| Ten Chorale Preludes Ensemble de cuivres [Conducteur] - Facile Anglo Music
Brass Band - Grade 2.5 SKU: BT.AMP-034-130 Composed by Max Reger. Arrange...(+)
Brass Band - Grade 2.5
SKU:
BT.AMP-034-130
Composed by Max Reger.
Arranged by Philip
Sparke. Ceremonial
Series. Hymns & Chorals.
Score Only. Composed
2003. Anglo Music Press
#AMP 034-130. Published
by Anglo Music Press
(BT.AMP-034-130).
During his
short lifetime Max Reger
(1873-1916) was a
prolific composer with
many of his best known
works being composed for
organ. The ten chorale
preludes in this
selection are from his
set of Thirty Short
Chorale Preludes Op.135a
composed as short
voluntaries for
liturgical use rather
than for recitals in
these arrangements Philip
Sparke has kept this in
mind and each prelude can
be performed with minimal
instrumentation for those
occasions where a small
band is needed. They also
make great pieces for
band warm-ups or studies
in intonation, sound and
balance.
Tijdens
zijn korte leven was Max
Reger (1873-1916) een
productief componist;
veel van zijn beste
werken zijn geschreven
voor orgel. De tien
koraalpreludes in deze
selectie zijn afkomstig
uit zijn set van dertig
kleine koraalpreludes,
opus 135a, die werden
gecomponeerd als
tussenspelen voor
liturgisch gebruik, en
niet zozeer voor
recitals. Philip Sparke
heeft hier rekening mee
gehouden zodat elke
prelude kan worden
uitgevoerd met een
minimale instrumentatie
bij gelegenheden die een
klein ensemble vereisen.
De preludes zijn ook heel
geschikt als warming-ups
of oefeningen in
intonatie, sound en
klankbalans.
Max
Reger komponierte
während seines recht
kurzen Lebens eine
Fülle an Werken vieler
Genres. Diese zehn
Präludien stammen aus
30 kleine Vorspiele zu
den gebräuchlichsten
Chorälen für Orgel.
Sie waren ursprünglich
eher als Voluntaries im
liturgischen Rahmen, denn
als Vortragsstücke
gedacht. In seinem
Arrangement für Brass
Band berücksichtigte
Philip Sparke diesen
Verwendungszweck und
machte sie für eine
minimale Besetzung
spielbar. Die
Präludien eignen sich
auch hervorragend als
Aufwärmstücke oder
als Stimm-, Klang- oder
Balanceübungen und sie
können in
verschiedenen
Zusammenstellungen als
kleine Suiten
aufgeführt
werden.
Pendant sa
courte vie, Max Reger
(1873-1916) était un
compositeur prolifique
dont la plupart des
Å“uvres les plus
célèbres furent
composées pour orgue.
Les dix préludes de
choral de cette
sélection sortent de
ses Trente petits
Préludes-Choral
op.135a, composés
comme morceaux
d’orgue pour usage
liturgique plutôt
qu’ des
récitals. Dans ses
arrangements, Philip
Sparke a gardé cela
l’esprit et chaque
prélude peut être
interprété avec une
instrumentation minimale
lors
d’évènements
où un petit ensemble
est nécessaire. Ils
conviennent aussi comme
pièces
d’échauffement
ou études en
intonation, son et
balance. $28.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ten Chorale Preludes Ensemble de cuivres [Conducteur et Parties séparées] - Facile Anglo Music
Brass Band - Grade 2.5 SKU: BT.AMP-034-030 Composed by Max Reger. Arrange...(+)
Brass Band - Grade 2.5
SKU:
BT.AMP-034-030
Composed by Max Reger.
Arranged by Philip
Sparke. Ceremonial
Series. Hymns & Chorals.
Set (Score & Parts).
Composed 2003. Anglo
Music Press #AMP 034-030.
Published by Anglo Music
Press (BT.AMP-034-030).
During his
short lifetime Max Reger
(1873-1916) was a
prolific composer with
many of his best known
works being composed for
organ. The ten chorale
preludes in this
selection are from his
set of Thirty Short
Chorale Preludes Op.135a
composed as short
voluntaries for
liturgical use rather
than for recitals in
these arrangements Philip
Sparke has kept this in
mind and each prelude can
be performed with minimal
instrumentation for those
occasions where a small
band is needed. They also
make great pieces for
band warm-ups or studies
in intonation, sound and
balance.
Tijdens
zijn korte leven was Max
Reger (1873-1916) een
productief componist;
veel van zijn beste
werken zijn geschreven
voor orgel. De tien
koraalpreludes in deze
selectie zijn afkomstig
uit zijn set van dertig
kleine koraalpreludes,
opus 135a, die werden
gecomponeerd als
tussenspelen voor
liturgisch gebruik, en
niet zozeer voor
recitals. Philip Sparke
heeft hier rekening mee
gehouden zodat elke
prelude kan worden
uitgevoerd met een
minimale instrumentatie
bij gelegenheden die een
klein ensemble vereisen.
De preludes zijn ook heel
geschikt als warming-ups
of oefeningen in
intonatie, sound en
klankbalans.
Max
Reger komponierte
während seines recht
kurzen Lebens eine
Fülle an Werken vieler
Genres. Diese zehn
Präludien stammen aus
30 kleine Vorspiele zu
den gebräuchlichsten
Chorälen für Orgel.
Sie waren ursprünglich
eher als Voluntaries im
liturgischen Rahmen, denn
als Vortragsstücke
gedacht. In seinem
Arrangement für Brass
Band berücksichtigte
Philip Sparke diesen
Verwendungszweck und
machte sie für eine
minimale Besetzung
spielbar. Die
Präludien eignen sich
auch hervorragend als
Aufwärmstücke oder
als Stimm-, Klang- oder
Balanceübungen und sie
können in
verschiedenen
Zusammenstellungen als
kleine Suiten
aufgeführt
werden.
Pendant sa
courte vie, Max Reger
(1873-1916) était un
compositeur prolifique
dont la plupart des
Å“uvres les plus
célèbres furent
composées pour orgue.
