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| Gustave Vogt's Musical Album of Autographs Cor anglais, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe SKU:
CF.WF229 15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229). ISBN
9781491153789. UPC:
680160911288. Intro
duction Gustave Vogt's
Musical Paris Gustave
Vogt (1781-1870) was born
into the Age of
Enlightenment, at the
apex of the
Enlightenment's outreach.
During his lifetime he
would observe its effect
on the world. Over the
course of his life he
lived through many
changes in musical style.
When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the grandfather of the
modern oboe and the
premier oboist of Europe.
Through his eighty-nine
years, Vogt would live
through what was perhaps
the most turbulent period
of French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
System Six Triebert oboe
(the instrument adopted
by Conservatoire
professor, Georges
Gillet, in 1882) was only
five years from being
developed. Vogt was born
March 18, 1781 in the
ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school's first
oboe professor,
Alexandre-Antoine
Sallantin (1775-1830).
Vogt's relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed repetiteur,
which involved teaching
the younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school's history. During
his tenure, he became the
most influential oboist
in France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799-1839), Apollon
Marie-Rose Barret
(1804-1879), Charles
Triebert (1810-1867),
Stanislas Verroust
(1814-1863), and Charles
Colin (1832-1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854-1920), and then to
Marcel Tabuteau
(1887-1966), the oboist
Americans lovingly
describe as the father of
American oboe playing.
Opera was an important
part of Vogt's life. His
first performing position
was with the
Theatre-Montansier while
he was still studying at
the Conservatoire.
Shortly after, he moved
to the Ambigu-Comique
and, in 1801 was
appointed as first oboist
with the Theatre-Italien
in Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opera-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opera, the
top orchestra in Paris at
the time. He played with
the Paris Opera until
1834, all the while
bringing in his current
and past students to fill
out the section. In this
position, he began to
make a name for himself;
so much so that specific
performances were
immortalized in memoirs
and letters. One comes
from a young Hector
Berlioz (1803-1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opera's performance of
Mehul's Stratonice and
Persuis' ballet Nina. It
was in response to the
song Quand le bien-amie
reviendra that Berlioz
wrote: I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt's instrument...
Shortly after this,
Berlioz gave up studying
medicine and focused on
music. Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini's (1760-1842)
Ave Maria, with soprano
Anna (Nanette) Schechner
(1806-1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opera. He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artot (1815-1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having lost none of his
superiority over the
oboe.... It's always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to Vogt's oboe.
Vogt was also active
performing in Paris as a
chamber and orchestral
musician. He was one of
the founding members of
the Societe des Concerts
du Conservatoire, a group
established in 1828 by
violinist and conductor
Francois-Antoine Habeneck
(1781-1849). The group
featured faculty and
students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770-1836). After his
retirement from the Opera
in 1834 and from the
Societe des Concerts du
Conservatoire in 1842,
Vogt began to slow down.
His final known
performance was of
Cherubini's Ave Maria on
English horn with tenor
Alexis Dupont (1796-1874)
in 1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of Autographs.
Autograph Albums Vogt's
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death. As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492-1550), a collection
of 212 Latin emblem
poems. In 1558, the first
book conceived for the
purpose of the album
amicorum was published by
Lyon de Tournes
(1504-1564) called the
Thesaurus Amicorum. These
books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans. The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbucher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music. This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his grand tour through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his most valuable
contribution came from
Beethoven in 1815.
Spohr's Notenstammbuch,
comprised only of musical
entries, is
groundbreaking because it
was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbucher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later. Vogt's Musical
Album of Autographs
Vogt's Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod's (1818-1893)
Faust, which premiered in
1859, was submitted.
Within this album we find
sixty-two entries from
musicians whom he must
have known very well
because they were
colleagues at the
Conservatoire, or
composers of opera whose
works he was performing
with the Paris Opera.
Other entries came from
performers with whom he
had performed and some
who were simply passing
through Paris, such as
Joseph Joachim
(1831-1907). Of the
sixty-three total
entries, some are
original, unpublished
works, while others came
from well-known existing
works. Nineteen of these
works are for solo piano,
sixteen utilize the oboe
or English horn, thirteen
feature the voice (in
many different
combinations, including
vocal solos with piano,
and small choral settings
up to one with double
choir), two feature
violin as a solo
instrument, and one even
features the now obscure
ophicleide. The
connections among the
sixty-two contributors to
Vogt's album are
virtually never-ending.
All were acquainted with
Vogt in some capacity,
from long-time
friendships to
relationships that were
created when Vogt
requested their entry.
Thus, while Vogt is the
person who is central to
each of these musicians,
the web can be greatly
expanded. In general, the
connections are centered
around the Conservatoire,
teacher lineages, the
Opera, and performing
circles. The
relationships between all
the contributors in the
album parallel the
current musical world, as
many of these kinds of
relationships still
exist, and permit us to
fantasize who might be
found in an album created
today by a musician of
the same standing. Also
important, is what sort
of entries the
contributors chose to
pen. The sixty-three
entries are varied, but
can be divided into
published and unpublished
works. Within the
published works, we find
opera excerpts, symphony
excerpts, mass excerpts,
and canons, while the
unpublished works include
music for solo piano,
oboe or English horn,
string instruments
(violin and cello), and
voice (voice with piano
and choral). The music
for oboe and English horn
works largely belong in
the unpublished works of
the album. These entries
were most likely written
to honor Vogt. Seven are
for oboe and piano and
were contributed by
Joseph Joachim, Pauline
Garcia Viardot
(1821-1910), Joseph
Artot, Anton Bohrer
(1783-1852), Georges
Onslow (1784-1853),
Desire Beaulieu
(1791-1863), and Narcisse
Girard (1797-1860). The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work, which he even
included in his
signature. Two composers
contributed pieces for
English horn and piano,
and like the previous
oboe entries, are simple
and repetitive. These
were written by Michele
Carafa (1787-1872) and
Louis Clapisson
(1808-1866). There are
two other entries that
were unpublished works
and are chamber music.
One is an oboe trio by
Jacques Halevy
(1799-1862) and the other
is for oboe and strings
(string trio) by J. B.
Cramer (1771-1858). There
are five published works
in the album for oboe and
English horn. There are
three from operas and the
other two from symphonic
works. Ambroise Thomas
(1811-1896) contributed
an excerpt from the
Entr'acte of his opera La
Guerillero, and was
likely chosen because the
oboe was featured at this
moment. Hippolyte Chelard
(1789-1861) also chose to
honor Vogt by writing for
English horn. His entry,
for English horn and
piano, is taken from his
biggest success, Macbeth.
The English horn part was
actually taken from Lady
Macbeth's solo in the
sleepwalking scene.
