| 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 | | |
| 24 Melodious Warm-Ups Flûte traversière Theodore Presser Co.
Daily tone and articulation studies from the flutistas repertoire. Arranged by...(+)
Daily tone and
articulation
studies from the
flutistas
repertoire. Arranged by
Daniel Dorff. Sws.
Theodore
Presser Company
#114-41983.
Published by Theodore
Presser Company
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music Money Piano seul [Partition] - Débutant Kjos Music Company
For piano. Piano. Method. Level: Primer. Music Book. Published by Neil A. Kjos M...(+)
For piano. Piano. Method.
Level: Primer. Music
Book. Published by Neil
A. Kjos Music Company.
(1)$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Recorder 12 Months - Reciting the Seasons of Japan Yamaha
Recorder and Voccal SKU: YM.GTW01100296 Composed by Various. Traditional ...(+)
Recorder and Voccal
SKU:
YM.GTW01100296
Composed by Various.
Traditional Japanese
Song. J-Pop, Traditional
Japanese Song, Kayo.
Book. Yamaha Music Media
#GTW01100296. Published
by Yamaha Music Media
(YM.GTW01100296). ISBN
9784636102062. 8.5 x 12
inches. A number of
famous songs, mainly
Shoka (traditional
Japanese songs),
associated with each
month from January to
December are collected in
a book. The sheet music
includes lyrics, so even
those who are not good
with sheet music can
enjoy singing those
nostalgic songs! $13.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| A Guide to Student Teaching in Band GIA Publications
SKU: GI.G-9761 A Teaching Music through Performance Resource. Comp...(+)
SKU: GI.G-9761
A Teaching Music
through Performance
Resource. Composed by
Dennis W. Fisher, Erik
Johnson, and Lissa
Fleming May. Teaching
Music Through
Performance. Music
Education. 136 pages. GIA
Publications #9761.
Published by GIA
Publications (GI.G-9761).
ISBN
9781622772636. Musi
c education majors are
poised to enter one of
the most enjoyable and
meaningful professions on
Earth. This no-nonsense
guide is designed to help
them get everything they
can out of their student
teaching experience. The
authors of this book
represent over 100 years
of active involvement in
music education. Each has
taught in public schools
and now serves in
important music education
positions at major
universities across the
United States. Their
experience and hands-on
work has provided them
with great knowledge,
insight, and vision of
the student teaching
experience—knowled
ge they are eager to
share. The result is
informative, practical,
thought provoking, and
even entertaining. Each
chapter includes an
overview of the areas of
immersion young music
educators will face in
their new profession,
including: How to best
develop observation
skills and glean helpful
techniques How to develop
your own educational
vision and ethics How to
prepare for the overload
that many feel of the
never-ending litany of
daily teaching and
administrative tasks you
must negotiate Throughout
the book, the authors
remind us that teaching
music through performance
is an important daily,
weekly, monthly, and
yearly goal. The Teaching
Music through Performance
series has had a profound
impact on all aspects of
the wind band community.
With the creation of this
affordable guide, funded
in part with revenue set
aside by the originators
of the Teaching Music
through Performance
series, the future of the
profession—with
your
participation—rema
ins truly bright. As
Larry Blocher states in
the book, IT ALL STARTS
WITH YOU! Dennis Fisher
is Conductor of the
Symphonic Band, Associate
Director of Wind Studies,
and Professor of Music in
Conducting and Ensembles
at the University of
North Texas. Lissa
Fleming May is Associate
Dean for Instruction and
Professor of Music
Education at the Indiana
University Jacobs School
of Music. Erik Johnson is
Associate Professor of
Music Education at
Colorado State
University, where he
teaches undergraduate and
graudate courses in music
education and conducts
the 130-member CSU
Concert Band. $15.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sound Stories Round the Year Eveil Musical [Partition + CD] Alfred Publishing
(Folk Tales, Fables, and Poems for the Music Classroom). Composed by Karen Farnu...(+)
(Folk Tales, Fables, and
Poems for the Music
Classroom). Composed by
Karen Farnum Surmani and
Anna Wentlent. Book; CD;
Classroom/Pre-School;
General Music and
Classroom Publications;
Other Classroom. 52
pages. Published by
Alfred Music
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Court of the Noble Trumpeteers Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant FJH
By Timothy Loest. Arranged by Timothy Loest. FJH Starter Series. Full set (score...(+)
By Timothy Loest.