Les dix préludes de
choral de cette
sélection sortent de
ses Trente petits
Préludes-Choral
op.135a, composés
comme morceaux
d’orgue pour usage
liturgique plutôt
qu’ des
récitals. Dans ses
arrangements, Philip
Sparke a gardé cela
l’esprit et chaque
prélude peut être
interprété avec une
instrumentation minimale
lors
d’évènements
où un petit ensemble
est nécessaire. Ils
conviennent aussi comme
pièces
d’échauffement
ou études en
intonation, son et
balance. $115.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Francois Couperin: Complete Keyboard Works, Series II Piano seul [Partition] - Avancé Dover Publications
By Francois Couperin (1668-1733). For solo keyboard. Piano Collection. Dover Edi...(+)
By Francois Couperin
(1668-1733). For solo
keyboard. Piano
Collection. Dover
Edition. Classical
Period. SMP Level 9
(Advanced). Collection.
Introductory text,
performance notes and
glossary of French terms
(does not include words
to the songs). 240 pages.
Published by Dover
Publications
(1)$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Organ Works Orgue [Conducteur] Music Distribution Services
Organ SKU: M7.DOHR-20488 Composed by Vincent d'Indy. Edited by Otto Depen...(+)
Organ SKU:
M7.DOHR-20488
Composed by Vincent
d'Indy. Edited by Otto
Depenheuer. Sheet music.
Score. 24 pages. MDS
(Music Distribution
Services) #DOHR 20488.
Published by MDS (Music
Distribution Services)
(M7.DOHR-20488). ISBN
9790202044889. Auf
die Entwicklung der
französischen Musik
gegen Ende des 19.
Jahrhundert übte
Vincent d'Indy ähnlich
großen Einfluss aus
wie sein Zeitgenosse
Charles-Marie Widor:
kompositorisch in fast
allen musikalischen
Genres präsent, hat er
ein ebenso umfassendes
wie bedeutendes
symphonisches ouvre
hinterlassen, in dem
freilich das Orgelwerk
des zeitweiligen
Organisten (in
Saint-Leu-la-Forêt)
und Mitbegründers der
Schola Cantorum
bemerkenswert
überschaubar
bleibt.Alle genuin für
die Orgel komponierten
Werke eignet ihnen ein
ausgesprochen
kontemplativer,
religiös inspirierter
und nobler Gestus, dem
jeder exaltierte
Selbstdarstellungsgestus
fremd ist. Strenge und
filigrane Satztechnik
stehen ganz im Dienst der
musikalischen Aussage.
Prélude et petit Canon
op. 38 entstand 1893. Das
Thema prägt zusammen
mit seinem Kontrapunkt
sowohl das Prélude wie
den Kanon, erscheint in
der Reprise in der
Umkehrung, bevor die
aparte Komposition mit
dem Kanon endet. Die
Vêpres du Commun des
Saints op. 51 komponierte
d'Indy 1899; sie
erschienen erstmals 1907
im Eigenverlag der Schola
Cantorum. Die Bearbeitung
der gregorianischen
Vorlagen erfreute sich
seinerzeit großer
Beliebtheit. Die Petite
Chanson grégorienne
op. 60 zeugt einmal mehr
von der lebenslangen
Verbundenheit d'Indys zur
gregorianischen Musik.
Diese aparte Miniatur
erschien in der
Originalbesetzung für
Klavier zu vier Händen
im Album pour Enfants
petits et grands. Receuil
de Pièces de piano,
à 2 et 4 ms,
composée par un group
des musiciens de la
Schola Cantorum
(1904/1905). Das
Prélude op. 66
erschien erstmals 1911 in
einer Fassung für
Orgel oder Harmonium im
ersten Band der von
Joseph Joubert
(1878-1963)
herausgegebenen Les
Maîtres contemporains
de l'Orgue Die
Orgelfassung erschien
1913 bei Durand (Paris).
(Otto Depenheuer). $13.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Jongen Organ Album Orgue [Partition] Oxford University Press
By Joseph Jongen. Arranged by Whiteley. For Organ Collection. Published by Oxfor...(+)
By Joseph Jongen.
Arranged by Whiteley. For
Organ Collection.
Published by Oxford
University Press.
$34.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Barenreiter Opera Kleidoscope for Soprano Voix Soprano, Piano Barenreiter
This edition: urtext. Stapled. Vocal score, anthology. 62 pages. Published by...(+)
This edition: urtext.
Stapled. Vocal score,
anthology. 62 pages.
Published by Baerenreiter
Verlag
$10.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| De Bach a nos jours - Volume 4A Piano seul Lemoine, Henry
Piano SKU: LM.26316D Composed by Charles Herve and Jacqueline Pouillard. ...(+)
Piano SKU:
LM.26316D Composed by
Charles Herve and
Jacqueline Pouillard. De
Bach a nos jours.
Classical. CD. Editions
Henry Lemoine #26316D.
Published by Editions
Henry Lemoine
(LM.26316D). ISBN
9790231701654. BACH
: Bourree en La mineur -
Petit Prelude en Mi
Majeur BWV 937 - Petit
Prelude en Mi mineur BWV
938 - BARTOK : Danse
paysanne - For Children
Vol.1 n. 32 - BEETHOVEN :
Sonate Op.49 n. 2 -
Bagatelle Op.119 n. 1 -
CHOPIN : Valse posthume
en La mineur - CIMAROSA :
Sonate en Si b - CLEMENTI
: Sonatine Op.36 n. 6 (1e
mvt) - DAQUIN : Le Coucou
- DEBUSSY : Le Petit
berger - GRANADOS : Danse
de la rose - HAYDN :
Presto (Sonate en Mi
Majeur Hob. XVI 13) -
JANACEK : Une Feuille
s'envole - LUTOSLAWSKI :
Etude a quatre voix -
MARTINU : Danse de
Colombine - Valse d'une
marionnette sentimentale
- MENDELSSOHN : Chanson
du gondolier Op.30 n. 6 -
Romance sans paroles
Op.85 n. 2 - MOZART :
Rondo de la Sonate KV 545
- PROKOFIEV : Tarentelle
- RAMEAU : La Joyeuse -
SCHONBERG : Opus 19 n. 2
- SCHUBERT : 3 Landler -
SCHUMANN :
Fantaisie-danse - Petite
Romance - Premiere Scene
d'enfant - SMETANA : Lied
- VILLA-LOBOS : Allegro
(2e Suite enfantine) -
WEBERN : Kinderstuck. $19.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Ten Chorale Preludes Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Anglo Music
Concert Band/Harmonie - Grade 2.5 SKU: BT.AMP-034-010 Composed by Max Reg...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.AMP-034-010
Composed by Max Reger.
