| C.p.e. Bach Beitraege Zu Leben.... Schott
SKU: HL.49015392 Beitrage zu Leben und Werk. Composed by Heinrich ...(+)
SKU: HL.49015392
Beitrage zu Leben und
Werk. Composed by
Heinrich Poos. Edited by
Heinrich Poos. This
edition: Hardback/Hard
Cover. Book. Edition
Schott. Classical. 417
pages. Schott Music #ED
7903. Published by Schott
Music (HL.49015392).
ISBN 9783795718640.
German. Vorwort -
P. Rummenholler: Er ist
der Vater, wir sind die
Buben - H.-G. Ottenberg:
Die Klaviersonaten Wq 55
im Verlage des Autors -
G. Wagner: Anmerkungen
zur historischen
Auffuhrungspraxis am
Beispiel von C.Ph.E.
Bachs Versuch - L.
Hoffmann-Erbrecht: Mit
aller Freyheit und zu
meinem eigenen Gebrauch
gemacht - G. Puchelt: Fur
Kenner und Liebhaber - P.
Dinslage: Anspruch und
Anpassung - I. Pfingsten:
Er ubersetzte, indem er
phantasierte, die Sprache
des Verstandes in die
Sprache der Empfindungen:
denn dazu diente ihm die
Musik - H. Poos: C.P.E.
Bachs Rondo a-Moll aus
der Zweiten Sammlung...
fur Kenner und Liebhaber
- C. Thorau: Kuhn, nie
gehort und doch
sachrichtig - U.
Ringhandt: Die Litaneien
von C.P.E. Bach als
musikalische Lehrgedichte
- R. Brandt: Der Konig
und sein Zuhorer - W.
Busch: Joseph Wright of
Derby: Das Experiment mit
der Luftpumpe - D.
Diderot: Aus der
Klavierschule von
Bemetzrieder - J.N.
Forkel: Reszension - J.J.
Engel: Uber die
musikalsiche Malerei -
G.J. Vogler: Wie
verhalten sich die zwei
grossen Clavierspieler
C.P.E. Bach und Alberti
von Rom gegeneinander -
J.F. Reichhardt: Uber die
musikalische Idylle -
C.F.Cramer: Rezension -
C.F. Michaelis: Einige
Bemerkungen uber das
Erhabene der Musik - H.G.
Nageli: Vorlesungen uber
Musik mit
Berucksichtigung der
Dilettanten -
F.Chrysander: Eine
Klavier-Phantasie von
Karl Philipp Emanuel Bach
mit nachtraglich von
Gerstenberg eingefugten
Gesangsmelodien zu zwei
verschiedenen Texten - H.
Mermann: Ein Programmtrio
K.P.E. Bachs - A.
Schering: C.P.E. Bach und
das redende Prinzip in
der Musik - R. Peters:
Chronologische
Bibliographie des
Schrifttums zu C.P.E.
Bach - Sach- und
Personenregister zur
Bibliographie. $73.00 - Voir plus => Acheter | | |
| Alles Gute zum Klavierspielen! Piano seul - Facile Music Distribution Services
Piano - easy to intermediate SKU: M7.ART-42145 Klaviernoten zur Klassi...(+)
Piano - easy to
intermediate SKU:
M7.ART-42145
Klaviernoten zur
Klassik & Romantik mal
einfacher ....
Composed by Tatjana
Davidoff. Arranged by
Tatjana Davidoff. Score
with online audio files.
Performance book. 48
pages. MDS (Music
Distribution Services)
#ART 42145. Published by
MDS (Music Distribution
Services) (M7.ART-42145).
ISBN
9783866421455. In
'Alles Gute zum
Klavierspielen!' finden
Sie sowohl Kompositionen
von Tatjana Davidoff als
auch ihre neu gesetzten
Bearbeitungen schöner
und beliebter
Klavierliteratur aus der
Zeit des Barock über
die Klassik bis hin zur
Romantik. Eine
ausgesprochen schöne
Sammlung ausgewählter
Stücke von Johann
Sebastian Bach, Ludwig
van Beethoven, Georg
Friedrich Händel,
Johann Christoph
Friedrich Bach, Edvard
Grieg, Johann Pachelbel,
Franz Joseph Haydn, Pjotr
Iljitsch Tschaikowsky,
Léo Delibes und
Jacques Offenbach. Diese
neuen Klavierarrangements
sind leicht bis
mittelleicht arrangiert
und gut spielbar. Sie
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Die Neufassung der hier
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| Heilige Nacht - Intermédiaire Music Distribution Services
Voice with guitar - intermediate SKU: M7.AV-2242 Weihnachtslieder-Albu...(+)
Voice with guitar -
intermediate SKU:
M7.AV-2242
Weihnachtslieder-Album
. Arranged by Joe
Alex and Peter Fries.
This edition: Saddle-wire
stitching. Sheet music.
32 pages. MDS (Music
Distribution Services)
#AV 2242. Published by
MDS (Music Distribution
Services) (M7.AV-2242).
ISBN 9790203909644.
UPC: 842819103608.