Vogt's own entry also
falls into this category,
as he entered an excerpt
from Donizetti's Maria di
Rohan. The excerpt he
chose is a duet between
soprano and English horn.
There are two entries
featuring oboe that are
excerpted from symphonic
repertoire. One is a
familiar oboe melody from
Beethoven's Pastoral
Symphony entered by his
first biographer, Anton
Schindler (1796-1864).
The other is an excerpt
from Berlioz's choral
symphony, Romeo et
Juliette. He entered an
oboe solo from the Grand
Fete section of the
piece. Pedagogical
benefit All of these
works are lovely, and fit
within the album
wonderfully, but these
works also are great oboe
and English horn music
for young students. The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work in the piano. This
repetitive structure is
beneficial for young
students for searching
for a short solo to
present at a studio
recital, or simply to
learn. They also work
many technical issues a
young player may
encounter, such as
mastering the rolling
finger to uncover and
recover the half hole.
This is true of Bealieu's
Pensee as well as
Onslow's Andantino.
Berlioz's entry from
Romeo et Juliette
features very long
phrases, which helps with
endurance and helps keep
the air spinning through
the oboe. Some of the
pieces also use various
levels of ornamentation,
from trills to grace
notes, and short
cadenzas. This allows the
student to learn
appropriate ways to
phrase with these added
notes. The chamber music
is a valuable way to
start younger students
with chamber music,
especially the short
quartet by Cramer for
oboe and string trio. All
of these pieces will not
tax the student to learn
a work that is more
advanced, as well as give
them a full piece that
they can work on from
beginning to end in a
couple weeks, instead of
months. Editorial Policy
The works found in this
edition are based on the
manuscript housed at the
Morgan Library in New
York City (call number
Cary 348, V886. A3). When
possible, published
scores were consulted and
compared to clarify pitch
and text. The general
difficulties in creating
an edition of these works
stem from entries that
appear to be hastily
written, and thus omit
complete articulations
and dynamic indications
for all passages and
parts. The manuscript has
been modernized into a
performance edition. The
score order from the
manuscript has been
retained. If an entry
also exists in a
published work, and this
was not indicated on the
manuscript, appropriate
titles and subtitles have
been added tacitly. For
entries that were
untitled, the beginning
tempo marking or
expressive directive has
been added as its title
tacitly. Part names have
been changed from the
original language to
English. If no part name
was present, it was added
tacitly. All scores are
transposing where
applicable. Measure
numbers have been added
at the beginning of every
system. Written
directives have been
retained in the original
language and are placed
relative to where they
appear in the manuscript.
Tempo markings from the
manuscript have been
retained, even if they
were abbreviated, i.e.,
Andte. The barlines,
braces, brackets, and
clefs are modernized. The
beaming and stem
direction has been
modernized. Key
signatures have been
modernized as some of the
flats/sharps do not
appear on the correct
lines or spaces. Time
signatures have been
modernized. In a few
cases, when a time
signature was missing in
the manuscript, it has
been added tacitly.
Triplet and rhythmic
groupings have been
modernized. Slurs, ties,
and articulations
(staccato and accent)
have been modernized.
Slurs, ties, and
articulations have been
added to parallel
passages tacitly.
Courtesy accidentals
found in the manuscript
have been removed, unless
it appeared to be helpful
to the performer. Dynamic
indications from the
manuscript have been
retained, except where
noted. --Kristin
Leitterman. Introducti
onGustave Vogt’s
Musical ParisGustave Vogt
(1781–1870) was
born into the “Age
of Enlightenment,â€
at the apex of the
Enlightenment’s
outreach. During his
lifetime he would observe
its effect on the world.
Over the course of his
life he lived through
many changes in musical
style. When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the “grandfather
of the modern oboeâ€
and the “premier
oboist of
Europe.â€Through his
eighty-nine years, Vogt
would live through what
was perhaps the most
turbulent period of
French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
“System Sixâ€
Triébert oboe (the
instrument adopted by
Conservatoire professor,
Georges Gillet, in 1882)
was only five years from
being developed.Vogt was
born March 18, 1781 in
the ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school’s
first oboe professor,
Alexandre-Antoine
Sallantin
(1775–1830).Vogtâ
€™s relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed
répétiteur, which
involved teaching the
younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school’s history.
During his tenure, he
became the most
influential oboist in
France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799–1839),
Apollon Marie-Rose Barret
(1804–1879),
Charles Triebert
(1810–1867),
Stanislas Verroust
(1814–1863), and
Charles Colin
(1832–1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854–1920), and
then to Marcel Tabuteau
(1887–1966), the
oboist Americans lovingly
describe as the
“father of American
oboe playing.â€Opera
was an important part of
Vogt’s life. His
first performing position
was with the
Théâtre-Montansier
while he was still
studying at the
Conservatoire. Shortly
after, he moved to the
Ambigu-Comique and, in
1801 was appointed as
first oboist with the
Théâtre-Italien in
Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opéra-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opéra,
the top orchestra in
Paris at the time. He
played with the Paris
Opéra until 1834, all
the while bringing in his
current and past students
to fill out the section.
In this position, he
began to make a name for
himself; so much so that
specific performances
were immortalized in
memoirs and letters. One
comes from a young Hector
Berlioz
(1803–1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opéra’s
performance of
Mehul’s Stratonice
and Persuis’
ballet Nina. It was in
response to the song
Quand le bien-amié
reviendra that Berlioz
wrote: “I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt’s
instrument…â€
Shortly after this,
Berlioz gave up studying
medicine and focused on
music.Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini’s
(1760–1842) Ave
Maria, with soprano Anna
(Nanette) Schechner
(1806–1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opéra.He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artôt
(1815–1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having “lost none
of his superiority over
the oboe….
It’s always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to
Vogt’s
oboe.â€Vogt was also
active performing in
Paris as a chamber and
orchestral musician. He
was one of the founding
members of the
Société des
Concerts du
Conservatoire, a group
established in 1828 by
violinist and conductor
François-Antoine
Habeneck
(1781–1849). The
group featured faculty
and students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770–1836).After
his retirement from the
Opéra in 1834 and from
the Société des
Concerts du Conservatoire
in 1842, Vogt began to
slow down. His final
known performance was of
Cherubini’s Ave
Maria on English horn
with tenor Alexis Dupont
(1796–1874) in
1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of
Autographs.Autograph
AlbumsVogt’s
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death.As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492–1550), a
collection of 212 Latin
emblem poems. In 1558,
the first book conceived
for the purpose of the
album amicorum was
published by Lyon de
Tournes
(1504–1564) called
the Thesaurus Amicorum.
These books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans.The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbücher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music.This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his “grand
tour†through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his “most valuable
contribution†came
from Beethoven in 1815.