Arranged by Philip
Sparke. Ceremonial
Series. Hymns & Chorals.
Set (Score & Parts).
Composed 2003. Anglo
Music Press #AMP 034-010.
Published by Anglo Music
Press (BT.AMP-034-010).
During his
short lifetime Max Reger
(1873-1916) was a
prolific composer with
many of his best known
works being composed for
organ. The ten chorale
preludes in this
selection are from his
set of Thirty Short
Chorale Preludes Op.135a
composed as short
voluntaries for
liturgical use rather
than for recitals in
these arrangements Philip
Sparke has kept this in
mind and each prelude can
be performed with minimal
instrumentation for those
occasions where a small
band is needed. They also
make great pieces for
band warm-ups or studies
in intonation, sound and
balance.
Max Reger
(1873-1916) is de
componist van 30
Koraalbewerkingen, op.
135a voor orgel. Hieruit
stammen deze tien
preludes. Eigenlijk waren
ze bedoeld als vrij
muzikaal intermezzo
binnen de kerkelijke
muziek. En ook met dit
arrangementvoor
blaasorkest houdt Philip
Sparke rekening met dit
oorspronkelijke doel. Hij
maakte ze speelbaar voor
een minimale bezetting
zodat u ze ook met een
klein ensemble tijdens de
kerkdienst kunnen
uitvoeren. Verder zijn ze
ook bijzondergeschikt als
opwarmstuk en als stem-,
klank- of balansoefening.
Bovendien kunt u ze als
kleine suite gebruiken in
een concertprogramma.
Veelzijdig!
Max
Reger komponierte eine
Fülle an Werken vieler
Genres. Unter anderem
schrieb er 30 kleine
Vorspiele zu den
gebräuchlichsten
Chorälen für Orgel,
die mehr als für den
liturgischen Rahmen, denn
als Vortragsstücke
gedacht waren. Seine
Blasorchesterbearbeitung
dieser zehn Präludien
machte Philip Sparke
daher für eine
minimale Besetzung
spielbar, so dass sie
auch Gottesdienst
verwendet werden
können. Außerdem
eignen sie sich auch
hervorragend als
Aufwärmstücke,
Stimm-, Klang- oder
Balanceübungen oder in
verschiedenen
Zusammenstellungen als
kleine Suiten für den
Konzertgebrauch. Eine
vielseitige Sammlung, die
in keinem Repertoire
fehlen sollte!
Max
Reger (1873-1916) a
composé les 30 petits
Préludes de choral
pour orgue, op. 135a,
dont sont extraits les
dix préludes choisis
pour cet arrangement pour
orchestre
d’harmonie. Philip
Sparke est resté
fidèle aux pièces
originales. Le choix de
l’instrumentation
permet
d’interpréter
ces dix préludes avec
une formation effectif
réduit qui peut
être amenée
participer un office. Ces
pièces peuvent
également être
utilisées pour
effectuer une mise en
lèvres ou pour
travailler
l’intonation, le
son et
l’équilibre
entre les différents
pupitres.
Nella
sua breve vita Max Reger
(1873-1916) fu un
compositore molto
prolifico noto per le sue
composizioni per organo.
Le dieci corali
arrangiate da Philip
Sparke fanno parte de
Thirty Short Chorale
Preludes Op. 135a,
composte per uso
liturgico piuttosto che
recitativo. Questo
arrangiamento tiene conto
del fatto che ogni
preludio può essere
eseguito con una
strumentazione minima.
Dieci pezzi ideali anche
come riscaldamento,
studio
dell’intonazione e
del suono. $140.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ten Chorale Preludes Orchestre d'harmonie [Conducteur] - Facile Anglo Music
Concert Band/Harmonie - Grade 2.5 SKU: BT.AMP-034-140 Composed by Max Reg...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.AMP-034-140
Composed by Max Reger.
Arranged by Philip
Sparke. Ceremonial
Series. Hymns & Chorals.
Score Only. Composed
2003. 36 pages. Anglo
Music Press #AMP 034-140.
Published by Anglo Music
Press (BT.AMP-034-140).
During his
short lifetime Max Reger
(1873-1916) was a
prolific composer with
many of his best known
works being composed for
organ. The ten chorale
preludes in this
selection are from his
set of Thirty Short
Chorale Preludes Op.135a
composed as short
voluntaries for
liturgical use rather
than for recitals in
these arrangements Philip
Sparke has kept this in
mind and each prelude can
be performed with minimal
instrumentation for those
occasions where a small
band is needed. They also
make great pieces for
band warm-ups or studies
in intonation, sound and
balance.
Max Reger
(1873-1916) is de
componist van 30
Koraalbewerkingen, op.
135a voor orgel. Hieruit
stammen deze tien
preludes. Eigenlijk waren
ze bedoeld als vrij
muzikaal intermezzo
binnen de kerkelijke
muziek. En ook met dit
arrangementvoor
blaasorkest houdt Philip
Sparke rekening met dit
oorspronkelijke doel. Hij
maakte ze speelbaar voor
een minimale bezetting
zodat u ze ook met een
klein ensemble tijdens de
kerkdienst kunnen
uitvoeren. Verder zijn ze
ook bijzondergeschikt als
opwarmstuk en als stem-,
klank- of balansoefening.
Bovendien kunt u ze als
kleine suite gebruiken in
een concertprogramma.
Veelzijdig!