Arranged by Timothy
Loest. FJH Starter
Series. Full set (score
and parts). Score only
also available: S.
Concert Band. Level:
Grade 0.5. Score and Set
of Parts. Composed 2004.
Published by The FJH
Music Company Inc.
$45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Student Singer Voix seule [Partition + CD] Hal Leonard
(25 Songs in English for Classical Voice With a CD of Piano Accomp). Edited by R...(+)
(25 Songs in English for
Classical Voice With a CD
of Piano Accomp). Edited
by Richard Walters. Vocal
Collection. Softcover
with CD. 72 pages.
Published by Hal Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 24 Varied Scales And Exercises For Clarinet
Clarinette Carl Fischer
In All Major and Minor Keys. Composed by J. B. Albert. Edited by Julie DeRoche...(+)
In All Major and Minor
Keys.
Composed by J. B. Albert.
Edited by Julie DeRoche.
Book.
With Standard notation.
32
pages. Carl Fischer Music
#O99X. Published by Carl
Fischer Music
$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Exercises for the Cello in Various Combinations of Double-Stops Carl Fischer
Chamber Music Cello SKU: CF.BF126 Composed by Roland Vamos. Edited by Hor...(+)
Chamber Music Cello
SKU: CF.BF126
Composed by Roland Vamos.
Edited by Horacio
Contreras. SWS. Book.
With Standard notation.
64 pages. Carl Fischer
Music #BF126. Published
by Carl Fischer Music
(CF.BF126). ISBN
9781491150009. UPC:
680160907502. 9x12
inches. Written by
world renown pedagogue,
Roland Vamos, this
collection of double-stop
exercises fill a void in
the literature of
technical exercises for
cellists. These etudes
feature a systematic
series of fixed
double-stops that enables
the player to practice
and master every possible
combination of finger
patterns across two
strings without shifting.
Mr. Vamos says of the
book, The most important
accomplishment is the
development of a strong
left handà These
exercises, when practiced
slowly and carefully,
will help to develop a
keen sense of pitch and
intonation. Adapted for
cello by Horacio
Contreras, teacher,
chamber musician, and
recitalist. When I
first became familiar
with Roland Vamos’
Exercises, I was
impressed with itsclarity
and effectiveness. The
book focuses on a few
important fundamentals of
string playing,and it is
accessible to students of
every age. Moreover, its
tonal organization in C
major makesit simple and
easy to understand. I
recognized the potential
this book could have for
cellists,and after
spending several months
working on an adaptation,
I witnessed its results
in buildingand
maintaining important
fundamentals of
technique.Mr.
Vamos’ Exercises
is comprised of simple
patterns of double-stops
in sevenpositions. There
are two basic groups of
variations: seven
double-stop variations in
differentcombined rhythms
that develop finger
coordination and
independence of the left
hand, andnine bowing
variations that use
détaché at the
frog, middle and tip of
the bow to work onstring
crossings, coordination,
and balance of the bow.
The whole work provides
training thatimproves
intonation, sound, and
ease of playing in all
positions and all parts
of the bow.In order to
adapt Mr. Vamos’
book for cello, I needed
to make some
modifications tothe
original. To address the
different needs of the
neck and the thumb
positions, I chose to
writetwo separate books.
I kept the original
ascending stepwise motion
for subsequent
variationsin Book I by
following a diatonic
scale on the top line of
the patterns. However, I
modifiedthe tonal
framework to adjust to
the more limited range of
the cello. Therefore,
unlike in
Mr.Vamos’ book,
variations in Book I do
not ascend through the
positions in a uniform
pattern.I also switched
the order of patterns to
create a gradual increase
in difficulty. In Book
II, Iadded options that
work on the fourth finger
and an extended left hand
frame, and at the end,
Iincluded five sets of
variations with different
bowing alternatives.Mr.
Vamos provides a number
of specific instructions
regarding left hand
techniquein his
exercises. For his
original version, two
fingers must remain down
for almost the entireset
of variations, providing
a solid reference for the
frame of the hand. In
variations H and I,he
instructs students to
lift these fingers when
they are not being used.
In the case of
thumbposition on cello,
lifting the thumb could
make the hand unstable;
therefore, I suggested
thatthe thumb remains
down while the other
fingers are lifted
alternately in H and I. I
have foundthis exercise
quite useful to work on
thumb independence and
relaxing the thumb while
usingother fingers.Mr.