German. $16.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Heilige Nacht Accordéon Music Distribution Services
Accordion SKU: M7.AV-1850 Weihnachtslieder-Album mit 49 der beliebtest...(+)
Accordion SKU:
M7.AV-1850
Weihnachtslieder-Album
mit 49 der beliebtesten
Weihnachts-, Silvester-
und Neujahrslieder.
Arranged by Curt Mahr and
Peter Fries. This
edition: Saddle-wire
stitching. Sheet music.
32 pages. MDS (Music
Distribution Services)
#AV 1850. Published by
MDS (Music Distribution
Services) (M7.AV-1850).
ISBN
9790203905646. $19.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The New Sammy Cahn Songbook Piano, Voix et Guitare Cherry Lane Music
Composed by Sammy Cahn. For Piano/Vocal/Guitar. P/V/G Composer Collection. Softc...(+)
Composed by Sammy Cahn.
For Piano/Vocal/Guitar.
P/V/G Composer
Collection. Softcover.
320 pages. Cherry Lane
Music #VF1567. Published
by Cherry Lane Music
$24.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Teachers' Choice 2017 and 2018 Grades 1 To 3 Piano seul Wells Music Publishers
Piano SKU: BT.WMP2315 Selected Piano Repertory and Studies. By Jos...(+)
Piano SKU:
BT.WMP2315
Selected Piano
Repertory and
Studies. By Josephine
Koh. Teachers' Choice.
Exam Material. Book Only.
48 pages. Wells Music
Publishers #WMP2315.
Published by Wells Music
Publishers (BT.WMP2315).
ISBN 9789811105562.
English. The
latest of this series
comprises popular choice
pieces and alternative
works from the ABRSM
Piano Examination
syllabi. These pieces
have been specially
selected for examination
purposes and general
repertoire
study. Meticulously
fingered and edited
by Josephine
Koh,
the Teachers
' Choice Selected Piano
Repertory &
Studies, just
like the past series,
offers teaching points
and performance
directionsthat help to
develop technical
assurance and stylistic
awareness in the
students. All works in
Teachers' Choice are
beautifully scored for
comfort of reading.
Beyond
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is enjoyed by music
teacherswhouse the
studies presented in each
grade, for the
development of specific
technical skills in their
students. $16.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Bucher P Fridolins Musik Adventskal [Partition + CD] Schott
(BUCH+CD) SKU: HL.49033159 24 Lieder, Geschichten und Fensterbilder zu...(+)
(BUCH+CD) SKU:
HL.49033159 24
Lieder, Geschichten und
Fensterbilder zur
Weihnachtszeit.
Composed by Bucher. This
edition: Hardback/Hard
Cover. Book with CD.
Edition Schott. Der erste
musikalische
Adventskalender zum
Lesen, Anschauen, Singen
und Mitsingen! Edition
with CD. 58 pages. Schott
Music #ED 9549. Published
by Schott Music
(HL.49033159). ISBN
9783795704797. German.
Petra
Paffenholz. Dieser
musikalische
Adventskalender begleitet
Sie durch die schonste
Zeit des Jahres: An jedem
der 24 Tage des Advents
erlebt Sophie mit ihrem
Freund Fridolin - dem
sprechenden Grammophon -
ein Abenteuer. Jedes Mal
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Weihnachtslied im
Mittelpunkt der
Geschichte. Alle diese
Lieder sind im Buch
abgedruckt. Die
beigefugte CD enthalt die
Lieder mit Gesang und als
Instrumentalplayback zum
Mitsingen.Das ist aber
noch nicht alles: Das
Buch beinhaltet 24
Folienbilder zum
Herausnehmen und
Ans-Fenster-kleben. So
entsteht im Laufe des
Dezembers ein
wunderschones Fensterbild
mit vielen Abenteuern von
Sophie und Fridolin.
>>Ein toller Kalender<<
Federmappe.de. $27.95 - Voir plus => Acheter | | |
| 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 | | |
| Pieces for a Musical Clock Orgue [Conducteur] Nagels Musik-Archiv
F!r Klavier zu zwei H0nden (Orgel manualiter) eingerichtet. By Franz Joseph Hayd...(+)
F!r Klavier zu zwei
H0nden (Orgel manualiter)
eingerichtet. By Franz
Joseph Haydn. Edited by
Schmid, Ernst Fritz. For
Piano/ Organ. Playing
Score (paperbound).
Hob.XIX:1-32. Published
by Edition Nagel (German
import).
(1)$20.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Duet from The Pearl Fishers Trombone et orchestre Amstel Music
For 2 Trombones and Wind Orchestra. Composed by Georges Bizet (1838-1875)...(+)
For 2 Trombones and
Wind Orchestra.
Composed by Georges Bizet
(1838-1875). Arranged by
Johan De Meij. Amstel
Music. Classical.
Softcover. Amstel Music
#AM160-010. Published by
Amstel Music
(HL.4005234).
$95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| I See His Blood Upon the Rose Chorale SATB SATB A Cappella Sacred Music Press
Composed by Timothy P. Cooper. Choral. Sacred Anthem, Lent. Octavo. Sacred Mu...(+)
Composed by Timothy P.