Max
Reger komponierte eine
Fülle an Werken vieler
Genres. Unter anderem
schrieb er 30 kleine
Vorspiele zu den
gebräuchlichsten
Chorälen für Orgel,
die mehr als für den
liturgischen Rahmen, denn
als Vortragsstücke
gedacht waren. Seine
Blasorchesterbearbeitung
dieser zehn Präludien
machte Philip Sparke
daher für eine
minimale Besetzung
spielbar, so dass sie
auch Gottesdienst
verwendet werden
können. Außerdem
eignen sie sich auch
hervorragend als
Aufwärmstücke,
Stimm-, Klang- oder
Balanceübungen oder in
verschiedenen
Zusammenstellungen als
kleine Suiten für den
Konzertgebrauch. Eine
vielseitige Sammlung, die
in keinem Repertoire
fehlen sollte!
Max
Reger (1873-1916) a
composé les 30 petits
Préludes de choral
pour orgue, op. 135a,
dont sont extraits les
dix préludes choisis
pour cet arrangement pour
orchestre
d’harmonie. Philip
Sparke est resté
fidèle aux pièces
originales. Le choix de
l’instrumentation
permet
d’interpréter
ces dix préludes avec
une formation effectif
réduit qui peut
être amenée
participer un office. Ces
pièces peuvent
également être
utilisées pour
effectuer une mise en
lèvres ou pour
travailler
l’intonation, le
son et
l’équilibre
entre les différents
pupitres.
Nella
sua breve vita Max Reger
(1873-1916) fu un
compositore molto
prolifico noto per le sue
composizioni per organo.
Le dieci corali
arrangiate da Philip
Sparke fanno parte de
Thirty Short Chorale
Preludes Op. 135a,
composte per uso
liturgico piuttosto che
recitativo. Questo
arrangiamento tiene conto
del fatto che ogni
preludio può essere
eseguito con una
strumentazione minima.
Dieci pezzi ideali anche
come riscaldamento,
studio
dell’intonazione e
del suono. $28.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Le Piano Dans Tous Ses Eclats Piano seul [Conducteur] - Facile Lemoine, Henry
Piano - Level 2 SKU: LM.27825 Composed by Henri Nafilyan and Thierry Mass...(+)
Piano - Level 2 SKU:
LM.27825 Composed by
Henri Nafilyan and
Thierry Masson.
Classical. Score.
Editions Henry Lemoine
#27825. Published by
Editions Henry Lemoine
(LM.27825). ISBN
9790230978255. BACH
J.S. : Trio BWV 929,
Menuet BWV 813, Petit
prelude BWV 942 - BARTOK
B. : Andante - BEETHOVEN
L.V. : Danse allemande n.
10 (WoO 8), Anglaise en
Re (Hess 61), Allemande
(WoO 81), Contredanse
(WoO 14), Menuet (WoO 7)
- CHOPIN F. : Prelude
Op.28 n. 6 - CLEMENTI M.
: Air russe - GLINKA M.I.
: Galopade - GRIEG E. :
Feuille d'album Op.12 n.
7 - HAYDN J. : Menuet
Hob. 1 : 85/111, Menuet
Hob. IX : 11, Final
Hob.XVI : 7 - JOLIVET A.
: Danse caraibe -
KOECHLIN C. : Le Ruisseau
limpide, La Maison
heureuse - MASSON T. :
Bagatelle, Le Repos du
dragon, En Camargue,
Petite improvisation
imaginaire, Vague a l'ame
- MENDELSSOHN F.B. :
Premiere barcarolle Op.19
n. 6 - MOZART W.A. :
Variation en La KV 460 -
NAFILYAN H. : Mystere,
L'Acrobate - PAPP L. : Le
Pantin, A cheval, Le
Petit Soldat de plomb, La
Machine a coudre -
PROKOFIEV S. : La Pluie
et l'Arc-en-ciel -
SCHUBERT F. : Danse
allemande n. 5 (D 420),
Valse n. 1 (D980) -
SCHUMANN R. : Feuille
d'album Op.99 n. 4 -
SZOKOLAY S. : Taquinerie,
Tom Pouce - TCHAIKOVSKI
P.I. : Marche des
soldats, La Nouvelle
Poupee - VILLA-LOBOS H. :
Ainsi bercait maman -
VISKI J. : J'avais un
poulailler - Un jour mon
prince viendra, de
Blanche Neige et les sept
nains (CHURCHILL) - Ce
reve bleu, d'Aladin
(GILKYSON) - Il en faut
peu pour etre heureux, du
Livre de la jungle
(SHERMAN) - Des gammes et
des arpeges, des
Aristochats (SHERMAN)
-Elegant blues,
Exploration boogie
(MASSON). $35.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Petits Préludes Et Fuguettes Piano seul Choudens
Piano SKU: BT.MUSACF017410 Composed by Johann Sebastian Bach. Book Only. ...(+)
Piano SKU:
BT.MUSACF017410
Composed by Johann
Sebastian Bach. Book
Only. Choudens
#MUSACF017410. Published
by Choudens
(BT.MUSACF017410).
These Twelve
Little Préludes ,
composed by J. S. Bach ,
combine to create a great
variety of pieces that
are all relatively short,
but do require a good
understanding of
technique. Arranged for
Piano. All of these
pieces are great fun to
play, but they also
exhibit that beautiful
grasp of musicality that
Bach 's larger, longer
works were known
for. $17.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| A Romantic Sketchbook for Piano Book IV Piano seul ABRSM Publishing
By ABRSM. For piano. Published by ABRSM (Associated Board of the Royal Schools o...(+)
By ABRSM. For piano.
Published by ABRSM
(Associated Board of the
Royal Schools of Music).
$16.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| A Eugene Butler Organ Treasury Orgue - Intermédiaire/avancé Sacred Music Press
Composed by Eugene Butler. For organ: 3-staff. Sacred. Moderately advanced. Sacr...(+)
Composed by Eugene
Butler. For organ:
3-staff. Sacred.
Moderately advanced.
Sacred Music Press
#70/1973S. Published by
Sacred Music Press
$42.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Organ Music For Manuals Book 1 Orgue [Partition] Oxford University Press
| | |
| Je Débute...le Piano Piano seul [Partition + CD] Hit Diffusion
Piano SKU: BT.HITPCDEBPIA01 32 morceaux complets. Composed by HÃ...(+)
Piano SKU:
BT.HITPCDEBPIA01
32 morceaux
complets. Composed by
Hélène
Philippe-Gérard.