Spohr’s
Notenstammbuch, comprised
only of musical entries,
is groundbreaking because
it was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbücher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later.Vogt’s
Musical Album of
AutographsVogt’s
Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod’s
(1818–1893) Faust,
which premiered in 1859,
was submitted.Within this
album ... $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Ultimate Rock Pop Fake Book Instruments en Do [Fake Book] Hal Leonard
By Various. For C Instruments. Fake Book. Softcover. 560 pages. Published by Hal...(+)
By Various. For C
Instruments. Fake Book.
Softcover. 560 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Works for Violin and Piano (1): Sonatas for Violin and Piano Violon et Piano Barenreiter
Composed by Camille Saint- Saens (1835-1921). Edited by Fabien Guilloux and Fra...(+)
Composed by Camille
Saint-
Saens (1835-1921). Edited
by
Fabien Guilloux and
François
de Médicis. This
edition:
Edition of selected
works,
Urtext edition. Linen.
Saint-
Saens, Camille. OEuvres
instrumentales completes
III/4. Edition of
selected
works, Performance score,
anthology. Baerenreiter
Verlag
#BA10304-01. Published by
Baerenreiter Verlag
$394.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 77 Stdio Ghibli Melodies (Japanese/English/Chinese) Ligne De Mélodie, (Paroles) et Accords [Conducteur] Yamaha
C-instruments (e.g. Piano, Keyboard, Flute, Violin...) SKU: YM.GTP01101983(+)
C-instruments (e.g.
Piano, Keyboard, Flute,
Violin...) SKU:
YM.GTP01101983 Studio
Ghibli, Anime. Score.
Yamaha Music Media
#GTP01101983. Published
by Yamaha Music Media
(YM.GTP01101983). ISBN
9784636116342. 12 x 9
inches. This book
contains a total of 77
lead sheets of music from
Studio Ghibli films.
Melody lines and chord
symbols are provided for
all songs. It can be used
for playing on keyboard
instruments such as
pianos and keyboards, and
is also suitable for
other C-instruments with
a suitable range e.g.
Flutes, Violins. You can
also use this book very
conveniently as a base
for playing your own
arrangements of your
favorite songs! We hope
you will use this book in
a variety of creative
ways and enjoy plenty of
Studio Ghibli music. $15.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The 1950s Paroles Seulement [Partition] Hal Leonard
Paperback Lyrics. By Various. Paperback Lyrics. Softcover. Size 4.25x6.75 inches...(+)
Paperback Lyrics. By
Various. Paperback
Lyrics. Softcover. Size
4.25x6.75 inches. 256
pages. Published by Hal
Leonard.
$7.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2 Piano seul [Conducteur] - Intermédiaire Musik Fabrik
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
Piano - Grade 5 SKU:
FA.MFCD017B By
Nicolas Horvath. By
Claude Debussy and Robert
Orledge. Rediscoverd
Debussy. Christmas.
Score. Musik Fabrik
#MFCD017B. Published by
Musik Fabrik
(FA.MFCD017B). 8.27 x
11.69
inches. Contains Le
Roi Lear:
Prelude,Premiere Fanfare,
and La Mort de
Cordelia,Toomai des
elephants, Rodrigue et
Chimene: Prelude a l'acte
1p. Le Martyre de Saint
Sebastien: La Passion ,
and No-ja-li ou Le Palais
du Silence
From
Robert Orledge's
notes:
My interest
in the wonderful music of
Claude Debussy began in
the 1980s when I
researched and published
a book with Cambridge
University Press entitled
Debussy and the Theatre.
During the course of my
studies in Paris, I was
amazed to discover that
Debussy planned over 50
theatrical works but only
finished two of these
entirely by himself (the
opera Pelleas et
Melisande in 1893-1902
and the ballet Jeux for
Diaghilev's Ballets
Russes in 1912-13). Of
the rest, many were never
started musically (like
Siddartha and Orphee-roi
with the Oriental scholar
Victor Segalen, 1907);
some had a few
tantalising sketches
(like the Edgar Allan Poe
opera Le Diable dans le
beffroi, 1902-03); some
were half-finished (like
his other Poe opera La
Chute de la Maison Usher,
1908-17); while others
were musically complete
but had their
orchestrations completed
by other composers (like
Khamma, by Charles
Koechlin, 1912-13; or Le
Martyre de Saint
Sebastien and La Boite a
joujoux by his 'angel of
corrections' ['l'ange des
Corrections'] Andre
Caplet in 1911 and 1919
respectively).
For
it has to be admitted
that what some scholars
call Debussy's
'compulsive achievement'
could equally well be
viewed as laziness,
especially as far as the
minute detail required
for calligraphing his
orchestral scores was
concerned. It was as if
creating the music itself
was of greater importance
than controlling its
final sound, even if
Debussy was an
imaginative orchestrator
when he found the time
and energy to do it. It
also seems true that
Debussy also preferred
inventing ideas to
turning them into
complete pieces. However,
despite the lack of
detail in many of his
sketches (missing clefs,
key signatures, dynamics,
phrasing, etc.) the notes
themselves are
surprisingly accurate,
whether or not they can
be compared with a later
draft. Thus, a large
number of sketches exist
for his Chinese ballet
No-ja-li ou Le Palais du
Silence and it is not too
difficult to see which
parts of Georges de
Feure's 1913 scenario
(see below) inspired
which ideas. But Debussy
hardly made any attempt
to join them together
after the first few
bars.
It was
usually up to his
publisher, Jacques
Durand, to find solutions
when Debussy risked a
breach of contract.
Debussy was supposed to
supervise the
orchestrations completed
by others, but this
supervision was usually
very light and restricted
to quiet, sensitive
moments in which problems
were easier to spot. Far
from jealously guarding
every one of his created
notes, as Ravel did,
Debussy once even went as
far as to ask Koechlin to
'write a ballet for him
that he would sign' on 26
March 1914 when he was
hard-pressed to fulfil
his lucrative contract
for No-ja-li with Andre
Charlot at the Alhambra
Theatre in London. In the
end, Debussy (through
Durand) sent Charlot the
symphonic suite Printemps
instead, whose
orchestration had been
completed by Henri Busser
in the Spring of
1912.
So, when I
was offered early
retirement as Professor
of Music at Liverpool
University in 2004, I
seized the opportunity it
would give me to spend
time trying to
reconstruct some of
Debussy's lost potential
masterpieces from his
existing sketches and
drafts--then
orchestrating them in
Debussy's style when this
was appropriate. I had
begun this mission in
2001 with the most
promising project, the
missing parts of Scene 2
of La Chute de la Maison
Usher and the sheer joy
it gave me at every stage
persuaded me to tackle
other projects,
especially when Debussy
experts were unable to
identify exactly where I
took over from Debussy
(and vice versa) in
Usher. $48.69 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1 Piano seul [Conducteur] Musik Fabrik
By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Redi...(+)
By Nicolas Horvath. By
Robert Orledge and Claude
Debussy (1862-1918).