Cooper. Choral. Sacred
Anthem, Lent. Octavo.
Sacred
Music Press #10/5367S.
Published by Sacred Music
Press
$2.75 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 33 Contemporary Hymns for Solo Piano - Volume 2 Piano seul [Partition] Word Music
By Various. Arranged by Carol Tornquist, Bill Wolaver. Songbook. Softcover. 104 ...(+)
By Various. Arranged by
Carol Tornquist, Bill
Wolaver. Songbook.
Softcover. 104 pages.
Published by Word Music.
$32.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hymns Re-Harmonized - Keepsake Edition
Piano seul Word Music
Piano Solo. Arranged by Carol Tornquist. Sacred Folio. Size 9.25x12 inches. 248 ...(+)
Piano Solo. Arranged by
Carol Tornquist. Sacred
Folio. Size 9.25x12
inches. 248 pages.
Published by Word Music.
(5)$54.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| In the Sweet By and By Chorale SATB SATB Walton Music
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| Jesus, Lover of My Soul Chorale 2 parties [Octavo] Jackman Music Corporation
By Joseph P. Holbrook. Arranged by Christine H. Davis. For SB choir and piano. S...(+)
By Joseph P. Holbrook.
Arranged by Christine H.
Davis. For SB choir and
piano. Sacred. Medium
Easy. Choral octavo.
Duration 4:10
$1.40 $1.33 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Overture for a Special Occasion Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 5 SKU: BT.AMP-319-010 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.AMP-319-010
Composed by Philip
Sparke. Elite Series.
Opening Pieces. Set
(Score & Parts). Composed
2012. Anglo Music Press
#AMP 319-010. Published
by Anglo Music Press
(BT.AMP-319-010). 9x12
inches.
English-German-French-Dut
ch. The special
occasion that Philip
Sparke was honoured to
write this piece for was
the 200th anniversary of
the Stadtmusik Bad
Säckingen. Since Bad
Säckingen is known as
the
’Trompeterstadtâ
™, or trumpeter city,
Sparke’s creative
process was influenced by
Joseph Victor
Scheffel’s poem,
Der Trompeter von
Säckingen (The
Trumpeter from
Säckingen), which is
based on a true story.
The overture starts with
a majestic fanfare,
followed by a lively
molto vivace. It is
joined by a brilliant
trumpet call in honour of
the city’s famous
resident.
Overt
ure for a Special
Occasion is
geschreven in opdracht
van Stadtmusik Bad
Säckingen ter
gelegenheid van het
tweehonderdjarig bestaan
van het orkest, in 2011.
De première van het
werk vond plaats in
januari van dat
jaar,onder leiding van
Johannes Brenke, de
dirigent van het orkest.
Stadtmusik Bad
Säckingen, uit de
gelijknamige plaats in
het zuidwesten van
Duitsland, werd opgericht
in 1811 en is daarmee een
van de oudste
blaasorkesten in de
regio.Het stadje Bad
Säckingen (Bad
betekent badplaats) staat
bekend als
‘Trompeterstadtâ
™ en kan bogen op een
trompetmuseum, dat in
1985 de deuren opende.
Voormalig directeur van
het museum was de bekende
Amerikaanse trompettist
en musicoloogEdward H.
Tarr. De huidige
directeur is Johannes
Brenke, tevens de
dirigent van het orkest.
De nauwe band die het
stadje heeft met de
trompet dateert van
halverwege de 19e eeuw,
toen de schilder en
schrijver Joseph
Victorvon Scheffel het
populaire epische gedicht
Der Trompeter von
Säckingen schreef.
Het was gebaseerd op een
waar verhaal en het gaf
de naam van de plaats
bekendheid over de hele
wereld. Op het plein voor
de kloosterkerk staateen
standbeeld van Scheffel
en zijn trompetspeler.
Overture for a Special
Occasion is
feestelijk van sfeer. Het
werk opent met een
plechtige fanfare, die de
luisteraar meevoert naar
een vreugdevol molto
vivace. Als
verbindingtussen beide
gedeelten dient een
enigmatisch
trompetgeschal: een
eerbetoon aan de
beroemdste inwoner van
het stadje.
Der
spezielle Anlass“,
zu dem Philip Sparke die
Ehre hatte, dieses
Stück zu schreiben,
war das 200-jährige
Jubiläum der
Stadtmusik Bad
Säckingen. Da Bad
Säckingen weithin als
die Trompeterstadt“
bekannt ist,
knüpfte Sparke an
das berühmte
Gedicht Der Trompeter
von Säckingen von
Joseph Victor Scheffel
an, das auf eine wahre
Geschichte
zurückgeht. Die
Ouvertüre beginnt
mit einer
majestätischen
Fanfare, welche zu einem
festlichen Molto vivace
führt. Dazu gesellt
sich dann ein strahlendes
Trompetensignal zu Ehren
des berühmtesten
Sohnes der
Stadt.