Method. Book with CD.
Composed 2016. 112 pages.
Hit Diffusion
#HITPCDEBPIA01. Published
by Hit Diffusion
(BT.HITPCDEBPIA01).
French. Je
débute le piano est
une méthode de piano
pour débutants grand
public, qui permet
d’apprendre le
piano de façon
ludique. Tous les tubes
que les pianistes
rêvent de jouer y sont
: La valse
d’Amélie
Poulain (Yann Tiersen),
Lettre France(Polnareff),
Someone like you (Adele),
le prélude n°1 en
Do majeur (Bach), Honesty
(Billy Joel), Imagine,
Let It Be (The Beatles),
Hallelujah (Leonard
Cohen), Sunburn (Muse),
Video Games (Lana del
Rey)... En tout, 32
morceaux, des exercices
etconseils...Avec sa
présentation claire et
accessible, sa
progression intelligente
et son répertoire qui
couvre tous les genres et
toutes les époques, Je
débute le piano
convaincra tous ceux qui
veulent apprendre ou
redécouvrir le piano
sérieusement, mais
dansla détente et la
bonne humeur!Et sur le CD
accompagnant
l’ouvrage, les
morceaux en version
audio, pour faciliter
l’apprentissage !
112 pages, broché.
Conçu et fabriqué
en France. $29.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Petits Preludes No.1 & No.2 (piano Solo) Piano seul Leduc, Alphonse
Piano SKU: HL.48184390 Composed by C.A. Landini. Leduc. Classical. Softco...(+)
Piano SKU:
HL.48184390 Composed
by C.A. Landini. Leduc.
Classical. Softcover. 3
pages. Alphonse Leduc
#AL27389. Published by
Alphonse Leduc
(HL.48184390). UPC:
888680846657. 9x12.25
inches. C.A.
Landini: Petits
Préludes No.1 &
No.2 (Piano solo). $9.80 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 7 Petits Preludes (percussions 2) Leduc, Alphonse
SKU: HL.48184278 Composed by Johann Sebastian Bach. Leduc. Baroque. Softc...(+)
SKU: HL.48184278
Composed by Johann
Sebastian Bach. Leduc.
Baroque. Softcover.
Alphonse Leduc #AL27242.
Published by Alphonse
Leduc (HL.48184278).
UPC: 888680991142.
9x12 inches. Johann
Sebastian Bach: 7 Petits
Préludes
(Percussions 2). $28.60 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Marin Marais Album Saxophone [Conducteur] - Facile Lemoine, Henry
Saxophone - Level 2 SKU: LM.29358 Composed by Nicolas Prost. Classical. S...(+)
Saxophone - Level 2
SKU: LM.29358
Composed by Nicolas
Prost. Classical. Score.
29 pages. Editions Henry
Lemoine #29358. Published
by Editions Henry Lemoine
(LM.29358). ISBN
9790230993586. 1.
Bourasque (Livre 3) - 2.
La folette (Livre 3) - 3.
Petit caprice (Livre 5) -
4. Le tourbillon (Livre
5) - 5. Prelude en
harpegement (Livre 5) -
6. Prelude en harpegement
(Livre 5) - 7. Fantaisie
(Livre 5) - 8. Le caprice
bellemont (Livre 5) - 9.
Folies d'Espagne (Livre
2) - 10. Caprice (Livre
3) - 11. La tourneuse
(Livre 4) - 12. Fantaisie
(Livre 5) - 13. La
brillante (Livre 3) - 14.
Le badinage (Livre 4) -
15. Le jeu du volant
(Livre 5) - 16. Feste
champetre (Livre 4) - 17.
Fantaisie (Livre 3) - 18.
Le petit badinage (Livre
5) - 19. Gigue la
piquante (Livre 4) - 20.
La sautillante (Livre 4)
- 21. Caprice (Livre 4) -
22. Le Basque (Livre 4) -
23. Fantaisie (Livre 3) -
24. Fantaisie (Livre
5). $26.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Alfred's Basic Piano Library Popular Hits Complete, Book 1 Piano seul - Débutant Alfred Publishing
(For the Later Beginner). Arranged by Tom Gerou. For Piano. Book; Graded Standar...(+)
(For the Later Beginner).
Arranged by Tom Gerou.
For Piano. Book; Graded
Standard Repertoire;
Method/Instruction; Piano
- Alfred's Basic Piano
Library. Alfred's Basic
Piano Library. Broadway;
Children; Movie; Pop.
Beginner. 40 pages.
Published by Alfred Music
$11.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Best of pianiste n°1 Piano seul Beuscher
Piano SKU: BT.PBBESTPIA1 Composed by Alexandre Sorel. Classical. Score wi...(+)
Piano SKU:
BT.PBBESTPIA1
Composed by Alexandre
Sorel. Classical. Score
with CD. Composed 2014.
111 pages. Paul Beuscher
#PBBESTPIA1. Published by
Paul Beuscher
(BT.PBBESTPIA1). ISBN
9782824400433. HAEN
DEL : Rigaudon - GRIEG :
Arietta, extr. des
Pièces lyriques Op.12
- MOZART : Valse favorite
KV606 - Mc DOWELL : Pour
une rose sauvage, extr.
des Woodland Sketches -
MA KAPAR : Berceuse -
GLINKA : Polka - COUPERIN
: L'Epineuse, extr. du
VIe Ordre - BACH :
Musette en ré majeur
BWV anh.126 - ANONYME :
Marche du Petit Livre
d'Anna Magdalena Bach -
FUCHS : Douce Consolation
Op.47 n°11 - SCHUMANN
: Premier Chagrin, extr.
