare sia
a tempo normale che
più lento,al fine
di migliorare la
concentrazione sullo
studio della tecnica e
avere un migliore
approccio con le varie
parti del brano. Le parti
dellââ¬â¢accom
pagnamento al pianoforte
incluse nelle
pubblicazioni (versione
cartacea) vipermettono di
suonare con un pianista
accompagnatore. $25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Acadia Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Great Smoky Mountains Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Blue Shades Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Level: Grade 5. Conductor
score and set of parts.
Duration 10:00. Published
by Manhattan Beach Music.
$365.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Brenda Stubbert's Collection of Fiddle Tunes Violon [Livre] Cranford Publication
Edited by Paul Stewart Cranford. Arranged by Melissa Emmons and Brenda Stubbert....(+)
Edited by Paul Stewart
Cranford. Arranged by
Melissa Emmons and Brenda
Stubbert. For Fiddle.
Perfect binding, Solos.
Cranford Publications.
Canadian-Maritime.
Intermediate. Book. 72
pages. Published by
Cranford Publication
$19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concertino in Eb major Op. 5 Breitkopf & Härtel
Oother solo insts. and orchestra (solo: B-tbne - 2(picc).2.2.2 - 2.2.0.0 - timp....(+)
Oother solo insts. and
orchestra (solo: B-tbne -
2(picc).2.2.2 - 2.2.0.0 -
timp. str) SKU:
BR.PB-33001
Urtext. Composed
by Christian Gottlieb
Muller. Edited by Nick
Pfefferkorn. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library). Romantic
period. Full score. 56
pages. Duration 15'.
Breitkopf and Haertel #PB
33001. Published by
Breitkopf and Haertel
(BR.PB-33001). ISBN
9790004215821. 10 x 12.5
inches. The present
Concertino in E-flat
major, Op. 5, was
composed especially for
the Leipzig trombone
virtuoso Carl Traugott
Queisser (1800-1846), to
whom the work is also
dedicated. The Concertino
was first reviewed by the
critic Gottfried Wilhelm
Fink (1783-1846) in the
Leipzig Allgemeine
Musikalische Zeitung
(AMZ), issue no. 38,
September 1832. The
critic discussed the work
in detail, calling it a
milestone of the trombone
literature, ... its
public performance should
thus be determined by
only true masters. The
rest, however, may wish
to utilize it, in
silence, that is not
overheard by expectant
listeners, to strive with
it to strengthen their
powers....The
Concertino's premiere can
be dated to 1828, with
Queisser himself as
soloist, and the composer
conducting. Queisser
repeatedly performed the
Concertino up to 1843.
The work was published
under catalogue number
5227 in 1832 by Breitkopf
& Hartel. Sometime in the
1940s the work was lost
to sight and no
performances known to
come from then. Together
with the Concertino, Op.
4, later composed by
Ferdinand David, Muller's
contribution to this
genre is among the most
often played and most
demanding of the trombone
literature. The score
includes, besides a
preface detailing the
work's genesis and
reception history, also
facsimile pages to round
out the edition. You may
browse our piano vocal
score here. $57.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concertino in Eb major Op. 5 Breitkopf & Härtel
Trombone and 1 other inst. (solo: B-tbne - 2(picc).2.2.2 - 2.2.0.0 - timp. str) ...(+)
Trombone and 1 other
inst. (solo: B-tbne -
2(picc).2.2.2 - 2.2.0.0 -
timp. str) SKU:
BR.EB-33001
Urtext. Composed
by Christian Gottlieb
Muller. Edited by Nick
Pfefferkorn. Arranged by
Gunter (KA) Ludwig. Solo
instruments; stapled.
Edition Breitkopf.
Romantic period. Piano
reduction. 32 pages.
Duration 15'. Breitkopf
and Haertel #EB 33001.