Overture
for a Special
Occasion est une
commande de
l’Orchestre
d’Harmonie
Stadtmusik Bad
Säckingen pour la
commémoration de son
bicentenaire, en 2011. De
caractère festif,
Overture for a Special
Occasion débute
avec une fanfare
grandiose. Puis se
développe un
énigmatique appel de
trompette, qui rend
hommage au plus
célèbre habitant de
la ville. Un molto vivace
d’une texture
joyeuse et colorée
apporte un pétillant
finale cette ouverture
écrite pour une
occasion spéciale
!
Overture for
a Special Occasion
wè un brano
commissionato dal Corpo
Bandistico della Citt di
Bad Säckingen in
Germania nel 2011 in
occasione del suo
bicentenario. Nota per le
sue terme, questa ridente
cittadina tedesca ha
anche un secondo nome:
“Trompeterstadtâ
(citt del
“trombettistaâ€
). La stretta
associazione della citt
alla tromba risale al XIX
secolo quando uno dei
suoi illustri abitanti,
Joseph Victor von
Scheffel, scrittore e
romanziere, scrisse un
poema divenuto molto
popolare, Il
trombettista di
Säckingen. Di
carattere festivo, questo
brano inizia con una
grandiosa fanfara,
seguita da un brillante
richiamo di tromba. Un
molto vivace gioioso e
coloritoregala a questa
ouverture uno
spumeggiante finale,
tutto nel segno di una
ricorrenza molto
speciale! $216.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Overture for a Special Occasion Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 5 SKU: BT.AMP-319-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.AMP-319-140
Composed by Philip
Sparke. Elite Series.
Opening Pieces. Score
Only. Composed 2012. 44
pages. Anglo Music Press
#AMP 319-140. Published
by Anglo Music Press
(BT.AMP-319-140). 9x12
inches.
English-German-French-Dut
ch. The special
occasion that Philip
Sparke was honoured to
write this piece for was
the 200th anniversary of
the Stadtmusik Bad
Säckingen. Since Bad
Säckingen is known as
the
’Trompeterstadtâ
™, or trumpeter city,
Sparke’s creative
process was influenced by
Joseph Victor
Scheffel’s poem,
Der Trompeter von
Säckingen (The
Trumpeter from
Säckingen), which is
based on a true story.
The overture starts with
a majestic fanfare,
followed by a lively
molto vivace. It is
joined by a brilliant
trumpet call in honour of
the city’s famous
resident.
Overt
ure for a Special
Occasion is
geschreven in opdracht
van Stadtmusik Bad
Säckingen ter
gelegenheid van het
tweehonderdjarig bestaan
van het orkest, in 2011.
De première van het
werk vond plaats in
januari van dat
jaar,onder leiding van
Johannes Brenke, de
dirigent van het orkest.
Stadtmusik Bad
Säckingen, uit de
gelijknamige plaats in
het zuidwesten van
Duitsland, werd opgericht
in 1811 en is daarmee een
van de oudste
blaasorkesten in de
regio.Het stadje Bad
Säckingen (Bad
betekent badplaats) staat
bekend als
‘Trompeterstadtâ
™ en kan bogen op een
trompetmuseum, dat in
1985 de deuren opende.
Voormalig directeur van
het museum was de bekende
Amerikaanse trompettist
en musicoloogEdward H.
Tarr. De huidige
directeur is Johannes
Brenke, tevens de
dirigent van het orkest.
De nauwe band die het
stadje heeft met de
trompet dateert van
halverwege de 19e eeuw,
toen de schilder en
schrijver Joseph
Victorvon Scheffel het
populaire epische gedicht
Der Trompeter von
Säckingen schreef.
Het was gebaseerd op een
waar verhaal en het gaf
de naam van de plaats
bekendheid over de hele
wereld. Op het plein voor
de kloosterkerk staateen
standbeeld van Scheffel
en zijn trompetspeler.
Overture for a Special
Occasion is
feestelijk van sfeer. Het
werk opent met een
plechtige fanfare, die de
luisteraar meevoert naar
een vreugdevol molto
vivace. Als
verbindingtussen beide
gedeelten dient een
enigmatisch
trompetgeschal: een
eerbetoon aan de
beroemdste inwoner van
het stadje.
Der
spezielle Anlass“,
zu dem Philip Sparke die
Ehre hatte, dieses
Stück zu schreiben,
war das 200-jährige
Jubiläum der
Stadtmusik Bad
Säckingen. Da Bad
Säckingen weithin als
die Trompeterstadt“
bekannt ist,
knüpfte Sparke an
das berühmte
Gedicht Der Trompeter
von Säckingen von
Joseph Victor Scheffel
an, das auf eine wahre
Geschichte
zurückgeht. Die
Ouvertüre beginnt
mit einer
majestätischen
Fanfare, welche zu einem
festlichen Molto vivace
führt. Dazu gesellt
sich dann ein strahlendes
Trompetensignal zu Ehren
des berühmtesten
Sohnes der
Stadt.