Rediscoverd Debussy.
Christmas. Score. Musik
Fabrik #MFCD017A.
Published
by Musik Fabrik
$48.69 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Studio Ghibli 77 Selections [Japanese/English/Chinese] Piano seul - Facile Yamaha
Piano - Easy to Intermediate Levels SKU: YM.GTP01101652 The Ultimate S...(+)
Piano - Easy to
Intermediate Levels
SKU:
YM.GTP01101652 The
Ultimate Studio Ghibli
Piano Solo
Collection. Composed
by Joe Hisaishi. Studio
Ghibli. Anime Song;
J-Pop. Book. Yamaha Music
Media #GTP01101652.
Published by Yamaha Music
Media (YM.GTP01101652).
ISBN 9784636113334.
8.75 x 12
inches. Here is the
ultimate, official,
complete edition of
Studio Ghibli Piano Solo
Collection, featuring 77
of Studio Ghibli's
essential musical
masterpieces, fully
supported in three
languages: Japanese,
English and Simplified
Chinese! From 20 of
Studio Ghibli's most
beloved films, including
My Neighbor Totoro,
Princess Mononoke,
Spirited Away, and more,
comes a piano solo
collection featuring 77
iconic songs. In addition
to timeless favorites,
songs from popular
soundtracks such as
Kiki's Delivery Service
and Porco Rosso are
included. Featuring
Studio Ghibli's musical
masterpieces in solo
piano arrangements, this
collection includes the
film's theme songs as
well as fan-favorite
instrumental music. The
difficulty levels range
from easy to
intermediate, making them
accessible to a wide
range of players, and the
simpler arrangements can
be fully enjoyed by
players who can feel the
essence and atmosphere.
The book cover features
official Studio Ghibli
artwork. The book is
supported in Japanese,
English and Chinese. This
single volume offers a
comprehensive, special
collector's edition for
enjoying the music of
Studio Ghibli. Studio
Ghibli 77 Selections is
sure to take you on a
musical journey through
20 Studio Ghibli
films! $26.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Song of Joy - Choral Book Chorale SATB - Facile Word Music
SATB choir - Easy SKU: WD.080689636172 Composed by Marty Hamby. Choral, c...(+)
SATB choir - Easy SKU:
WD.080689636172
Composed by Marty Hamby.
Choral, cantatas.
Christmas. Book. Word
Music #080689636172.
Published by Word Music
(WD.080689636172).
UPC:
080689636172. Chris
tmas is a time for
gratitude, a time for
celebration and
expectation! And it is
a time for music!
Songs of the season are
everywhere around us,
reminding us of the birth
of the Savior, the
anticipated coming of the
Christ Child, the advent
of the Messiah, and the
JOY that is ours
as believers. As
followers of Christ, we
have done more than just
anticipate His coming; we
have lived the
reality of having
received the Son of God
into our hearts, of
knowing Him as Savior,
and worshipping Him as
the King of kings and
Lord of lords! And
because of the wonderful
gift of God’s Son,
given to us, we not only
hear the music of
Christmas, we SING
the song of Christmas,
the Song of
Joy!
Songs both new and old,
celebratory and
worshipful, joy-filled
and awe-inspired,
soul-searching and
soul-soothing, weave a
tapestry of Christmas
wonder that invites the
believer to worship and
rejoice in His presence,
while offering Hope to
the downtrodden and
Salvation to the
lost. In perhaps some of
its most powerful
moments, Song of
Joy ushers the
listener into the serene
and peaceful strains of
the beloved carol
Silent Night! Holy
Night!, followed by
compelling narration
leading to the poignant
and reflective new song,
Somewhere in Your
Silent Night (made
popular by Casting
Crowns). That is followed
by a song of invitation
and worship with
Crowder’s Come
As You Are,
encouraging the lost to
come to Christ and give
Him their heart. This
song of invitation leads
us into the declaration
that He is the King of
kings who will reign
forever in the medley
featuring
Tomlin’s, He
Shall Reign
Forevermore, and
Elevation
Worship’s, Only
King Forever. $12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 100 Pop Solos For Saxophone Music Sales
| | |
| 100 Pop Solos For Clarinet Clarinette Music Sales
| | |
| 100 Pop Solos For Flute Music Sales
| | |
| Road Warrior Theodore Presser Co.
Chamber Music Organ, Trumpet SKU: PR.114419810 Composed by Stacy Garrop. ...(+)
Chamber Music Organ,
Trumpet SKU:
PR.114419810 Composed
by Stacy Garrop. Set of
Score and Parts. 33+12
pages. Duration 21
minutes. Theodore Presser
Company #114-41981.
Published by Theodore
Presser Company
(PR.114419810). ISBN
9781491136638. UPC:
680160681921. Stacy
Garrop’s ROAD
WARRIOR is music of
real-life tragedy,
expressed through the
power of a trumpet/organ
duo. Drawing inspiration
from Neil Peart’s
autobiographical book,
“Ghost Rider:
Travels on the Healing
Road,â€
Garrop’s work
grieves the loss of a
friend’s young son
and the journey to
healing. ROAD
WARRIOR’s
evocative movement titles
are drawn from passages
in Peart’s book:1.
I Am the Ghost Rider2. My
Little Baby Soul3. Are
You With Me
Here?. When Clarion
members Keith Benjamin
(trumpet), Melody Steed
(organ), and I initially
discussed possible topics
for a new piece, Keith
brought up his son
Cameron, who had passed
away at the age of seven
from leukemia. While
Cameron’s life
ended too soon, he left
an indelible and lasting
mark on his those
surrounding him. Keith
asked if I could
commemorate Cameron
musically.In talking over
possible ways to do this,
Keith mentioned the book
Ghost Rider: Travels on
the Healing Road. The
book was written by Neil
Peart, who is well-known
as the longtime drummer
and lyricist of the band
Rush. Peart suffered the
heartbreaking loss of his
daughter in 1997,
followed by his wife 10
months later. In an
effort to work through
the grieving process,
Peart did what his wife
suggested before she
passed: he got onto his
motorcycle and hit the
open road. Ghost Rider
chronicles a year of
Peart’s life in
which he drove for 55,000
miles, zigzagging his way
across Canada, the
western portion of the
United States, Mexico,
and Belize.
Peart’s powerful
story illustrates how he
coped with immense loss
and eventually emerged on
the other side to once
again embrace life. Keith
had found Peart’s
book helpful in dealing
with Cameron’s
death; moreover, Mr.