Published by Breitkopf
and Haertel
(BR.EB-33001). ISBN
9790004186800. 9 x 12
inches. The present
Concertino in E-flat
major , Op. 5, was
composed especially for
the Leipzig trombone
virtuoso Carl Traugott
Queisser (1800-1846), to
whom the work is also
dedicated. The Concertino
was first reviewed by the
critic Gottfried Wilhelm
Fink (1783-1846) in the
Leipzig Allgemeine
Musikalische Zeitung
(AMZ), issue no. 38,
September 1832. The
critic discussed the work
in detail, calling it a
milestone of the trombone
literature, ... its
public performance should
thus be determined by
only true masters. The
rest, however, may wish
to utilize it, in
silence, that is not
overheard by expectant
listeners, to strive with
it to strengthen their
powers.... The Concertino
's premiere can be dated
to 1828, with Queisser
himself as soloist, and
the composer conducting.
Queisser repeatedly
performed the Concertino
up to 1843. The work was
published under catalogue
number 5227 in 1832 by
Breitkopf & Hartel.
Sometime in the 1940s the
work was lost to sight
and no performances known
to come from then.
Together with the
Concertino , Op. 4, later
composed by Ferdinand
David, Muller's
contribution to this
genre is among the most
often played and most
demanding of the trombone
literature. The score
includes, besides a
preface detailing the
work's genesis and
reception history, also
facsimile pages to round
out the edition. You may
browse our piano vocal
score here. $27.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Indian Concertino Violon [Partition + CD] - Facile De Haske Publications
Composed by George Perlman. De Haske Study and Play. Book with CD. Composed 20...(+)
Composed by George
Perlman.
De Haske Study and Play.
Book
with CD. Composed 2005.
24
pages. De Haske
Publications
#DHP 1053792-400.
Published
by De Haske Publications
$26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concert Time Recital Pieces Clarinet With Piano Accompaniment Bk/cd Clarinette et Piano [Livre + CD] Hal Leonard
| | |
| Concertino for Violin and Piano in Hungarian Style Violon - Intermédiaire Dowani
Violin - intermediate SKU: BT.DOW-04024-400 Op. 21 in A-minor. Dow...(+)
Violin - intermediate
SKU:
BT.DOW-04024-400
Op. 21 in A-minor.
Dowani 3 Tempi Play
Along. Educational Tool.
Set of Books and Media.
Dowani #DOW 04024-400.
Published by Dowani
(BT.DOW-04024-400).
ISBN 9783905479812.
International. DOWA
NI 3 Tempi Play Along is
an effective and
time-tested method of
practicing that offers
more than conventional
play-long editions.
DOWANI 3 Tempi Play Along
enables you to learn a
work systematically and
with accompaniment at
different tempi.The first
thing you hear on the CD
is the concert version in
a first-class recording
with solo instrument and
orchestral, continuo, or
piano accompaniment. Then
the piano or harpsichord
accompaniment follows in
slow and medium tempo for
practice purposes, with
the solo instrument heard
softly in the background
at slow tempo. Finally,
you can play at the
original tempo to the
accompaniment of an
orchestra, piano, or
basso
continuo.Allversions
appearing on the CD were
recorded live by renowned
soloists, accompanists,
and orchestras. There are
no synthesised sounds in
a DOWANI edition! $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concertino Flûte traversière et Piano Theodore Presser Co.
Chamber Music flute, piano SKU: PR.114419180 For Flute and Piano. ...(+)
Chamber Music flute,
piano SKU:
PR.114419180 For
Flute and Piano.
Composed by Daniel Dorff.
Set of Score and Parts.
With Standard notation.
24+12 pages. Duration 10
minutes, 45 seconds.
Theodore Presser Company
#114-41918. Published by
Theodore Presser Company
(PR.114419180). ISBN
9781491114346. UPC:
680160673285. 9 x 12
inches. Composed
for Jasmine Choi’s
premiere on the 2018 NFA
concerto gala,
Dorff’s
CONCERTINOis a 10-minute
showpiece full of flash
and theatricality,
elegantly balanced with
beauty and lyricism.The
work is fully suitable
for flute and piano
recitals, while the
orchestral version is
easy to program,even when
rehearsal time is
limited. $21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concertino for Violin and Piano in Hungarian Style Op. 21 in A-minor Violon et Piano [Partition + CD] - Intermédiaire Dowani
By Oscar Rieding. (Violin). This edition: DOW4512. Dowani Book/CD. Play Along. B...(+)
By Oscar Rieding.
(Violin). This edition:
DOW4512. Dowani Book/CD.
Play Along. BOOK W/CD. 23
pages. Published by
Dowani Editions.