Vamos gives precise
instructions for the
bowing exercises as well.
Following hisdirections,
the exercises should be
performed with a relaxed
hand and flexible
fingers. Thenotes should
be consistently connected
even when crossing
strings. The bowing
patterns shouldbe
performed at the frog,
the middle and the tip of
the bow in every
position. $19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Christmas Songs for the Very Beginner Piano seul - Débutant Hal Leonard
Book/Online Audio Piano/Keyboard - Young Beginner - Pre-Reading SKU: HL.14656...(+)
Book/Online Audio
Piano/Keyboard - Young
Beginner - Pre-Reading
SKU: HL.1465615
Composed by Various.
Piano for the Very
Beginner. Christmas,
Holiday. Softcover Audio
Online. Published by Hal
Leonard (HL.1465615).
ISBN 9798350127058.
UPC:
196288212508. Desig
ned with the beginner in
mind, Christmas Songs for
the Very Beginner
features popular,
easy-to-play melodies in
pre-staff notation,
perfect for those in
their first months of
learning. Arrangements
consist of simple
rhythms, letter names
inside each note, minimal
hand movement, and no
page turns. This book is
a perfect supplement for
students needing extra
playing material, with
each song including
playing tips and
fingering diagrams. The
songs are presented in
order of difficulty. The
written piano
accompaniments can be
played by a teacher or
friend, or you can play
along with the recorded
accompaniments. The price
of this book includes
access to audio tracks of
the accompaniments, for
download or streaming,
using the unique code
provided on page 1. The
book also includes over
five pages of music
activities including
coloring fun, music math,
and a Christmas countdown
for more fun! Songs
include: All I Want for
Christmas Is My Two Front
Teeth ⢠Away in a
Manger ⢠Do You Hear
What I Hear ⢠Feliz
Navidad ⢠Happy
Holiday ⢠Here Comes
Santa Claus ⢠Jingle
Bell Rock ⢠Let It
Snow! Let It Snow! Let It
Snow! ⢠Where Are
You Christmas? â¢
You're a Mean One, Mr.
Grinch â¢Âand
more. $16.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Easy Master Themes, Primer Piano seul Schaum Publications
SKU: HL.645859 Composed by Various. Edited by Jeff Schaum. Educational Pi...(+)
SKU: HL.645859
Composed by Various.
Edited by Jeff Schaum.
Educational Piano.
Softcover. 24 pages.
Duration 7200 seconds.
Schaum Publications, Inc.
#0725. Published by
Schaum Publications, Inc.
(HL.645859). ISBN
9781495081651. UPC:
008148007257. 9.0x12.0
inches. This series
helps to widen the
student's musical
horizons by offering an
introduction to some of
the world's greatest
music. These arrangements
enable a pupil to have
the satisfaction of hands
on experience with master
themes, after only a few
months of study.
Selections include pieces
from Beethoven, Brahms,
Mozart, and many other
famous composers. $6.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Easy Master Themes, Lev 3 Piano seul - Facile Schaum Publications
Grade 3 SKU: HL.645862 Composed by Various. Edited by Jeff Schaum. Educat...(+)
Grade 3 SKU:
HL.645862 Composed by
Various. Edited by Jeff
Schaum. Educational
Piano. Softcover. 24
pages. Duration 7200
seconds. Schaum
Publications, Inc. #0728.
Published by Schaum
Publications, Inc.
(HL.645862). ISBN
9781495081682. UPC:
008148007288.
9.0x12.0x0.109
inches. This series
helps to widen the
student's musical
horizons by offering an
introduction of some of
the world's greatest
music. These arrangments
enable a pupil to have
the satisfaction of hands
on experience with master
themes, after only a few
months study. Selections
include pieces from Bach,
Beethoven, Haydn, and
many more famous
composers. For students
in level 3. $6.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Easy Master Themes, Lev 4 Piano seul - Intermédiaire Schaum Publications
Grade 4 SKU: HL.645863 Composed by Various. Edited by Jeff Schaum. Educat...(+)
Grade 4 SKU:
HL.645863 Composed by
Various. Edited by Jeff
Schaum. Educational
Piano. Softcover. 24
pages. Duration 7200
seconds. Schaum
Publications, Inc. #0729.
Published by Schaum
Publications, Inc.
(HL.645863). ISBN
9781495081699. UPC:
008148007295.