Peart sent Cameron a
signed cymbal while he
was in the hospital
undergoing treatment.
This unexpected gesture
of compassion and
generosity meant the
world to both Cameron and
Keith.I chose three
phrases from
Peart’s book to
serve as the inspiration
for the movements in Road
Warrior. In the first
movement, I am the ghost
rider, I imagined the
performers to be howling
phantoms that are
haunting drivers on a
nearly deserted highway.
Peart often mentioned
that he felt haunted by
ghosts from the past
while on his journey, and
sometimes felt like a
ghost himself, moving
through an immaterial
world as he rode from
town to town. The second
movement, My little baby
soul, references
Peart’s wording to
define his own inner
essence that he was
trying to protect and
nurture while on his
journey. In this gentle
movement, I capture the
innocence and simplicity
of a newborn soul. The
piece concludes with Are
you with me here? In this
movement, I depict the
performers as they search
to find connections to
those they have lost, and
to those still
living.Over the course of
his travels, Peart kept
up a steady letter
correspondence with his
close friend Brutus. In
one of his first letters,
he repeatedly asks Brutus
if he is with him in
spirit. I found it to be
very poignant that while
in his self-imposed
exile, Peart discovered
that he still needed
connections to humanity.I
wish to thank Mr. Peart
for granting me
permission to use his
phrases as the movement
titles, and for serving
as the inspiration for
Road Warrior. Rarely do
any of us make it through
our lives without being
touched by the loss of
someone dear to us. I
found Peart’s
insights into his
grieving and recovery
process to be insightful,
eloquent, and
surprisingly comforting.
His journey is a touching
reminder that with enough
fortitude and time, we
can work through what
fate deals us and
continue down our own
road of life. $29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Long Time Chorale SATB Schott
Choral (SATB) - difficult SKU: HL.49019676 SATB Choir a cappella. ...(+)
Choral (SATB) - difficult
SKU: HL.49019676
SATB Choir a
cappella. Composed by
Gerald Barry. This
edition: Saddle
stitching. Sheet music.
Choral. Classical,
Contemporary. Octavo.
Composed 2011. 12 pages.
Duration 7'. Schott Music
#ED13474. Published by
Schott Music
(HL.49019676). ISBN
9790220133381.
8.25x11.75x0.068 inches.
English. The
opening lines of Marcel
Proust's In Search of
Lost Time provides the
text for Gerald Barry's
Long Time. Beginning 'For
a long time I used to go
to bed early', the work
unfolds over gently
rising and falling C
major scales, voice parts
handing over to each
other in the strict
rhythmic regularity that
prevails throughout the
piece. SATB, English. $10.99 - Voir plus => Acheter | | |
| As We Search - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Gong, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Oboe, Percussion 1 and
more. - Grade 3.5 SKU:
CF.CPS254 Legend
of the “Brown
Mountain
Lightsâ€.
Composed by Joseph
Benjamin Earp. Set of
Score and Parts.
15+16+2+8+8+8+2+2+2+2+2+2
+4+4+4+2+2+3+3+3+2+4+1+1+
1+1+1+3 pages. Duration 5
minutes, 11 seconds. Carl
Fischer Music #CPS254.
Published by Carl Fischer
Music (CF.CPS254).
ISBN 9781491159811.
UPC:
680160918409. PROGR
AM NOTES As We Search:
Legend of the Brown
Mountain Lights is
inspired by the many
ghost stories that have
come from the mysterious
occurrence of lights on
Brown Mountain (Burke
County, North Carolina).
These mysterious
phenomena appear during
evenings in autumn. Many
have seen the lights, but
the exact cause remains a
mystery. The origin of
the lights has inspired
numerous legends. As We
Search: Legend of the
Brown Mountain Lights
focuses on one legend
from the nineteenth
century. After a local
woman went missing,
though murder was
suspected, villagers
engaged in a search of
the mountain. Having
never been found, it is
said the search
continues, and ghostly
echoes of the search
lights can still be seen
on Brown Mountain to this
day. NOTES TO CONDUCTOR
The duration of the
composition is five
minutes at the marked
tempo. Careful attention
should be given to
articulations, dynamic
changes and phrasing
throughout the work. The
entire work is based on
the idea first stated by
the bells in m. 12. Each
time the idea is
restated, stronger
development occurs around
it building to m. 74.
Attention should be given
to the dissonance that
resolves in mm. 5-6,
9-10, 17-18, 21-22,
41-42, 45-46, 76-77 and
80-81. The climax of the
piece is m. 81,
representing the moment
the villagers think they
have found the lost
woman. Measure 82 to the
end continues a fading
trend as if people are
forgetting about the
legend of the Brown
Mountain Lights. Measure
110 carrying into m. 111
is meant to be
unresolved. Even though
the legend has faded over
time, the lights still
exist As We
Search.. PROGRAM
NOTESAs We Search: Legend
of the “Brown
Mountain Lights†is
inspired by the many
ghost stories that have
come from the mysterious
occurrence of lights on
Brown Mountain (Burke
County, North Carolina).
These mysterious
phenomena appear during
evenings in autumn. Many
have seen the lights, but
the exact cause remains a
mystery.The origin of the
lights has inspired
numerous legends. As We
Search: Legend of the
“Brown Mountain
Lights†focuses on
one legend from the
nineteenth century. After
a local woman went
missing, though murder
was suspected, villagers
engaged in a search of
the mountain. Having
never been found, it is
said the search
continues, and ghostly
echoes of the search
lights can still be seen
on Brown Mountain to this
day. NOTES TO
CONDUCTORThe duration of
the composition is five
minutes at the marked
tempo. Careful
attention should be given
to articulations, dynamic
changes and phrasing
throughout the work.The
entire work is based on
the idea first stated by
the bells in m. 12. Each
time the idea is
restated, stronger
development occurs around
it building to m. 74.
Attention should be given
to the dissonance that
resolves in mm.
5–6, 9–10,
17–18,
21–22,
41–42,
45–46,
76–77 and
80–81.The climax
of the piece is m. 81,
representing the moment
the villagers think they
have found the lost
woman.Measure 82 to the
end continues a fading
trend as if people are
forgetting about the
legend of the Brown
Mountain Lights.Measure
110 carrying into m. 111
is meant to be
unresolved. Even though
the legend has faded over
time, the lights still
exist “As We
Search.â€Â . $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| As We Search [Conducteur] - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Gong, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Oboe, Percussion 1 and
more. - Grade 3.5 SKU:
CF.CPS254F Legend
of the “Brown
Mountain
Lightsâ€.
Composed by Joseph
Benjamin Earp. Full
score. 15 pages. Carl
Fischer Music #CPS254F.
Published by Carl Fischer
Music (CF.CPS254F).
ISBN 9781491159828.