$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concertino for Clarinet (piano red.) Clarinette et Piano Metropolis Music Publishers
Composed by Charles Camilleri (1931-). Published by Metropolis Music (IS.CP6040E...(+)
Composed by Charles
Camilleri (1931-).
Published by Metropolis
Music (IS.CP6040EM).
$24.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concert Time Saxophone Alto et Piano [Partition + CD] - Intermédiaire De Haske Publications
Alto Saxophone, Piano Accompaniment - intermediate SKU: BT.DHP-1074419-400(+)
Alto Saxophone, Piano
Accompaniment -
intermediate SKU:
BT.DHP-1074419-400
Recital pieces - with
piano accompaniment.
Composed by Various. Book
with CD. Composed 2008.
52 pages. De Haske
Publications #DHP
1074419-400. Published by
De Haske Publications
(BT.DHP-1074419-400).
ISBN 9789043154185.
9x12 inches.
English-German-French-Dut
ch. The pieces in
Concert Time are fun and
varied: they have been
written in diverse
styles, and different
time signatures are
featured. The piano
accompaniments are
included, especially for
live performances. The
accompaniments are also
on the CD - played on a
real grand piano. There
is a demo version of each
piece as well. This book
will undoubtedly lead to
success on stage!
De
voordrachtstukken in
Concert Time,
gecomponeerd door
hedendaagse componisten,
bieden speelplezier en
variatie: ze zijn
geschreven in diverse
stijlen en er komen
verschillende maat- en
toonsoorten aan bod. De
pianobegeleidingenzijn
meegeleverd, speciaal
voor liveoptredens. Ze
staan ook op de cd,
verder is er van elk stuk
een voorbeeldversie te
beluisteren. Dit boek
leidt ongetwijfeld tot
succes op het podium!
Inhoud: Chameleon Walk
Jolly JumperSentimental
Tune Baroque Concertino
e.a.
Die
Stücke in Concert
Time bieten durch
eine Vielfalt an Stilen
sowie unterschiedliche
Takt- und Tonarten
Abwechslung und groÃ?en
Lerneffekt. Komponiert
wurden die 13 Stücke
von zeitgenössischen
Komponisten, wie Otto M.
Schwarz, André
Waignein, Bertrand Moren,
Ferrer Ferran u. a. Die
Auswahl der Stücke ist
sorgfältig auf das
Instrument abgestimmt.
Die gerade für
Live-Auftritte
nützlichen
Klavierbegleitungen sind
im Buch enthalten. Es
gibt sie auÃ?erdem auch
auf der CD, auf einem
echten Flügel
aufgenommen.
Zusätzlich sind
Demoversionen aller
Stücke zu hören.
Dieses Buch führt auf
direktem Wege zum
Bühnenerfolg!
<
I>Concert Time
contient des pièces
divertissantes et
variées écrites par
cinq compositeurs
européens.
Différents chiffrages
de mesure, styles et
tonalités sont
représentés. Cet
ouvrage propose un
accompagnement de piano
(version papier) inclus
dans le recueil ainsi
quâ??un accompagnement
sur compact disc,
interprété au piano
queue. Les versions
intégrales vous
serviront de guide.
Concert Time en « live
», câ??est le
succès assuré !
I brani di
Concert Time sono
variegati e divertenti:
sono scritti in diversi
stili, e sono proposti in
ritmi diversi. Le parti
del piano sono incluse
per permettervi di
suonare in pubblico. Sul
CD sono registrati gli
accompagnamenti di un
vero piano a coda.
Troverete una versione
demo di ogni brano.
Questa pubblicazione è
indispensabile per
trovare il successo sul
palco. $25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Carl Maria von Weber
: Concertino, Op. 26 Clarinette et Piano [Reduction|CD|Solo Part] - Intermédiaire/avancé Carl Fischer
By Carl Maria von Weber. Arranged by Denise Schmidt. clarinet in bb, piano and C...(+)
By Carl Maria von Weber.
Arranged by Denise
Schmidt. clarinet in bb,
piano and CD. Published
by Carl Fischer.