de l'Album pour la
jeunesse Op.68 - GURLITT
: Petites Fleurs Op.205 -
SPINDLER : Chanson sans
paroles - HUMMEL :
Ecossaise Op.52 n°5 -
MOUSSORGSKI : Une larme -
CHOPIN : Mazurka Op.67
n°2 - SCHUBERT : Valse
n°6 Op.18 D145 -
BEETHOVEN : Bagatelle
Op.119 n°1 - SATIE
:Gymnopédie n°1 -
MENDELSSOHN : Chant du
gondolier Op.30 n°6 -
BACH : Invention 2 voix
n°4 BWV 775 - FAURE :
Pièce brève Op.84
n°5 - MOZART :
Fantaisie en ré mineur
K.397 - CHOPIN :
Prélude Op.28 n°6 -
DEBUSSY : Doctor Gradus
ad Parnassum, extr. des
Children's Corner -
SCRIABINE : Prélude
Op.22 n°3 - SCHUMANN :
L'Enfant s'endort, extr.
des Scènes d'enfants
Op.15 - LISZT :
Consolation n°3 -
DEBUSSY : Première
Arabesque - BACH :
Concerto italien BWV971,
2e mouvement. $30.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Petite trilogie [Conducteur] Lemoine, Henry
Composed by Erik Satie/Jean Leber. For 2 violins. Classical. Level 1. Score. 12 ...(+)
Composed by Erik
Satie/Jean Leber. For 2
violins. Classical. Level
1. Score. 12 pages.
Published by Editions
Henry Lemoine
$19.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Erik Satie : Nine Children's Pieces (Menus Propos Enfantin) Piano seul - Débutant ABRSM Publishing
By Erik Satie. For piano. Published by ABRSM (Associated Board of the Royal Scho...(+)
By Erik Satie. For piano.
Published by ABRSM
(Associated Board of the
Royal Schools of Music).
(1)$11.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Petit Prélude Piano seul Fertile Plaine Editions
Piano SKU: BT.FP0005 Composed by Pascal Franck. Book Only. Fertile Plaine...(+)
Piano SKU:
BT.FP0005 Composed by
Pascal Franck. Book Only.
Fertile Plaine #FP0005.
Published by Fertile
Plaine (BT.FP0005).
$6.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Debussy Piano Music Piano seul [Partition] - Intermédiaire/avancé Hal Leonard
By Claude Debussy (1862-1918). Edited by Richard Walters. World's Greatest Class...(+)
By Claude Debussy
(1862-1918). Edited by
Richard Walters. World's
Greatest Classical Music.
Softcover. 224 pages.
Published by Hal Leonard
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| De Bach a nos jours - Volume 3A Piano seul [Conducteur] - Intermédiaire Lemoine, Henry
Piano - Level 3 SKU: LM.26315 Composed by Charles Herve and Jacqueline Po...(+)
Piano - Level 3 SKU:
LM.26315 Composed by
Charles Herve and
Jacqueline Pouillard. De
Bach a nos jours.
Classical. Score.
Editions Henry Lemoine
#26315. Published by
Editions Henry Lemoine
(LM.26315). ISBN
9790230963152. BACH
: Petit Prelude BWV 935 -
BACH C.P.E. :
Solfeggietto - BACH W.F.
: Scherzo - BARTOK : For
Children Vol.1 n. 21 -
For Children Vol.1 n. 31
- For Children Vol.1 n.
35 - Peasant's Flute - An
Evening at the Village -
CLEMENTI : Rondo
(Sonatine en Sol Op.36 n.
5) - Sonatine en Fa Op.36
n. 4 (1e mvt) - DUTILLEUX
: Bergerie - GALUPPI :
Allegro - GLINKA : Valse
de l'adieu - Mazurka -
HAENDEL : Aria - Prelude
en Sol (14e Suite en Sol)
- Courante (14e Suite en
Sol) - HAYDN : Sonate en
Ut Hob.XVI (1e mvt) -
IBERT : Serenade sur
l'eau - KABALEVSKI :
Etude - LUTOSLAWSKI : Le
Bosquet - MARTINU : Un
Conte - MOUSSORGSKI : Une
Larme - MOZART : Rondo de
la Sonatine viennoise -
PAPP : Tropical Dark
Water - Water Fleas -
Salt-Water Crab -
PROKOFIEV : Soir - Valse
- SCHUMANN : Petite
berceuse - Petite chanson
du chasseur - Le Moine
bourru - Album pour la
jeunesse n. 26 -
TCHAIKOVSKI : Reverie -
Mazurka - L'Alouette. $39.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Gioacchino Rossini: Piano Works, Volume I Piano seul [Partition] - Intermédiaire/avancé Warner Brothers
By Gioacchino Rossini. Edited by Marty Winkler. Marty Winkler. Classical piano. ...(+)
By Gioacchino Rossini.
Edited by Marty Winkler.
Marty Winkler. Classical
piano. Level: upper
intermediate - advanced.
124 pages. Published by
Warner Brothers
(1)$13.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Real Little Classical Fake Book - 2nd Edition Piano seul - Intermédiaire Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
$27.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Gustave Vogt's Musical Album of Autographs Cor anglais, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe SKU:
CF.WF229 15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229). ISBN
9781491153789. UPC:
680160911288. Intro
duction Gustave Vogt's
Musical Paris Gustave
Vogt (1781-1870) was born
into the Age of
Enlightenment, at the
apex of the
Enlightenment's outreach.
During his lifetime he
would observe its effect
on the world. Over the
course of his life he
lived through many
changes in musical style.
When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the grandfather of the
modern oboe and the
premier oboist of Europe.
Through his eighty-nine
years, Vogt would live
through what was perhaps
the most turbulent period
of French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
System Six Triebert oboe
(the instrument adopted
by Conservatoire
professor, Georges
Gillet, in 1882) was only
five years from being
developed. Vogt was born
March 18, 1781 in the
ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school's first
oboe professor,
Alexandre-Antoine
Sallantin (1775-1830).
Vogt's relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed repetiteur,
which involved teaching
the younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school's history. During
his tenure, he became the
most influential oboist
in France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799-1839), Apollon
Marie-Rose Barret
(1804-1879), Charles
Triebert (1810-1867),
Stanislas Verroust
(1814-1863), and Charles
Colin (1832-1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854-1920), and then to
Marcel Tabuteau
(1887-1966), the oboist
Americans lovingly
describe as the father of
American oboe playing.
Opera was an important
part of Vogt's life. His
first performing position
was with the
Theatre-Montansier while
he was still studying at
the Conservatoire.