UPC:
680160918416. PROGR
AM NOTES As We Search:
Legend of the Brown
Mountain Lights is
inspired by the many
ghost stories that have
come from the mysterious
occurrence of lights on
Brown Mountain (Burke
County, North Carolina).
These mysterious
phenomena appear during
evenings in autumn. Many
have seen the lights, but
the exact cause remains a
mystery. The origin of
the lights has inspired
numerous legends. As We
Search: Legend of the
Brown Mountain Lights
focuses on one legend
from the nineteenth
century. After a local
woman went missing,
though murder was
suspected, villagers
engaged in a search of
the mountain. Having
never been found, it is
said the search
continues, and ghostly
echoes of the search
lights can still be seen
on Brown Mountain to this
day. NOTES TO CONDUCTOR
The duration of the
composition is five
minutes at the marked
tempo. Careful attention
should be given to
articulations, dynamic
changes and phrasing
throughout the work. The
entire work is based on
the idea first stated by
the bells in m. 12. Each
time the idea is
restated, stronger
development occurs around
it building to m. 74.
Attention should be given
to the dissonance that
resolves in mm. 5-6,
9-10, 17-18, 21-22,
41-42, 45-46, 76-77 and
80-81. The climax of the
piece is m. 81,
representing the moment
the villagers think they
have found the lost
woman. Measure 82 to the
end continues a fading
trend as if people are
forgetting about the
legend of the Brown
Mountain Lights. Measure
110 carrying into m. 111
is meant to be
unresolved. Even though
the legend has faded over
time, the lights still
exist As We
Search.. PROGRAM
NOTESAs We Search: Legend
of the “Brown
Mountain Lights†is
inspired by the many
ghost stories that have
come from the mysterious
occurrence of lights on
Brown Mountain (Burke
County, North Carolina).
These mysterious
phenomena appear during
evenings in autumn. Many
have seen the lights, but
the exact cause remains a
mystery.The origin of the
lights has inspired
numerous legends. As We
Search: Legend of the
“Brown Mountain
Lights†focuses on
one legend from the
nineteenth century. After
a local woman went
missing, though murder
was suspected, villagers
engaged in a search of
the mountain. Having
never been found, it is
said the search
continues, and ghostly
echoes of the search
lights can still be seen
on Brown Mountain to this
day. NOTES TO
CONDUCTORThe duration of
the composition is five
minutes at the marked
tempo. Careful
attention should be given
to articulations, dynamic
changes and phrasing
throughout the work.The
entire work is based on
the idea first stated by
the bells in m. 12. Each
time the idea is
restated, stronger
development occurs around
it building to m. 74.
Attention should be given
to the dissonance that
resolves in mm.
5–6, 9–10,
17–18,
21–22,
41–42,
45–46,
76–77 and
80–81.The climax
of the piece is m. 81,
representing the moment
the villagers think they
have found the lost
woman.Measure 82 to the
end continues a fading
trend as if people are
forgetting about the
legend of the Brown
Mountain Lights.Measure
110 carrying into m. 111
is meant to be
unresolved. Even though
the legend has faded over
time, the lights still
exist “As We
Search.â€Â . $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Elissa Milne: Pepperbox Jazz - Book 1 Piano seul [Partition] Faber Music Limited
Composed by Elissa Milne. Collection for solo piano. A vibrant collection of ori...(+)
Composed by Elissa Milne.
Collection for solo
piano. A vibrant
collection of original
pieces for piano. 31
pages. Published by Faber
Music.
(1)$11.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Duo Flûte traversière et Piano Theodore Presser Co.
Chamber Music flute, piano SKU: PR.114422710 Composed by Charles Gibb. Se...(+)
Chamber Music flute,
piano SKU:
PR.114422710 Composed
by Charles Gibb. Set of
Score and Parts. 44+8
pages. Duration 24
minutes. Theodore Presser
Company #114-42271.
Published by Theodore
Presser Company
(PR.114422710). ISBN
9781491136072. UPC:
680160688227. DUOâ
€™s succinct movement
titles (I. Here, II.
Open, III. Stark, IV.
Ardent) tease at
revealing the grand and
heartfelt inspiration for
exuberant romanticism in
this sonata-like work of
symphonic proportions and
depth. Charles Gibb is
both an accomplished
pianist and an
award-winning flutist,
who has written of this
compelling major addition
to the literature:
“This work is a
journey. What journey and
whose journey does not
matter. It is my journey,
it is your journey. It is
the journey of those who
came before us, and of
those who will come after
us. I wrote this hoping
that we can find each
other along the road, so
we can realize that we
don’t need to go
on the journey
alone.â€
Gibb’s DUO is sure
to become a favorite
major work for flute
recitalists. This work
is a journey. What
journey and whose journey
does not matter. It is my
journey, it is your
journey. It is the
journey of those who came
before us, and of those
who will come after us. I
wrote this hoping that we
can find each other along
the road, so we can
realize that we
don’t need to go
on the journey
alone.“Hereâ€
begins with three notes
that shape the rhythmic
and harmonic content of
the entire work. Melodies
and harmonies including
the tonic, dominant, and
leading tone can be found
in each of the four
movements. The first
moments of this movement
introduce the melody,
offering itself
unencumbered and
uninhibited. It shows
itself as it is. The
melodies soar, the
harmonies become voiced
more intricately, and the
opening theme repeats in
full grandeur. The
momentum slows down, and
the movement ends with a
sense of completion, yet
remains unbalanced.A
striking piano gesture
launches
“Open,†the
idea of instability
reflected with the
flowing flute trills and
unclear meter patterns in
the piano. The sensation
of an unsteady grace in
5/8 time arrives with a
piano ostinato. The
melody is expressive, yet
insecure and unbalanced
due to changing meters.
After a grand pause, the
movement transitions to
4/4 time with the flute
switching between duplet
and triplet flourishes.
After a rapid descent in
the flute, the opening
gesture returns, changed
and abruptly
interrupted.The third
movement,
“Stark,†is
very static, beginning
plainly but markedly. The
falling fifth calls out
continually throughout
the movement, searching,
lost. Melodies appear in
pieces, some smooth and
flowing, others rather
disjunct. The piece
climaxes with a line of
mournfulness, yet
revealing a deeper
strength through intense
projection of tone in the
high register. However,
the static harmonies
return, this time
unsteady all the way to
its foundation. This
destabilization repeats,
and then quietly
recedes.“Ardentâ
is the longest of the
movements and spans a
wide range of musical
emotion. Part of the
movement is fast paced,
energetic, and balances
order and disarray.