$21.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cecile Chaminade
: Concertino, Op. 107 Flûte traversière et Piano [Reduction|CD|Solo Part] - Intermédiaire/avancé Carl Fischer
By Cecile Chaminade. Arranged by Donald Peck. flute, piano and CD. Published by ...(+)
By Cecile Chaminade.
Arranged by Donald Peck.
flute, piano and CD.
Published by Carl
Fischer.
$18.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concertino for Oboe, English Horn, and String Sextet Merion Music
Chamber Music Double Bass, English Horn, Oboe, Viola 1, Viola 2, Violin 1, Violi...(+)
Chamber Music Double
Bass, English Horn, Oboe,
Viola 1, Viola 2, Violin
1, Violin 2, Violoncello
SKU: PR.446413390
Composed by Michael
Boyman. Study Score. With
Standard notation.
Duration 9 minutes.
Merion Music #446-41339.
Published by Merion Music
(PR.446413390). UPC:
680160667383. 9 x 12
inches. Concertino
is about relationships
and how they change over
time. My first goal in
writing the piece was to
create two distinct
characters, in this case
the Oboe and English
Horn. The Oboe begins
with a berceuse-like
melody, while the English
Horn's entrance is more
ambiguous and
rhythmically jagged. Over
the course of the piece,
these two characters
interact through a
variety of musical
settings, their material
or personalities
continually developing.
The strings, more than
mere accompaniment,
provide commentary on the
dramatic action, much
like a Greek chorus. They
establish each musical
scene, interact with the
two woodwinds, and
further develop the
musical material. And
while there is a strong
concertante element in
the piece, it is
essentially chamber
music. There is a
conversational quality, a
sense of give-and-take
between everyone involved
that makes the two
woodwinds first among
equals as opposed to
featured concert
soloists. Each of the
eight instruments has
something unique and
important to
say. Concertino is
about relationships and
how they change over
time. My first goal
in writing the piece was
to create two distinct
characters, in this case
the Oboe and English
Horn. The Oboe begins
with a berceuse-like
melody, while the English
Horn’s entrance is
more ambiguous and
rhythmically jagged.Â
Over the course of the
piece, these two
characters interact
through a variety of
musical settings, their
material or personalities
continually
developing.The strings,
more than mere
accompaniment, provide
commentary on the
dramatic action, much
like a Greek chorus.Â
They establish each
musical scene, interact
with the two woodwinds,
and further develop the
musical material. And
while there is a strong
concertante element in
the piece, it is
essentially chamber
music. There is a
conversational quality, a
sense of give-and-take
between everyone involved
that makes the two
woodwinds first among
equals as opposed to
featured concert
soloists. Each of the
eight instruments has
something unique and
important to say. $19.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concertino for Oboe, English Horn, and String Sextet Merion Music
Chamber Music Double Bass, English Horn, Oboe, Viola, Violin 1, Violin 2, Violon...(+)
Chamber Music Double
Bass, English Horn, Oboe,
Viola, Violin 1, Violin
2, Violoncello SKU:
PR.44641339L Composed
by Michael Boyman. Large
Score. With Standard
notation. Duration 9
minutes. Merion Music
#446-41339L. Published by
Merion Music
(PR.44641339L). UPC:
680160667390. 11 x 14
inches. Concertino
is about relationships
and how they change over
time. My first goal in
writing the piece was to
create two distinct
characters, in this case
the Oboe and English
Horn. The Oboe begins
with a berceuse-like
melody, while the English
Horn's entrance is more
ambiguous and
rhythmically jagged. Over
the course of the piece,
these two characters
interact through a
variety of musical
settings, their material
or personalities
continually developing.