Shortly after, he moved
to the Ambigu-Comique
and, in 1801 was
appointed as first oboist
with the Theatre-Italien
in Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opera-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opera, the
top orchestra in Paris at
the time. He played with
the Paris Opera until
1834, all the while
bringing in his current
and past students to fill
out the section. In this
position, he began to
make a name for himself;
so much so that specific
performances were
immortalized in memoirs
and letters. One comes
from a young Hector
Berlioz (1803-1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opera's performance of
Mehul's Stratonice and
Persuis' ballet Nina. It
was in response to the
song Quand le bien-amie
reviendra that Berlioz
wrote: I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt's instrument...
Shortly after this,
Berlioz gave up studying
medicine and focused on
music. Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini's (1760-1842)
Ave Maria, with soprano
Anna (Nanette) Schechner
(1806-1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opera. He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artot (1815-1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having lost none of his
superiority over the
oboe.... It's always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to Vogt's oboe.
Vogt was also active
performing in Paris as a
chamber and orchestral
musician. He was one of
the founding members of
the Societe des Concerts
du Conservatoire, a group
established in 1828 by
violinist and conductor
Francois-Antoine Habeneck
(1781-1849). The group
featured faculty and
students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770-1836). After his
retirement from the Opera
in 1834 and from the
Societe des Concerts du
Conservatoire in 1842,
Vogt began to slow down.
His final known
performance was of
Cherubini's Ave Maria on
English horn with tenor
Alexis Dupont (1796-1874)
in 1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of Autographs.
Autograph Albums Vogt's
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death. As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492-1550), a collection
of 212 Latin emblem
poems. In 1558, the first
book conceived for the
purpose of the album
amicorum was published by
Lyon de Tournes
(1504-1564) called the
Thesaurus Amicorum. These
books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans. The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbucher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music. This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his grand tour through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his most valuable
contribution came from
Beethoven in 1815.
Spohr's Notenstammbuch,
comprised only of musical
entries, is
groundbreaking because it
was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbucher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later. Vogt's Musical
Album of Autographs
Vogt's Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod's (1818-1893)
Faust, which premiered in
1859, was submitted.
Within this album we find
sixty-two entries from
musicians whom he must
have known very well
because they were
colleagues at the
Conservatoire, or
composers of opera whose
works he was performing
with the Paris Opera.
Other entries came from
performers with whom he
had performed and some
who were simply passing
through Paris, such as
Joseph Joachim
(1831-1907). Of the
sixty-three total
entries, some are
original, unpublished
works, while others came
from well-known existing
works. Nineteen of these
works are for solo piano,
sixteen utilize the oboe
or English horn, thirteen
feature the voice (in
many different
combinations, including
vocal solos with piano,
and small choral settings
up to one with double
choir), two feature
violin as a solo
instrument, and one even
features the now obscure
ophicleide. The
connections among the
sixty-two contributors to
Vogt's album are
virtually never-ending.
All were acquainted with
Vogt in some capacity,
from long-time
friendships to
relationships that were
created when Vogt
requested their entry.
Thus, while Vogt is the
person who is central to
each of these musicians,
the web can be greatly
expanded. In general, the
connections are centered
around the Conservatoire,
teacher lineages, the
Opera, and performing
circles. The
relationships between all
the contributors in the
album parallel the
current musical world, as
many of these kinds of
relationships still
exist, and permit us to
fantasize who might be
found in an album created
today by a musician of
the same standing. Also
important, is what sort
of entries the
contributors chose to
pen. The sixty-three
entries are varied, but
can be divided into
published and unpublished
works. Within the
published works, we find
opera excerpts, symphony
excerpts, mass excerpts,
and canons, while the
unpublished works include
music for solo piano,
oboe or English horn,
string instruments
(violin and cello), and
voice (voice with piano
and choral). The music
for oboe and English horn
works largely belong in
the unpublished works of
the album. These entries
were most likely written
to honor Vogt. Seven are
for oboe and piano and
were contributed by
Joseph Joachim, Pauline
Garcia Viardot
(1821-1910), Joseph
Artot, Anton Bohrer
(1783-1852), Georges
Onslow (1784-1853),
Desire Beaulieu
(1791-1863), and Narcisse
Girard (1797-1860). The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work, which he even
included in his
signature. Two composers
contributed pieces for
English horn and piano,
and like the previous
oboe entries, are simple
and repetitive. These
were written by Michele
Carafa (1787-1872) and
Louis Clapisson
(1808-1866). There are
two other entries that
were unpublished works
and are chamber music.
One is an oboe trio by
Jacques Halevy
(1799-1862) and the other
is for oboe and strings
(string trio) by J. B.
Cramer (1771-1858). There
are five published works
in the album for oboe and
English horn. There are
three from operas and the
other two from symphonic
works. Ambroise Thomas
(1811-1896) contributed
an excerpt from the
Entr'acte of his opera La
Guerillero, and was
likely chosen because the
oboe was featured at this
moment. Hippolyte Chelard
(1789-1861) also chose to
honor Vogt by writing for
English horn. His entry,
for English horn and
piano, is taken from his
biggest success, Macbeth.
The English horn part was
actually taken from Lady
Macbeth's solo in the
sleepwalking scene.
Vogt's own entry also
falls into this category,
as he entered an excerpt
from Donizetti's Maria di
Rohan. The excerpt he
chose is a duet between
soprano and English horn.
There are two entries
featuring oboe that are
excerpted from symphonic
repertoire. One is a
familiar oboe melody from
Beethoven's Pastoral
Symphony entered by his
first biographer, Anton
Schindler (1796-1864).
The other is an excerpt
from Berlioz's choral
symphony, Romeo et
Juliette. He entered an
oboe solo from the Grand
Fete section of the
piece. Pedagogical
benefit All of these
works are lovely, and fit
within the album
wonderfully, but these
works also are great oboe
and English horn music
for young students. The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work in the piano. This
repetitive structure is
beneficial for young
students for searching
for a short solo to
present at a studio
recital, or simply to
learn. They also work
many technical issues a
young player may
encounter, such as
mastering the rolling
finger to uncover and
recover the half hole.