However, once the chaos
dies down, a gentle,
expressive theme comes
in. The theme itself is
very resolute; it is
order appearing from the
pandemonium. Conflict
returns, and order and
chaos become less
distinguishable from one
another, and soon fuse
together. However, order
returns with new meaning,
synthesized with previous
musical content, creating
a truer, deeper sense of
awareness or
understanding. A moment
of ambiguity arises, but
the flute persists,
supported by the
sensitive but firm
figuration in the piano,
and resoundingly comes to
a close, unburdened and
at ease. $29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Isaiah Jones and the Seekers of The Lost Christmas Treasure - Accompaniment CD (Split) CD Chorale Word Music
Unison/2-part children's choir, piano accompaniment SKU: WD.080689904127 ...(+)
Unison/2-part children's
choir, piano
accompaniment SKU:
WD.080689904127
Composed by Daniel
Semsen. Arranged by
Daniel Semsen. Choral,
cantatas. WordKidz.
Christmas. Accompaniment
CD (split). Duration ca.
38 minutes. Word Music
#080689904127. Published
by Word Music
(WD.080689904127).
UPC:
080689904127. Chris
ty Semsen and Daniel
Semsen - the
groundbreaking creative
team who brought you The
Agape League and We Three
Spies - are back
again...this time better
than ever! Isaiah Jones
and the Seekers of the
Lost Christmas Treasure
delivers action and
adventure galore as your
Kids Choir is transported
into a video game world
of mystery, intrigue, and
adrenaline-generating
Christmas fun! Join in
the excitement as our
young hero, along with
his friends and
companions, search for
the Lost Christmas
Treasure, navigating
levels of the video game
as they go. Cheer them on
through challenge after
challenge as they follow
the shooting star that
guides their way on a
suspense-filled journey,
leading them to their
greatest discovery...the
real Treasure of
Christmas is Jesus! $99.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Isaiah Jones and the Seekers of The Lost Christmas Treasure - Accompaniment Video Word Music
Unison/2-part children's choir, piano accompaniment SKU: WD.080689510090 ...(+)
Unison/2-part children's
choir, piano
accompaniment SKU:
WD.080689510090
Composed by Daniel
Semsen. Arranged by
Daniel Semsen. Choral,
cantatas. WordKidz.
Christmas. Accompaniment
video. Duration ca. 38
minutes. Word Music
#080689510090. Published
by Word Music
(WD.080689510090).
UPC:
080689510090. Chris
ty Semsen and Daniel
Semsen - the
groundbreaking creative
team who brought you The
Agape League and We Three
Spies - are back
again...this time better
than ever! Isaiah Jones
and the Seekers of the
Lost Christmas Treasure
delivers action and
adventure galore as your
Kids Choir is transported
into a video game world
of mystery, intrigue, and
adrenaline-generating
Christmas fun! Join in
the excitement as our
young hero, along with
his friends and
companions, search for
the Lost Christmas
Treasure, navigating
levels of the video game
as they go. Cheer them on
through challenge after
challenge as they follow
the shooting star that
guides their way on a
suspense-filled journey,
leading them to their
greatest discovery...the
real Treasure of
Christmas is Jesus! $195.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Isaiah Jones and the Seekers of The Lost Christmas Treasure - Bulk CD (10-pak) Word Music
Unison/2-part children's choir, piano accompaniment SKU: WD.080689798726 ...(+)
Unison/2-part children's
choir, piano
accompaniment SKU:
WD.080689798726
Composed by Daniel
Semsen. Arranged by
Daniel Semsen. Choral,
cantatas. WordKidz.
Christmas. Bulk CD
(10-pak). Duration ca. 38
minutes. Word Music
#080689798726. Published
by Word Music
(WD.080689798726).
UPC:
080689798726. Chris
ty Semsen and Daniel
Semsen - the
groundbreaking creative
team who brought you The
Agape League and We Three
Spies - are back
again...this time better
than ever! Isaiah Jones
and the Seekers of the
Lost Christmas Treasure
delivers action and
adventure galore as your
Kids Choir is transported
into a video game world
of mystery, intrigue, and
adrenaline-generating
Christmas fun! Join in
the excitement as our
young hero, along with
his friends and
companions, search for
the Lost Christmas
Treasure, navigating
levels of the video game
as they go. Cheer them on
through challenge after
challenge as they follow
the shooting star that
guides their way on a
suspense-filled journey,
leading them to their
greatest discovery...the
real Treasure of
Christmas is Jesus! $69.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Isaiah Jones and the Seekers of The Lost Christmas Treasure - Listening CD CD Chorale Word Music
Unison/2-part children's choir, piano accompaniment SKU: WD.080689873225 ...(+)
Unison/2-part children's
choir, piano
accompaniment SKU:
WD.080689873225
Composed by Daniel
Semsen. Arranged by
Daniel Semsen. Choral,
cantatas. WordKidz.
Eastertide. Listening CD.
Duration ca. 38 minutes.
Word Music #080689873225.
Published by Word Music
(WD.080689873225).
UPC:
080689873225. Chris
ty Semsen and Daniel
Semsen - the
groundbreaking creative
team who brought you The
Agape League and We Three
Spies - are back
again...this time better
than ever! Isaiah Jones
and the Seekers of the
Lost Christmas Treasure
delivers action and
adventure galore as your
Kids Choir is transported
into a video game world
of mystery, intrigue, and
adrenaline-generating
Christmas fun! Join in
the excitement as our
young hero, along with
his friends and
companions, search for
the Lost Christmas
Treasure, navigating
levels of the video game
as they go. Cheer them on
through challenge after
challenge as they follow
the shooting star that
guides their way on a
suspense-filled journey,
leading them to their
greatest discovery...the
real Treasure of
Christmas is Jesus! $16.98 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Isaiah Jones and the Seekers of The Lost Christmas Treasure - Teacher's Resource Kit Word Music
Unison/2-part children's choir, piano accompaniment SKU: WD.080689353970 ...(+)
Unison/2-part children's
choir, piano
accompaniment SKU:
WD.080689353970
Composed by Daniel
Semsen. Arranged by
Daniel Semsen. Choral,
cantatas. WordKidz.
Christmas. Teacher's
resource kit. Duration
ca. 38 minutes. Word
Music #080689353970.
Published by Word Music
(WD.080689353970).