The strings, more than
mere accompaniment,
provide commentary on the
dramatic action, much
like a Greek chorus. They
establish each musical
scene, interact with the
two woodwinds, and
further develop the
musical material. And
while there is a strong
concertante element in
the piece, it is
essentially chamber
music. There is a
conversational quality, a
sense of give-and-take
between everyone involved
that makes the two
woodwinds first among
equals as opposed to
featured concert
soloists. Each of the
eight instruments has
something unique and
important to
say. Concertino is
about relationships and
how they change over
time. My first goal
in writing the piece was
to create two distinct
characters, in this case
the Oboe and English
Horn. The Oboe begins
with a berceuse-like
melody, while the English
Horn’s entrance is
more ambiguous and
rhythmically jagged.Â
Over the course of the
piece, these two
characters interact
through a variety of
musical settings, their
material or personalities
continually
developing.The strings,
more than mere
accompaniment, provide
commentary on the
dramatic action, much
like a Greek chorus.Â
They establish each
musical scene, interact
with the two woodwinds,
and further develop the
musical material. And
while there is a strong
concertante element in
the piece, it is
essentially chamber
music. There is a
conversational quality, a
sense of give-and-take
between everyone involved
that makes the two
woodwinds first among
equals as opposed to
featured concert
soloists. Each of the
eight instruments has
something unique and
important to say. $31.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concertino Op. 45 for Horn and Orchestra Cor et Piano [Reduction] G. Henle
For Horn and Piano Reduction. Composed by Carl Maria von Weber (1786-1826). E...(+)
For Horn and Piano
Reduction. Composed by
Carl
Maria von Weber
(1786-1826).
Edited by Dominik Rahmer.
Sheet Music. Paperbound.
Henle Music Folios. With
additional Horn part in E
und F. Classical.
Softcover
Piano Reduction. 44
pages.
G. Henle #HN1179.
Published
by G. Henle
$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concertino in F Cor et Piano Theodore Presser Co.
Chamber Music English Horn, Piano SKU: PR.114417250 For English Horn a...(+)
Chamber Music English
Horn, Piano SKU:
PR.114417250 For
English Horn and
Orchestra. Composed
by Gaetano Donizetti.
Edited by Mark Biggam
Pedro Diaz. Sws each. See
the Historical Notes by
Michael Finkelman on the
second and third pages.
Romantic. Set of Score
and Parts. With Standard
notation. 16+8 pages.
Duration 12:30. Theodore
Presser Company
#114-41725. Published by
Theodore Presser Company
(PR.114417250). ISBN
9781491110928. UPC:
680160631469. 9x12
inches. Key:
F. Concertino in
FÂ for English Horn and
OrchestraPreviously known
only through a spurious
edition in G Major, the
authentic Concertino in F
was recently discovered
in Italy by Pedro Diaz,
English Hornist of the
Metropolitan Opera
Orchestra. Diaz prepared
this ground-breaking
authentic edition through
comparison of the
multiple historical
sources and an intimate
knowledge of Donizetti's
works. The new edition in
F Major is embellished
with footnotes regarding
sources and
ornamentation. The piano
reduction and orchestral
score and parts
(available on rental)
were prepared by
composer/oboist Mark
Biggam in tandem with
Diaz's work, and the
publication includes
extensive historical
notes by scholar Michael
Finkelman. PEDRO DIAZ
joined The Metropolitan
Opera Orchestra in 2005
and has performed as solo
English Hornist in
hundreds of productions.
As a sought after
teacher, Mr. DÃaz has
lectured extensively at
top music conservatories
including The Juilliard
School, The Manhattan
School of Music, The
Eastman School of
Music,The Hartt Music
School, and Duquesne
University. His
international appearances
include masterclasses in
Panama, Italy, Mexico,
Canada, Puerto Rico,
Leipzig, Berlin, and
Italy.A native of Puerto
Rico, he received his
early musical training in
the “Escuela Libre
de Musica,†an
esteemed public school
for the performing arts.
He has performed as a
guest artist with the
Chicago Symphony, New
York Philharmonic, and
many other leading
ensembles. His playing
has been hailed by
critics as evocative,
eloquent and expressive
and is considered one of
the pre-eminent players
of his generation. Mr.
DÃaz has performed
Wagner’s Tristan
und Isolde 24 times under
the batons of James
Levine, Daniel Barenboim,
and Sir Simon
Rattle.Pedro
DÃaz’s
recording of the
Donizetti Concertino in F
and other concerti is
available from Fox
Products and online
sources, performed with
members of the
Metropolitan Opera
Orchestra. MARK
BIGGAM’s
compositions have been
recognized in various
venues throughout the
United States, Central
America, Asia, and
Europe. He has received
awards from ASCAP and the
Cleveland Foundation. An
oboist himself, many of
Biggam’s
compositions have been
performed by notable
oboists and English Horn
players including John
Mack, Joseph Robinson,
Pedro DÃaz, Carolyn
Hove, and Dwight Parry.