9.0x12.0x0.11
inches. This series
helps to widen the
student's musical
horizons by offering an
introduction of some of
the world's greatest
music. These arrangments
enable a pupil to have
the satisfaction of hands
on experience with master
themes, after only a few
months study. Selections
include pieces from Bach,
Beethoven, Haydn, and
many more famous
composers. For students
in level 4. $6.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Easy Master Themes, Lev 2 Piano seul Schaum Publications
SKU: HL.645861 Composed by Various. Edited by Jeff Schaum. Educational Pi...(+)
SKU: HL.645861
Composed by Various.
Edited by Jeff Schaum.
Educational Piano.
Softcover. 24 pages.
Duration 7200 seconds.
Schaum Publications, Inc.
#0727. Published by
Schaum Publications, Inc.
(HL.645861). ISBN
9781495081675. UPC:
008148007271. 9.0x12.0
inches. This series
helps to widen the
student's musical
horizons by offering an
introduction of some of
the world's greatest
music. These arrangments
enable a pupil to have
the satisfaction of hands
on experience with master
themes, after only a few
months study. Selections
include pieces from Bach,
Beethoven, Haydn, and
many more famous
composers. For students
in level 2. $6.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Viola Technique Alto seul The Frederick Harris Music Company
Viola - Preparatory-Advanced SKU: FH.VAT Viola Series, 2013 Edition(+)
Viola -
Preparatory-Advanced
SKU: FH.VAT
Viola Series, 2013
Edition. Composed by
The Royal Conservatory.
Viola Series, 2013
Edition. Book. The
Frederick Harris Music
Company #VAT. Published
by The Frederick Harris
Music Company (FH.VAT).
ISBN
978-1-55440-573-2.
This groundbreaking
series for viola offers a
sound and progressive
collection of Repertoire,
Recordings, Etudes,
Technique, and Orchestral
Excerpts for the aspiring
virtuoso. Representing
all major style periods
and a variety of genres,
Viola Series, 2013
Edition offers all the
music and tools needed to
support a comprehensive
course of study from the
beginner to advanced
levels. This thoughtful
progression of scales and
arpeggios will encourage
agility, accuracy, and
intonation from the
Preparatory Level through
Level 10 in one complete
volume. Each technical
exercise builds on skills
from the previous level
and provides a continual
challenge from students
throughout their course
of study. Legato
Pieces in a Slower
Tempo: Grant Us Peace
(Dona nobis pacem) -
Anonymous arr. Jason
Gray Waltz (from The
Merry Widow) - Lehar,
Franz arr. Janice Tucker
Rhoda Bring a Torch,
Jeannette, Isabella! (Un
flambeau, Jeannette,
Isabelle!) - French carol
arr. Christine
Donkin Largo (from
Symphony No. 9 [New
World]) - Dvorak, Antonin
arr. Jason
Noble L'elephant (The
Elephant) - Saint-Saens,
Camille arr. Jason
Gray Spy Movie -
Blackwell, David and
Kathy Blackwell Sakura
(Cherry Blossoms) -
Japanese folk song arr.
Stephen Chatman Text a
Message - Lumsden,
Caroline and Ben
Attwood The Ash Grove
(Llynn Onn) - Welsh folk
song arr. Forrest
Kinney Energetic
Pieces in a Faster
Tempo Menuet II (from
Music for the Royal
Fireworks, HWV 351) -
Handel, George Frideric
arr. Jason Noble Li'l
Liza Jane - American folk
song arr. Forrest
Kinney The King's
March, T 432 - Clarke,
Jeremiah arr. Jason
Noble Now Is the Month
of Maying - Morley,
Thomas arr. Christine
Donkin Lannigan's Ball
- Irish jig arr.
Christine
Donkin Caterpillar!
Caterpillar! - Russian
folk song arr. Akiko
Kinney Brazilian
Breeze - Birston,
Harold Dantz - Peuerl,
Paul arr. Jason
Gray Turkey in the
Straw - American minstrel
song arr. Forrest
Kinney German Dance, K
600 - Mozart, Wolfgang
Amadeus arr. Jason
Noble Spider Dance -
Cowles, Colin Mango
Walk - Jamaican folk song
arr. Christine
Donkin. $29.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Easy Master Themes, Lev 1 Piano seul Schaum Publications
SKU: HL.645860 Composed by Various. Edited by Jeff Schaum. Educational Pi...(+)
SKU: HL.645860
Composed by Various.
Edited by Jeff Schaum.