Overture
for a Special
Occasion est une
commande de
l’Orchestre
d’Harmonie
Stadtmusik Bad
Säckingen pour la
commémoration de son
bicentenaire, en 2011. De
caractère festif,
Overture for a Special
Occasion débute
avec une fanfare
grandiose. Puis se
développe un
énigmatique appel de
trompette, qui rend
hommage au plus
célèbre habitant de
la ville. Un molto vivace
d’une texture
joyeuse et colorée
apporte un pétillant
finale cette ouverture
écrite pour une
occasion spéciale
!
Overture for
a Special Occasion
wè un brano
commissionato dal Corpo
Bandistico della Citt di
Bad Säckingen in
Germania nel 2011 in
occasione del suo
bicentenario. Nota per le
sue terme, questa ridente
cittadina tedesca ha
anche un secondo nome:
“Trompeterstadtâ
(citt del
“trombettistaâ€
). La stretta
associazione della citt
alla tromba risale al XIX
secolo quando uno dei
suoi illustri abitanti,
Joseph Victor von
Scheffel, scrittore e
romanziere, scrisse un
poema divenuto molto
popolare, Il
trombettista di
Säckingen. Di
carattere festivo, questo
brano inizia con una
grandiosa fanfara,
seguita da un brillante
richiamo di tromba. Un
molto vivace gioioso e
coloritoregala a questa
ouverture uno
spumeggiante finale,
tutto nel segno di una
ricorrenza molto
speciale! $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Etüden für Oboe Hautbois EMB (Editio Musica Budapest)
Oboe SKU: BT.EMBZ12002 By Peter Pongracz. By Joseph Sellner. EMB Music Le...(+)
Oboe SKU:
BT.EMBZ12002 By Peter
Pongracz. By Joseph
Sellner. EMB Music Lesson
- Exercises, Studies.
Studies & Exercises. Book
Only. Composed 1981. 36
pages. Editio Musica
Budapest #EMBZ12002.
Published by Editio
Musica Budapest
(BT.EMBZ12002).
English-German-Hungari
an. 'Joseph Sellner
(1787-1843) was a famous
oboe player of his time.
In 1825, Sellner
published an oboe tutor
in three volumes entitled
Theoretisch-Praktische
Oboen-Schule. Despite the
fact that the instrument
has undergone
considerable changes and
improvements since his
time, the majority of
Sellner's work has still
retained its usefulness
to this day. His studies
provide valuable help for
achieving smooth
technique and
tone-colour, especially
at the beginner level.
The obsolete two-part
exercises and interval
studies written for the
instrument of his time
have been omitted in this
volume. The studies have
been arranged here, as
opposed to the original
sequence, accordingto the
order of key signatures.'
- Péter Pongrácz
Joseph Sellner
(1787-1843) war ein
berühmter Oboist
seiner Zeit und Autor der
Theoretisch-Praktischen
Oboen-Schule. Obwohl sich
das Instrument seither
verändert hat, ist der
Großteil von Sellners
Werk heute noch sehr
wertvoll - besonders
für Anfänger auf
der Oboe. Die Etüden
in dieser Ausgabe wurden
anders als im Original
nach Tonarten geordnet.
Joseph Sellner
(1787-1843) était un
célèbre hautbo ste
allemand, auteur de la
méthode
Theoretisch-Praktischen
Oboen-Schule (Méthode
théorique et pratique
pour hautbois. Bien que
le hautbois ait
évolué depuis, la
majorité des pièces
et études composées
par Sellner restent un
élément précieux
complémentaire toute
méthode
d'apprentissage du
hautbois. $15.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| For He Saw the Living God - SATB Chorale SATB SATB, Orgue Jackman Music Corporation
SATB chorus and organ - Medium-difficult SKU: JK.01249 Composed by Robert...(+)
SATB chorus and organ -
Medium-difficult SKU:
JK.01249 Composed by
Robert P. Manookin.
Choral SATB, Difficulty
Medium Hard, Seasonal
Music Pioneer Day, Faith,
God the Father, Gospel,
Jesus Christ - Savior,
Prayer, Prophets,
Restoration, Scriptures.
Christian, Inspirational.
Duration 3:30. Jackman
Music Corporation #01249.
Published by Jackman
Music Corporation
(JK.01249). Joseph
Smith--History 1:14-20,
25, James
1:5. Restoratio
n anthem with original
music for mixed chorus
(SATB) and organ,
reiterating Joseph
Smith's testimony of the
First
Vision. Composer:
Robert P. Manookin
Lyricist: George
Manwaring Difficulty:
Medium-difficult
Performance time:
3:30 Reference: Joseph
Smith--History 1:14-20,
25, James 1:5.
$1.15 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 2 Concert Studies, Ab irato, Morceau de salon Piano seul EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ6502 Waldesrauschen, Gnomenreigen. Composed by F...(+)
Piano SKU:
BT.EMBZ6502
Waldesrauschen,
Gnomenreigen.
Composed by Franz Liszt.
EMB Liszt Works. Studies
& Exercises. Book Only.
Composed 2014. 48 pages.
Editio Musica Budapest
#EMBZ6502. Published by
Editio Musica Budapest
(BT.EMBZ6502).
English-German.
The Two Concert Studies,
which Liszt composed in
1863 for Grand
Theoretical and Practical
Piano School by Sigmund
Lebert and Ludwig Stark,
became rather popular
already in his lifetime.