Premieres of his works
have been featured at
events including the
International Double Reed
Society and John Mack
Legacy
Camp.Biggam’s
choral works have gained
recognition, awards, and
commissions from
organizations including
the Moravian Music
Foundation, Ohio
BoyChoir, and Triad Pride
Men’s Chorus. He
also has published
arrangements and piano
reductions of J.S.
Bach’s music for
Bärenreiter-Verlag.
His collaborations with
Pedro DÃaz include the
Donizetti Concertino in F
as well as works of the
lesser-known composers
Pilotti and Mares,
recorded by Mr. Diaz and
members of the
Metropolitan Opera
Orchestra. Biggam has
alsoprepared arrangements
and settings of works for
symphonic band, which
have been performed by
the Piedmont Wind
Symphony. $19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pastorale op. 43 Orchestre de chambre Schott
C Major. Composed by Ludwig van Beethoven (1770-1827). Edited by Helmut W...(+)
C Major. Composed
by Ludwig van Beethoven
(1770-1827). Edited by
Helmut W. May. Sheet
music. Concertino
(Chamber Orchestra). Set
of supplemental string
parts. Op. 43. 22 pages.
Duration 5'. Schott Music
#CON 21-60. Published by
Schott Music
(HL.49001943).
$27.99 - Voir plus => Acheter | | |
| Downshifting Theodore Presser Co.
Band Bass Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Eup...(+)
Band Bass Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Euphonium,
Flute 1, Flute 2, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3,
Percussion 4, Percussion
5, Piccolo, String Bass
and more. SKU:
PR.165000970 For
Band. Composed by Dan
Welcher. Folder.
Premiered by the
University of Texas
Symphony Band, Scott S.
Hanna, conductor, at
Butler School of Music,
UT/Austin, Austin, Texas.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 14-Sep. 40
pages. Duration 7
minutes. Theodore Presser
Company #165-00097.
Published by Theodore
Presser Company
(PR.165000970). ISBN
9781491100462. UPC:
680160626717. 9x12
inches. Commissione
d by a consortium of 20
high school and
university bands
coordinated by Scott
Hanna of the University
of Texas at Austin,
Downshifting is inspired
by Welcher’s joy
of bicycle riding.
Welcher explains in the
program note: When I
decided to write a piece
for band that was
basically entertaining
and uplifting, it made
perfect sense to call it
Downshifting... With
three gears on the front
sprocket and seven on the
rear, it’s
possible to keep
one’s legs going
at a constant speed (for
me, q = 126) while the
bike itself may be moving
very slowly or very
quickly. I determined to
capitalize on this in
writing Downshifting,
which keeps the same
mathematical inner pulse,
‘shifting’
(with a ratchet) as the
terrain changes.. One
of the joys of life for
me is riding my 21-speed
bicycle. As a
basically non-athletic
person who nonetheless
likes to stay in shape, I
have found that riding my
bike provides just the
exercise I need. The
workout is strenuous, but
pleasant—and the
infinite variety of
scenery I pass keeps me
alert and wide awake.Â
When I decided to write a
piece for band that was
basically entertaining
and uplifting, it made
perfect sense to call it
Downshifting.With three
gears on the front
sprocket and seven on the
rear, it’s
possible to keep ones
legs going at a constant
speed (for me,
that’s 126 to the
quarter note) while the
bike itself may be moving
very slowly or very
quickly. I determined
to capitalize on this in
writing the music, which
manages to keep the same
mathematical inner pulse,
“shiftingâ€
(with a ratchet) as the
terrain changes. So
Downshifting begins with
that steady pulse, on a
grid of eighth notes in
2/4 to propel the little
vehicle forward.Â
There’s a joyous
little tune in our heads
as we begin our ride.Â
As the initial thrill of
riding on the flat gives
way to monotony, we stay
in that pulse for the
first minute or so of the
ride. Then, as the
first hill becomes
visible, we shift the
bike down: even though
the eighths are equal,
the pulse feels slower
(and we’re now in
6/8 time). Ultimately
the compound meter shifts
again as the climb
begins, and we’re
now plodding doggedly up
the hill. (The music
reflects all of these
changes, with subtitles
such as “Working
harder—Seeing the
climb, aheadâ€,
“Steady and
committed…the climb
begins!â€,
“Straining against
the gradeâ€,
etc.).There are two
hills, and two long
climbs (but in different
keys, reflecting the
change in scenery).Â
When at last the summit
of the second hill is
reached (“Flying,
Over the Topâ€), we
coast at last down the
other side at breakneck
speed. The initial
joyous melody returns,
but now in a spread-out
coasting pulse. At
the end of the ride, we
slow to a
stop—then take one
last sprint (shifting
five times in the
process) in order to end
on a biker’s
high.Downshifting was
commissioned by a
consortium of fourteen
high school and college
bands, overseen by my
longtime colleague at the
University of Texas,
Scott Hanna. The
piece is dedicated to him
(and to all bicycle
enthusiasts). $175.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concertino No. 2 in G (Pergolesi) Lucks Music Library
(cem,str=2-2-2-2.3.2.2) SKU: TM.11362SET Composed by Carlo Ricciotti. Set...(+)
(cem,str=2-2-2-2.3.2.2)
SKU: TM.11362SET
Composed by Carlo
Ricciotti. Set Type: M.