UPC:
080689353970. Chris
ty Semsen and Daniel
Semsen - the
groundbreaking creative
team who brought you The
Agape League and We Three
Spies - are back
again...this time better
than ever! Isaiah Jones
and the Seekers of the
Lost Christmas Treasure
delivers action and
adventure galore as your
Kids Choir is transported
into a video game world
of mystery, intrigue, and
adrenaline-generating
Christmas fun! Join in
the excitement as our
young hero, along with
his friends and
companions, search for
the Lost Christmas
Treasure, navigating
levels of the video game
as they go. Cheer them on
through challenge after
challenge as they follow
the shooting star that
guides their way on a
suspense-filled journey,
leading them to their
greatest discovery...the
real Treasure of
Christmas is Jesus! $64.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Isaiah Jones and the Seekers of The Lost Christmas Treasure - Additional Set Pieces Disc (PDF) - *Does not contain files for printed items Word Music
Unison/2-part children's choir, piano accompaniment SKU: WD.080689455773 ...(+)
Unison/2-part children's
choir, piano
accompaniment SKU:
WD.080689455773
Composed by Daniel
Semsen. Arranged by
Daniel Semsen. Choral,
cantatas. WordKidz.
Christmas. *does not
contain files for printed
items. Duration ca. 38
minutes. Word Music
#080689455773. Published
by Word Music
(WD.080689455773).
UPC:
080689455773. Chris
ty Semsen and Daniel
Semsen - the
groundbreaking creative
team who brought you The
Agape League and We Three
Spies - are back
again...this time better
than ever! Isaiah Jones
and the Seekers of the
Lost Christmas Treasure
delivers action and
adventure galore as your
Kids Choir is transported
into a video game world
of mystery, intrigue, and
adrenaline-generating
Christmas fun! Join in
the excitement as our
young hero, along with
his friends and
companions, search for
the Lost Christmas
Treasure, navigating
levels of the video game
as they go. Cheer them on
through challenge after
challenge as they follow
the shooting star that
guides their way on a
suspense-filled journey,
leading them to their
greatest discovery...the
real Treasure of
Christmas is Jesus! $49.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Isaiah Jones and the Seekers of The Lost Christmas Treasure - Bulletins (100-pak) Word Music
Unison/2-part children's choir, piano accompaniment SKU: WD.080689420771 ...(+)
Unison/2-part children's
choir, piano
accompaniment SKU:
WD.080689420771
Composed by Daniel
Semsen. Arranged by
Daniel Semsen. Choral,
cantatas. WordKidz.
Christmas. Bulletins
(100-pak). Duration ca.
38 minutes. Word Music
#080689420771. Published
by Word Music
(WD.080689420771).
UPC:
080689420771. Chris
ty Semsen and Daniel
Semsen - the
groundbreaking creative
team who brought you The
Agape League and We Three
Spies - are back
again...this time better
than ever! Isaiah Jones
and the Seekers of the
Lost Christmas Treasure
delivers action and
adventure galore as your
Kids Choir is transported
into a video game world
of mystery, intrigue, and
adrenaline-generating
Christmas fun! Join in
the excitement as our
young hero, along with
his friends and
companions, search for
the Lost Christmas
Treasure, navigating
levels of the video game
as they go. Cheer them on
through challenge after
challenge as they follow
the shooting star that
guides their way on a
suspense-filled journey,
leading them to their
greatest discovery...the
real Treasure of
Christmas is Jesus! $25.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Six Suites for Violoncello solo, BWV 1007-1012 Violoncelle Barenreiter
Violoncello SKU: BA.BA05278 Composed by Johann Sebastian Bach. Edited by ...(+)
Violoncello SKU:
BA.BA05278 Composed
by Johann Sebastian Bach.
Edited by Andrew Talle.
This edition: Facsimile,
Urtext edition.
Paperback. Barenreiter
Urtext. Urtext from the
New Bach Edition -
Revised (NBArev).
Performance score,
anthology, Facsimile. BWV
1007-1012. Baerenreiter
Verlag #BA05278_00.
Published by Baerenreiter
Verlag (BA.BA05278).
ISBN 9790006569625.
32.5 x 25.5 cm inches.
Preface: Talle,
Andrew. When we
think of the cello, we
automatically think of
Bach’s immortal
cello suites. They are
the very core of cello
literature, their
timeless beauty
accompanying cellists
from their student years
throughout the height of
their professional
careers.
Consideri
ng the works’
significance, the great
number of editions in
existence is not
surprising. However, the
composer’s
autograph has not been
preserved and is
considered lost. This
circumstance creates an
exceptional challenge
many editors faced over
the years. The four
autograph sources still
in existence and the
first print from 1824
show numerous small
deviations, especially in
terms of articulation
markings and
phrasing.
In this
two-volume edition of
Bach’s cello
suites, Andrew Talle now
presents an entirely new
view of the relationships
between existing sources.
The first volume contains
the edited musical text,
which comes as close to
the composer’s
original intention as the
surviving source material
allows: “This
edition does not
constitute a perfect
reconstruction of the
lost autograph; that is
something no editor could
claim to accomplish.
Instead, I have attempted
to supply musicians and
researchers with a
reliable version of the
surviving musical text of
the six cello suites, and
to convey a sense of the
many possibilities Bach
encouraged his musicians
to explore.â€The
second volume presents,
for the first time,
synoptically arranged
facsimiles of the
handwritten sources as
well as the first print
(with Suite No. V also
including Bach’s
own arrangement for
lute), allowing readers
to compare any specific
section in all sources at
one glance. This allows
for a straightforward and
immediate consideration
of all sources, making
editorial decisions
transparent and
self-evident.
Andr
ew Talle’s edition
is supplemented by a
comprehensive discussion
of the instrument for
which the suites were
created, as well as
information regarding
musical interpretation
during Bach’s
time.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$123.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Silly Songs & Sing-Alongs for Composers CD Chorale Hal Leonard
Classroom Kit (Teacher and P/A CD) Choral (Classrm Kit) SKU: HL.9971522 <...(+)
Classroom Kit (Teacher
and P/A CD) Choral
(Classrm Kit) SKU:
HL.9971522 New
Lyrics to Old
Favorites. Composed
by John Jacobson.
ExpressiveArts.
Collection, Composers,
Elementary. Published by
Hal Leonard (HL.9971522).
ISBN 9781617805899.
UPC: 884088555214.
8.5x11.0x0.336
inches. Did you
know . . . Bach had
twenty kids; Beethoven
lost most of his hearing
by the time he was an
adult; Haydn's parents
sent him off to study
music at the age of six;
Mozart was performing for
kings and queens by age
five? Learn a wealth of
interesting and fun facts
about 10 famous composers
with this delightfully
whacky collection of
familiar melodies set to
new lyrics. Perform songs
live with piano
accompaniments in the
Teacher Edition or use
the
professionally-produced
recordings available
separately on the
Performance/Accompaniment
CD. Choreography is also
included along with
reproducible lyric
sheets. Enhance learning
further with reproducible
composer bios and review
questions, and a
comprehensive word search
and crossword puzzle for
a final check of the
facts! Available
separately: Teacher
Edition (with
reproducible pages),
Performance/Accompaniment
CD, Classroom Kit
(Teacher & P/A CD).
Suggested for grades
3-6. $54.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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