This is true of Bealieu's
Pensee as well as
Onslow's Andantino.
Berlioz's entry from
Romeo et Juliette
features very long
phrases, which helps with
endurance and helps keep
the air spinning through
the oboe. Some of the
pieces also use various
levels of ornamentation,
from trills to grace
notes, and short
cadenzas. This allows the
student to learn
appropriate ways to
phrase with these added
notes. The chamber music
is a valuable way to
start younger students
with chamber music,
especially the short
quartet by Cramer for
oboe and string trio. All
of these pieces will not
tax the student to learn
a work that is more
advanced, as well as give
them a full piece that
they can work on from
beginning to end in a
couple weeks, instead of
months. Editorial Policy
The works found in this
edition are based on the
manuscript housed at the
Morgan Library in New
York City (call number
Cary 348, V886. A3). When
possible, published
scores were consulted and
compared to clarify pitch
and text. The general
difficulties in creating
an edition of these works
stem from entries that
appear to be hastily
written, and thus omit
complete articulations
and dynamic indications
for all passages and
parts. The manuscript has
been modernized into a
performance edition. The
score order from the
manuscript has been
retained. If an entry
also exists in a
published work, and this
was not indicated on the
manuscript, appropriate
titles and subtitles have
been added tacitly. For
entries that were
untitled, the beginning
tempo marking or
expressive directive has
been added as its title
tacitly. Part names have
been changed from the
original language to
English. If no part name
was present, it was added
tacitly. All scores are
transposing where
applicable. Measure
numbers have been added
at the beginning of every
system. Written
directives have been
retained in the original
language and are placed
relative to where they
appear in the manuscript.
Tempo markings from the
manuscript have been
retained, even if they
were abbreviated, i.e.,
Andte. The barlines,
braces, brackets, and
clefs are modernized. The
beaming and stem
direction has been
modernized. Key
signatures have been
modernized as some of the
flats/sharps do not
appear on the correct
lines or spaces. Time
signatures have been
modernized. In a few
cases, when a time
signature was missing in
the manuscript, it has
been added tacitly.
Triplet and rhythmic
groupings have been
modernized. Slurs, ties,
and articulations
(staccato and accent)
have been modernized.
Slurs, ties, and
articulations have been
added to parallel
passages tacitly.
Courtesy accidentals
found in the manuscript
have been removed, unless
it appeared to be helpful
to the performer. Dynamic
indications from the
manuscript have been
retained, except where
noted. --Kristin
Leitterman. Introducti
onGustave Vogt’s
Musical ParisGustave Vogt
(1781–1870) was
born into the “Age
of Enlightenment,â€
at the apex of the
Enlightenment’s
outreach. During his
lifetime he would observe
its effect on the world.
Over the course of his
life he lived through
many changes in musical
style. When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the “grandfather
of the modern oboeâ€
and the “premier
oboist of
Europe.â€Through his
eighty-nine years, Vogt
would live through what
was perhaps the most
turbulent period of
French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
“System Sixâ€
Triébert oboe (the
instrument adopted by
Conservatoire professor,
Georges Gillet, in 1882)
was only five years from
being developed.Vogt was
born March 18, 1781 in
the ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school’s
first oboe professor,
Alexandre-Antoine
Sallantin
(1775–1830).Vogtâ
€™s relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed
répétiteur, which
involved teaching the
younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school’s history.
During his tenure, he
became the most
influential oboist in
France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799–1839),
Apollon Marie-Rose Barret
(1804–1879),
Charles Triebert
(1810–1867),
Stanislas Verroust
(1814–1863), and
Charles Colin
(1832–1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854–1920), and
then to Marcel Tabuteau
(1887–1966), the
oboist Americans lovingly
describe as the
“father of American
oboe playing.â€Opera
was an important part of
Vogt’s life. His
first performing position
was with the
Théâtre-Montansier
while he was still
studying at the
Conservatoire. Shortly
after, he moved to the
Ambigu-Comique and, in
1801 was appointed as
first oboist with the
Théâtre-Italien in
Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opéra-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opéra,
the top orchestra in
Paris at the time. He
played with the Paris
Opéra until 1834, all
the while bringing in his
current and past students
to fill out the section.
In this position, he
began to make a name for
himself; so much so that
specific performances
were immortalized in
memoirs and letters. One
comes from a young Hector
Berlioz
(1803–1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opéra’s
performance of
Mehul’s Stratonice
and Persuis’
ballet Nina. It was in
response to the song
Quand le bien-amié
reviendra that Berlioz
wrote: “I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt’s
instrument…â€
Shortly after this,
Berlioz gave up studying
medicine and focused on
music.Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini’s
(1760–1842) Ave
Maria, with soprano Anna
(Nanette) Schechner
(1806–1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opéra.He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artôt
(1815–1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having “lost none
of his superiority over
the oboe….
It’s always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to
Vogt’s
oboe.â€Vogt was also
active performing in
Paris as a chamber and
orchestral musician. He
was one of the founding
members of the
Société des
Concerts du
Conservatoire, a group
established in 1828 by
violinist and conductor
François-Antoine
Habeneck
(1781–1849). The
group featured faculty
and students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770–1836).After
his retirement from the
Opéra in 1834 and from
the Société des
Concerts du Conservatoire
in 1842, Vogt began to
slow down. His final
known performance was of
Cherubini’s Ave
Maria on English horn
with tenor Alexis Dupont
(1796–1874) in
1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of
Autographs.Autograph
AlbumsVogt’s
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death.As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492–1550), a
collection of 212 Latin
emblem poems. In 1558,
the first book conceived
for the purpose of the
album amicorum was
published by Lyon de
Tournes
(1504–1564) called
the Thesaurus Amicorum.
These books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans.The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbücher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music.This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his “grand
tour†through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his “most valuable
contribution†came
from Beethoven in 1815.
Spohr’s
Notenstammbuch, comprised
only of musical entries,
is groundbreaking because
it was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbücher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later.Vogt’s
Musical Album of
AutographsVogt’s
Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod’s
(1818–1893) Faust,
which premiered in 1859,
was submitted.Within this
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