Set of parts. Lucks Music
Library #A7091. Published
by Lucks Music Library
(TM.11362SET).
Sandra Dackow
Little Known Gem - Grade
IV. cembalo in set.
Attributed to Pergolesi.
From the collection Six
Concertini for Strings,
No. 2 in G is, in many
ways, the most fun of the
set. With very modest
technical demands, this
robust selection offers
thematic material for all
sections. The violins are
divided into four
sections, making it
possible to assign
intermediate players to
lower parts. First
violins reach fifth
position and there is
shifting required of the
cellos and basses. Short
eighth and quarter notes
should be kept at the
frog, while more bow may
be used for sixteenth
notes. Transitional
writing with many V7
chords brings the best of
the Baroque and Classical
eras together, creating a
piece that is both rich
and intriguing! At
different times on
recordings and, in some
cases, print, the set of
Six Concertini for
Strings has been credited
to Giovanni Pergolesi,
Unico Wilhelm van
Wassenauer, Carlo
Ricciotti, and Johann
Adam Birkenstock. The
present consensus is that
these works are from the
pen of Unico Wilhelm van
Wassenauer (1692-1766) of
the Netherlands, though
published under the name
of Carlo Ricciotti, an
Italian violinist and
impresario. Ricciotti
continues to be credited
with the work in present
day, furthering the
mystery around the true
composer of this
delightful piece of
music. $36.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concertino No. 2 in G (Pergolesi) Lucks Music Library
(cem,str=2-2-2-2.3.2.2) SKU: TM.11362SC Composed by Carlo Ricciotti. Scor...(+)
(cem,str=2-2-2-2.3.2.2)
SKU: TM.11362SC
Composed by Carlo
Ricciotti. Score. Lucks
Music Library #A7091.
Published by Lucks Music
Library (TM.11362SC).
Sandra Dackow
Little Known Gem - Grade
IV. cembalo in set.
Attributed to Pergolesi.
From the collection Six
Concertini for Strings,
No. 2 in G is, in many
ways, the most fun of the
set. With very modest
technical demands, this
robust selection offers
thematic material for all
sections. The violins are
divided into four
sections, making it
possible to assign
intermediate players to
lower parts. First
violins reach fifth
position and there is
shifting required of the
cellos and basses. Short
eighth and quarter notes
should be kept at the
frog, while more bow may
be used for sixteenth
notes. Transitional
writing with many V7
chords brings the best of
the Baroque and Classical
eras together, creating a
piece that is both rich
and intriguing! At
different times on
recordings and, in some
cases, print, the set of
Six Concertini for
Strings has been credited
to Giovanni Pergolesi,
Unico Wilhelm van
Wassenauer, Carlo
Ricciotti, and Johann
Adam Birkenstock. The
present consensus is that
these works are from the
pen of Unico Wilhelm van
Wassenauer (1692-1766) of
the Netherlands, though
published under the name
of Carlo Ricciotti, an
Italian violinist and
impresario. Ricciotti
continues to be credited
with the work in present
day, furthering the
mystery around the true
composer of this
delightful piece of
music. $15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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