Today they are among the
most often played works
by Liszt. Morceau de
salon is also a
publication for piano
education and was written
for the Méthode des
méthodes de piano of
François-Joseph
Fétis and Ignaz
Moscheles and published
in 1840. The virtuoso
concert study was revised
by Liszt under the title
Ab irato a decade later.
This edition contains the
score of and critical
notes to the above works
as published in the New
Liszt Edition, as well as
prefaces in English and
German, which
provideinformation about
all the important issues
concerning the genesis
and performance
rendering. This
publication is printed on
high quality, durable
paper made from renewable
raw materials in an
environmentally friendly
way.
Separate
editions from the New
Liszt Complete Critical
Edition with preface and
critical notes. The
Two Concert
Studies, which Liszt
composed in 1863 for
Grand Theoretical and
Practical Piano School by
Sigmund Lebert and Ludwig
Stark, became rather
popular already in his
lifetime.Today they are
among the most often
played works by
Liszt.Morceau de
salon is also a
publication for piano
education and was written
for the Méthode des
méthodes de piano of
François-Joseph
Fétis and Ignaz
Moscheles and published
in 1840. The virtuoso
concert study was revised
by Liszt under thetitle
Ab irato a decade
later. This edition
contains the score of and
critical notes to the
above works as published
in the New Liszt Edition,
as well as prefaces in
English and German, which
provide information about
all the important
issuesconcerning the
genesis and performance
rendering.
Einzela
usgabe aus der Neuen
Kritischen
Liszt-Gesamtausgabe mit
Vorwort und kritischem
Bericht. Die Zwei
Konzertetüden (1.
Waldesrauschen, 2.
Gnomenreigen), die Liszt
1963 für die Grosse
Theoretische-praktische
Klavierschule von Sigmunt
Lebert und Ludwig Stark
schrieb, wurden schon zu
seinen Lebzeiten bekannt.
Heute gehören sie
zuseinen am häufigsten
gespielten Stücken.
Morceau de
salon ist ebenfalls
eine pädagogische
Etüde, die Liszt
für die Méthode des
méthodes de piano
(1840) von
François-Joseph
Fétis und Ignaz
Moscheles schrieb. Die
virtuose Etüde wurde
von Liszt unter dem Titel
Ab irato
einJahrzehnt später
als Konzertetüde
veröffentlicht.
Die hier vorliegende
Einzelausgabe enthält
die Partitur und den
kritischen Kommentar aus
der New Liszt Edition,
sowie Vorworte in
Englisch und Deutsch, mit
wertvollen Hinweisen zur
Entstehung undSpielweise
der Stücke. $14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Leise rieselt der Schnee Hofmeister Musikverlag
Voice, piano - Level 2-3 SKU: HF.FH-2995 Lieder zur Weihnachtszeit zum...(+)
Voice, piano - Level 2-3
SKU: HF.FH-2995
Lieder zur
Weihnachtszeit zum Singen
und Spielen auf dem
Klavier. Edited by
Gerhard Wohlgemuth. Sheet
music. Friedrich
Hofmeister Musikverlag
#FH 2995. Published by
Friedrich Hofmeister
Musikverlag (HF.FH-2995).
ISBN 9790203429951. 9
x 12 inches. 1.
Leise rieselt der Schnee
(Ed. Ebel); 2. Ach,
bittrer Winter (17.
Jhd.); 3. Nikolauslied
(Rheinland); 4. Morgen,
Kinder, wird's was geben
(Berliner Volksweise,
1800); 5. Ihr Kinderlein,
kommet (J.A.P. Schulz,
1747-1800); 6. Alle Jahre
wieder (F. Silcher,
1789-1860); 7. Vom Himmel
hoch da komm' ich her (M.
Luther); 8. Frohlich soll
mein Herze springen (J.
Cruger, 1598-1662); 9.
Uns ist geboren
(Altflamisch); 10. Es ist
ein Ros entsprungen
(Speiersches Gesangsbuch,
1599); 11. O du frohliche
(sizilianische
Volksweise); 12. Nun
singet und seid froh
(Klug's Gesangbuch,
1535); 13. Vom Himmel
hoch ihr Englein (Kolner
Gesangbuch, 1632); 14.
Kommet, iht Hirten
(Volksweise); 15. Auf,
auf, ihr Hirten
(Niederosterreich); 16.
Spielt auf (Volksweise);
17. Lieb' Nachtigall,
wach auf (1670); 18.
Kindlein mein
(Volkslied); 19. Kindlein
zart (Volksweise); 20.
Joseph, lieber Joseph
mein (nach Handschrift
1305 der
Universitats-Bibliothek
Leipzig); 21. Still,
still, weil's Kindlein
schlafen will (Volkslied
aus Salzburg, 1819); 22.
O Tannebaum (Alte
Volksweise); 23. O
Tannebaum (Volkslied aus
Westfalen); 24. Ach
Tannenbaum (M. Franck,
1573-1639); 25. Am
Weihnachtsbaum die
Lichter brennen
(Volksweise); 26.