Educational Piano.
Softcover. 24 pages.
Duration 7200 seconds.
Schaum Publications, Inc.
#0726. Published by
Schaum Publications, Inc.
(HL.645860). ISBN
9781495081668. UPC:
008148007264. 9.0x12.0
inches. This series
helps to widen the
student's musical
horizons by offering an
introduction of some of
the world's greatest
music. These arrangments
enable a pupil to have
the satisfaction of hands
on experience with master
themes, after only a few
months study. Selections
include pieces from Bach,
Beethoven, Haydn, and
many more famous
composers. $6.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Beginning Rock/Pop Guitar Etudes Guitare Mel Bay
Guitar (rock and blues) - Beginning-Intermediate SKU: MB.30648M Composed ...(+)
Guitar (rock and blues) -
Beginning-Intermediate
SKU: MB.30648M
Composed by Adam
Douglass.
Saddle-stitched,
Technique, Theory and
Reference, Pop. Style.
Book and online video. 32
pages. Mel Bay
Publications, Inc
#30648M. Published by Mel
Bay Publications, Inc
(MB.30648M). ISBN
9780786699490. 8.75 x
11.75
inches. Is the beginning
stage of learning the
guitar proving to be a
frustrating experience?
Do you lack songs which
you can play from start
to finish? Do the ones
that you can play all the
way through not sound
much like their original
versions? I have been
teaching these pieces to
my beginner students for
quite some time now, and
the success rate has been
remarkable. Most methods
start by having the
student slowly move back
and forth between basic
chords using only down
strokes, playing chords
one note at a time to
make sure all the notes
ring clear. This book
offers something much
differentâ??playing
music! The pieces are
designed to target
trouble areas often
experienced by beginners
of the instrument:
arching the fingers
enough in order to let
all the notes of a chord
ring clearly. Rather than
just droning on through a
series of chords, musical
patterns are created so
that as you learn proper
technique youâ??re also
playing something
musical. The results have
been better than
expected. Focusing on
figures that demand
proper technique and some
of the most common
strumming patterns found
in popular music, many of
my students are able to
execute beginner and
intermediate level songs
within a few weeks of
picking up the instrument
rather than a few months.
Additionally, the dreaded
F chord, or root 6 major
barre chord, often rings
clearly with all 6 notes
being heard upon the
first attempt. This book
will help you achieve
your guitar related goals
quickly, more
efficiently, and most
importantly, more
enjoyably. Includes
access to online
video.
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Of Dreams and Destiny Orchestre d'harmonie [Conducteur] - Facile LudwigMasters Publications
Concert Band - Grade 3 SKU: AP.36-50105333 Composed by Clarence Barber. C...(+)
Concert Band - Grade 3
SKU:
AP.36-50105333
Composed by Clarence
Barber. Concert Band;
Performance Music
Ensemble. Concert Band -
LudwigMasters. Score.
Duration 4:00.
LudwigMasters
Publications
#36-50105333. Published
by LudwigMasters
Publications
(AP.36-50105333). ISBN
9798892702980. UPC:
659359603310.
English. The result
of a commission from the
St. Edward High School
Band (Lakewood, OH) for
their performance at
Severance Hall, Of Dreams
and Destiny by Clarence
Barber speaks to the
dreams of students for
their futures and the
bright destiny that being
a member of a band can
lead to for each of them.
(4:00).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $12.00 - Voir plus => Acheter | | |
| Of Dreams and Destiny Orchestre d'harmonie - Facile LudwigMasters Publications
Concert Band - Grade 3 SKU: AP.36-50100333 Composed by Clarence Barber. C...(+)
Concert Band - Grade 3
SKU:
AP.36-50100333
Composed by Clarence
Barber. Concert Band;
Performance Music
Ensemble. Concert Band -
LudwigMasters. Score and
Part(s). Duration 4:00.
LudwigMasters
Publications
#36-50100333. Published
by LudwigMasters
Publications
(AP.36-50100333). UPC:
659359646089.
English. The result
of a commission from the
St. Edward High School
Band (Lakewood, OH) for
their performance at
Severance Hall, Of Dreams
and Destiny by Clarence
Barber speaks to the
dreams of students for
their futures and the
bright destiny that being
a member of a band can
lead to for each of them.