Frohliche Weihnacht
uberall (aus dem
Englischen); 27. Stille
Nacht (F. Gruber,
1787-1863). $15.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Sonata per due flauti e basso continuo RV 80 (F. Piano seul EMB (Editio Musica Budapest)
2 Flutes and Piano SKU: BT.EMBZ13186 Per due flauti e basso continuo R...(+)
2 Flutes and Piano
SKU: BT.EMBZ13186
Per due flauti e basso
continuo RV 80 (F. XV.
No. 7, P.V. -). By
Miklos Spanyi. By Antonio
Vivaldi and Pal Nemeth.
Book Only. Composed 1989.
18 pages. Editio Musica
Budapest #EMBZ13186.
Published by Editio
Musica Budapest
(BT.EMBZ13186).
Vivaldi's
composition published in
this edition is,
according to our present
state of knowledge, the
only work of the composer
for 2 flutes and basso
continuo. Its copy in an
alien hand is held at the
Library of the University
of Lund, Sweden, in the
collection of the German
composer Joseph Martin
Kraus (1756-1792).
According to Ryom's
catalogue the piece
survives in the hand of
one Vivaldi's
contemporaries.
Das vorliegende
Werk ist nach unserem
gegenwärtigen Wissen
die einzige Komposition
Vivaldis für zwei
Flöten und Basso
continuo. Seine von
unbekannter Hand
stammende Kopie ist in
der Bibliothek der
Universität von Lund,
Schweden in der Sammlung
des deutschen Komponisten
Joseph Martin Kraus
(1756-1792) zu finden.
Nach Aussage des
Ryom-Verzeichnisses ist
das Werk in der
Handschrift eines
Zeitgenossen Vivaldis
erhalten. $11.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Danse ce soir - Fiddle and Accordion Music of Quebec (Book Only) Fiddle et Accordéon [Partition] Mel Bay
Written by Greg Sandell, Laurie Hart. Instrumental songbook for fiddle and accor...(+)
Written by Greg Sandell,
Laurie Hart. Instrumental
songbook for fiddle and
accordion. With standard
notation, chord names and
introductory text. Text
language English, French.
192 pages. Published by
Mel Bay Publications,
Inc.
$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Readings in African American Church Music and Worship - Volume 2 GIA Publications
SKU: GI.G-8462 Composed by James Abbington. Edited by James Abbington. Af...(+)
SKU: GI.G-8462
Composed by James
Abbington. Edited by
James Abbington. African
American Church Music
Series. Sacred. Book. 824
pages. GIA Publications
#8462. Published by GIA
Publications (GI.G-8462).
ISBN 9781622771004.
English. The volume
you are holding is a
vivid testimony …to
the value of examining
this variety and dynamism
from multiple,
overlapping points of
view …to the value
of both realist and
idealist voices …to
the value of articulating
wisdom. From the foreword
by John D. Witvliet,
Calvin Institute of
Christian Worship Since
the publication of the
first volume of Readings
in African American
Church Music and Worship,
public and academic
interest in the music and
worship in black churches
has significantly
increased. This second
volume makes available
the most recent
scholarship on
twenty-first-century
developments and trends,
through a representative
number of articles,
essays, and chapters
written by brilliant
musicians, authors, and
theologians of our time.
The list of contributors
includes some of the
finest emerging scholars,
whose voices we will be
hearing for years to
come, as well as
offerings from seasoned
authors, whose research
and writings are well
regarded by peers and the
worshiping community at
large. The significant
contributions—from
names new and
familiar—greatly
broaden the field of
study. The 43 chapters of
this volume are divided
into 7 categories:
Worship and Liturgical
Practices Perspectives on
Praise and Worship
Liturgical Theologies Hip
Hop and/in the Church
Proclamation of the Word
Perspectives on Women and
Gender Hymnody: Sound and
Sense Insightful,
thought-provoking,
challenging,
hopeful—this
volume will be a source
of knowledge, a stimulus
for discussion, and a
call to (re)consider the
many and varied
viewpoints of the African
American church.
Featuring the writings
of: James Abbington,
LaTrese Adkins, Sandra L.
Barnes, Tuere A. Bowles,
Ruthlyn Bradshaw, Michael
Joseph Brown, Melvin L.
Butler, James H. Cone,
David Douglas Daniels
III, Robert Darden, Leo
H. Davis Jr., Valerie
Bridgeman Davis, Michael
Fox, Kenyatta R. Gilbert,
Daniel White Hodge,
Birgitta J. Johnson,
Alisha Jones, Tammy L.
Kernodle, S T Kimbrough,
Jr., Cheryl A.
Kirk-Duggan, Cleophus J.
LaRue, Monica T. Leach,
Tamura Lomax, Pamela P.
Martin, Marvin A.
McMickle, Monica R.
Miller, Stephanie Y.
Mitchem, Thomasina
Neely-Chandler, Deborah
S. Pollard, Luke A.
Powery, Samuel D.
Proctor, Teresa L. Reed,
Braxton D. Shelley,
Martha Simmons, Josef
Sorett, Rodney A. Teal,
Frank Thomas, Kathleen S.
Turner, Kenneth C. Ulmer,
Gayle Wald, James Melvin
Washington, Ralph C.
Watkins, Lisa M. Weaver,
Melinda E. Weekes,
Christina Zanfagna James
Abbington is Associate
Professor of Church Music
and Worship, Candler
School of Theology, Emory
University, Atlanta,
Georgia. He also serves
as Executive Editor of
the African American
Church Music Series,
published by GIA
Publications, Inc. $49.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cello Repertoire Level 6 Violoncelle - Intermédiaire The Frederick Harris Music Company
Cello - Intermediate SKU: FH.VC6 Cello Series, 2013 Edition. Compo...(+)
Cello - Intermediate
SKU: FH.VC6
Cello Series, 2013
Edition. Composed by
The Royal Conservatory.
Cello Series, 2013
Edition. Book/CD. The
Frederick Harris Music
Company #VC6. Published
by The Frederick Harris
Music Company (FH.VC6).
ISBN
978-1-55440-542-8.
This inaugural edition of
the Cello Series offers a
sound and progressive
collection of Repertoire,
Recordings, Etudes,
Technique, and Orchestral
Excerpts for the aspiring
cellist. With an
expansive representation
of musical styles from
all eras, this series
addresses the need for a
single collection of
quality educational
materials to foster
musical development and
instill appreciation of
the richness and
diversity of music
written for cello.
Supporting a balanced
course of study, this
series organizes
repertoire into nine
volumes from the
Preparatory Level through
Level 8. Each level
offers music from a range
of styles and
compositional eras,
including standard
literature, new
arrangements of familiar
tunes, and music written
for cellists, by
cellists. These
selections provide the
flexibility to choose
pedagogically appropriate
material suited to each
individual, and to
motivate students to
fully develop their
musicianship and
technique. Concertos:<
br>Concerto No. 4 in G
Major, op. 65 -
Goltermann, Georg arr.
Leo Schulz - First
Movement:
Allegro Concertino No.
1 in C Major, op. 7 -
Klengel, Julius -
First Movement:
Allegro Concerto No. 1
in A Minor, RV 422 -
Vivaldi, Antonio arr.
Eberhard Wenzel -
Second Movement: Largo
cantabile Sonatas and
Suites: Sonata in D
Minor, op. 8, no. 9 - De
Fesch, Willem arr. Jason
Noble - First
Movement: Siciliano -
Second Movement:
Allemande Sonata in G
Minor, RV 42 - Vivaldi,
Antonio - First
Movement: Preludio -
Second Movement:
Allemanda Sinfonia in
F Major - Pergolesi,
Giovanni Battista arr.
Joseph Schmid - Third
Movement: Adagio -
Fourth Movement:
Presto Concert
Repertoire: Lied ohne
Worte, op. 109 -
Mendelssohn,
Felix Cantillation -
Ethridge,
Jean Supplication -
Bloch, Ernest Romanze
- Reger, Max La
Provencale - Marais,
Marin arr. May
Mukle Gavotte, op. 67,
no. 2 - Popper,
David Serenade
espagnole, op. 20, no. 2
- Glazunov, Aleksandr
arr. M.P.
Belaieff Andaluza
(Playera) - Granados,
Enrique arr. Manuel
Calvo Apparition -
Rathburn,
Eldon Siciliana -
Piazzolla,
Astor Unaccompanied
Repertoire: Suite No.
5 in C Minor, BWV 1011 -
Bach, Johann
Sebastian - Seventh
Movement: Gigue Suite
No. 2 in D Minor, BWV
1008 - Bach, Johann
Sebastian - Third
Movement:
Courante Suite No. 1
in G Major, BWV 1007 -
Bach, Johann
Sebastian - First
Movement: Prelude I
Dropped My Ice Cream Cone
- Laut, Edward Ballad
- Laut, Edward. $45.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sonata for Two Flutes and Basso Continuo, RV 80 Piano seul EMB (Editio Musica Budapest)
Flutes and Piano SKU: HL.50510436 Per due flauti e basso continuo RV 8...(+)
Flutes and Piano SKU:
HL.50510436 Per
due flauti e basso
continuo RV 80 (F. XV.
No. 7, P.V. -). By
Miklos Spanyi. By Antonio
Vivaldi. Arranged by
Né, meth Spá,
and nyi. Baroque. EMB.
Book Only. 18 pages.
Editio Musica Budapest
#Z13186. Published by
Editio Musica Budapest
(HL.50510436). ISBN
9790080131862. UPC:
073999863185.
8.0x11.25x0.075 inches.
Antonio Vivaldi; Pal
Nemeth; Mikael Miklos
Spanyi. Vivaldi's
composition published in
this edition is,
according to our present
state of knowledge, the
only work of the composer
for 2 flutes and basso
continuo. Its copy in an
alien hand is held at the
Library of the University
of Lund, Sweden, in the
collection of the German
composer Joseph Martin
Kraus (1756-1792).
According to Ryom's
catalogue the piece
survives in the hand of
one Vivaldi's
contemporaries. $17.95 - Voir plus => Acheter | | |
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