(4:00).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $75.00 - Voir plus => Acheter | | |
| 18 Contrapuntal Pieces for Guitar Guitare Ut Orpheus
Composed by Paolo Ugoletti Andrea Vezzoli. Edited by Piero Bonaguri and Raffae...(+)
Composed by Paolo
Ugoletti
Andrea Vezzoli. Edited by
Piero Bonaguri and
Raffaello
Ravasio. Saddle
stitching.
Piero Bonaguri
Collection.
Classical. Ut Orpheus #CH
254.
Published by Ut Orpheus
$21.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| A Suite of Three Madrigals Orchestre - Facile Highland/Etling
Orchestra - Grade 3 SKU: AP.41238 Composed by John Farmer and Thomas Morl...(+)
Orchestra - Grade 3
SKU: AP.41238
Composed by John Farmer
and Thomas Morley.
Arranged by Bud Caputo.
MakeMusic Cloud;
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Form: Suite;
Transcription. Masterwork
Arrangement; Renaissance.
Score and Part(s). 148
pages. Highland/Etling
#00-41238. Published by
Highland/Etling
(AP.41238). UPC:
038081483689.
English. In keeping
with the efforts of
developing a curriculum
that fosters
Comprehensive
Musicianship, this string
orchestra arrangement of
three of the most popular
Renaissance madrigals,
will provide your
students with a peak into
this period of music
history that is
frequently overlooked.
Now Is the Month of
Maying, Sing We and Chant
It, both by Thomas
Morley, and Fair Phyllis,
by John Farmer, are basic
choral repertoire found
in most high school and
college full SATB and
madrigal ensembles. The
string ensemble may
perform the arrangement
alone with the added
Renaissance style
percussion. Or, better
yet, why not enhance the
performance by adding an
SATB chorus thereby
sharing the stage with
your school's most
advanced choral ensemble?
(5:00) This title is
available in MakeMusic
Cloud. $48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chord Melody Method for Accordion Accordéon [Partition + Accès audio] - Intermédiaire Mel Bay
And Other Keyboard Instruments. Composed by Gary Dahl. Saddle-stitched. Book ...(+)
And Other Keyboard
Instruments. Composed by
Gary Dahl.
Saddle-stitched.
Book and online audio. 56
pages. Published by Mel
Bay
Publications, Inc
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| On Highways in the Sky Orchestre d'harmonie [Conducteur] - Facile LudwigMasters Publications
Concert Band - Grade 3 SKU: AP.36-20105464 Composed by Chris Donze. Conce...(+)
Concert Band - Grade 3
SKU:
AP.36-20105464
Composed by Chris Donze.
Concert Band, Conductor
Score. Great Works
Publishing. Score.
LudwigMasters
Publications
#36-20105464. Published
by LudwigMasters
Publications
(AP.36-20105464). ISBN
9798892702867. UPC:
659359732768.
English. A
contemporary overture
depicting the majesty of
migrating birds in their
seasonal travel. Plenty
of interesting and
dynamic percussion
writing adds to the
grandeur and excitement
of this timely work for
band, which honors the
glory of this special
slice of the natural
world. This interesting
and melodic music will
allow your students to
soar.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $9.00 - Voir plus => Acheter | | |
| The Student Singer Voix seule [Partition + Accès audio] Hal Leonard
25 Songs in English for Classical Voice - High Voice Edition. Composed by Variou...(+)
25 Songs in English for
Classical Voice - High
Voice Edition. Composed
by Various. Edited by
Richard Walters. Vocal
Collection. Classical.
Softcover Audio Online.
72 pages. Published by
Hal Leonard
$17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Selections from the Four Seasons for String Quartet Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] - Facile Latham Music Enterprises
Orchestra Violin 1, Violin 2, Viola, Cello - Grade 3 SKU: AP.36-52703112 ...(+)
Orchestra Violin 1,
Violin 2, Viola, Cello -
Grade 3 SKU:
AP.36-52703112
Composed by Antonio
Vivaldi. Arranged by
Lynne Latham. Performance
Music Ensemble; String
Quartet. Ludwig Masters.
Score. 68 pages. Latham
Music Enterprises
#36-52703112. Published
by Latham Music
Enterprises
(AP.36-52703112). ISBN
9781621567479. UPC:
679360715857.
English. This
collection from Vivaldi's
great set of concertos
features movements from
Spring and Autumn. A nice
collection for the
advancing student quartet
as well as extra
repertoire for the
working quartet. Includes
an optional Violin 3
substitute part for
Viola.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $26.99 - Voir plus => Acheter | | |
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