|
| 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 | | | |
| Birds of Paradise (Two Pianos)
2 Pianos, 4 mains
Fredonia Press
Composed by John La Montaine (1920-). Keyboards - Piano. Fredonia Press #FRD08...(+)
Composed by John La
Montaine
(1920-). Keyboards -
Piano.
Fredonia Press #FRD08.
Published by Fredonia
Press
$25.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Rocket Surgery [Conducteur] - Facile
Carl Fischer
Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cra...(+)
Band Agogo Bells, Bass
Clarinet, Bass Drum,
Bassoon, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Timpani,
Triangle, Trombone,
Trumpet, Tuba and more. -
Grade 3 SKU:
CF.CPS256F Composed
by Chris Campbell. Full
score. 21 pages. Carl
Fischer Music #CPS256F.
Published by Carl Fischer
Music (CF.CPS256F).
ISBN 9781491159729.
UPC:
680160918317. As
the title suggests, there
should be a
tongue-in-cheek aspect to
the performance of this
piece with the idea that
it doesn't take itself
too seriously. Close
attention should be paid
to staccato notes, making
sure not to play them too
short and clipped,
keeping in mind that a
staccato quarter note
should have the length of
an eighth note and not
the length of a sixteenth
note. Although the piece
is a march, it needn't
conform to any strict
interpretation of what a
march should be. Some of
the tongued eighth-note
passages may need to be
double-tongued, depending
on tempo, using the
Dig-A-Duck method. For
instance at m. 34 the
repeated eighth notes
might be tongued
dig-a-da-duck,
dig-a-duck, da dot dot.
Slurred eighth-note
passages should follow
the curve of the line,
getting slightly louder
as notes ascend and
slightly softer as they
descend. Measure 39
through m. 51 will have a
somewhat chaotic feel, so
go with the flow! The
sparsely orchestrated
passage at m. 68 is
understated--perhaps a
little spacey in keeping
with our theme--and not
to be overplayed until
the crescendo at m. 88,
when we return to
business as usual.
Trumpets show off again
(rarely a problem for
trumpet players) on the
D. S. back to m. 6. On
the Coda, another
disjointed-sounding
theme, again departing
from any strict
interpretation of a
march--again, making sure
that the staccatos are
not too clipped--is
followed by a repeat of
the main theme, this time
layered. Care should be
taken to balance the
entrances of the layered
instrument groups as they
enter. An exuberant final
four measures puts the
cherry on top. Percussion
can play out for the most
part, very little
subtlety required.
Overall, this piece is
meant to be FUN, for both
the performers and the
audience!.
As the
title suggests, there
should be a
tongue-in-cheek aspect to
the performance of this
piece with the idea that
it doesn't take itself
too seriously. Close
attention should be paid
to staccato notes, making
surenot to play them too
short and clipped,
keeping in mind that a
staccato quarter note
should have the length of
an eighth note and not
the length of a sixteenth
note. Although the piece
is a march, it needn't
conform toany strict
interpretation of what a
march should be. Some of
the tongued eighth-note
passages may need to be
double-tongued, depending
on tempo, using the
Dig-A-Duck method. For
instance at m. 34the
repeated eighth notes
might be tongued
dig-a-da-duck,
dig-a-duck, da dot dot.
Slurred eighth-note
passages should follow
the curve of the line,
getting slightly louder
as notes ascend and
slightly softeras they
descend. Measure 39
through m. 51 will have a
somewhat chaotic feel, so
go with the flow!The
sparsely orchestrated
passage at m. 68 is
understated—perhap
s a little spacey in
keeping with our
theme—and not to
be overplayed until the
crescendo at m. 88, when
we return to business as
usual. Trumpets show off
again (rarely a problem
for trumpet players) on
the D. S. back to m. 6.
On the Coda, another
disjointed-sounding
theme, again departing
from any strict
interpretation of a
march—again,
making sure that the
staccatos are not too
clipped—is
followed by a repeat of
the main theme, this time
layered. Care should be
taken to balance the
entrances of the layered
instrument groups as they
enter.An exuberant final
four measures puts the
cherry on top. Percussion
can play out for the most
part, very little
subtlety required.
Overall, this piece is
meant to be FUN, for both
the performers and the
audience! $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Rocket Surgery - Facile
Carl Fischer
Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cra...(+)
Band Agogo Bells, Bass
Clarinet, Bass Drum,
Bassoon, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Timpani,
Triangle, Trombone,
Trumpet, Tuba and more. -
Grade 3 SKU:
CF.CPS256 Composed by
Chris Campbell. Set of
Score and Parts.
21+8+8+4+8+8+4+4+10+4+4+1
6+8+12+6+4+8+2+4+14
pages. Duration 2
minutes, 36 seconds. Carl
Fischer Music #CPS256.
Published by Carl Fischer
Music (CF.CPS256).
ISBN 9781491159712.
UPC:
680160918300. As
the title suggests, there
should be a
tongue-in-cheek aspect to
the performance of this
piece with the idea that
it doesn't take itself
too seriously. Close
attention should be paid
to staccato notes, making
sure not to play them too
short and clipped,
keeping in mind that a
staccato quarter note
should have the length of
an eighth note and not
the length of a sixteenth
note. Although the piece
is a march, it needn't
conform to any strict
interpretation of what a
march should be. Some of
the tongued eighth-note
passages may need to be
double-tongued, depending
on tempo, using the
Dig-A-Duck method. For
instance at m. 34 the
repeated eighth notes
might be tongued
dig-a-da-duck,
dig-a-duck, da dot dot.
Slurred eighth-note
passages should follow
the curve of the line,
getting slightly louder
as notes ascend and
slightly softer as they
descend. Measure 39
through m. 51 will have a
somewhat chaotic feel, so
go with the flow! The
sparsely orchestrated
passage at m. 68 is
understated--perhaps a
little spacey in keeping
with our theme--and not
to be overplayed until
the crescendo at m. 88,
when we return to
business as usual.
Trumpets show off again
(rarely a problem for
trumpet players) on the
D. S. back to m. 6. On
the Coda, another
disjointed-sounding
theme, again departing
from any strict
interpretation of a
march--again, making sure
that the staccatos are
not too clipped--is
followed by a repeat of
the main theme, this time
layered. Care should be
taken to balance the
entrances of the layered
instrument groups as they
enter. An exuberant final
four measures puts the
cherry on top. Percussion
can play out for the most
part, very little
subtlety required.
Overall, this piece is
meant to be FUN, for both
the performers and the
audience!.
As the
title suggests, there
should be a
tongue-in-cheek aspect to
the performance of this
piece with the idea that
it doesn't take itself
too seriously. Close
attention should be paid
to staccato notes, making
surenot to play them too
short and clipped,
keeping in mind that a
staccato quarter note
should have the length of
an eighth note and not
the length of a sixteenth
note. Although the piece
is a march, it needn't
conform toany strict
interpretation of what a
march should be. Some of
the tongued eighth-note
passages may need to be
double-tongued, depending
on tempo, using the
Dig-A-Duck method. For
instance at m. 34the
repeated eighth notes
might be tongued
dig-a-da-duck,
dig-a-duck, da dot dot.
Slurred eighth-note
passages should follow
the curve of the line,
getting slightly louder
as notes ascend and
slightly softeras they
descend. Measure 39
through m. 51 will have a
somewhat chaotic feel, so
go with the flow!The
sparsely orchestrated
passage at m. 68 is
understated—perhap
s a little spacey in
keeping with our
theme—and not to
be overplayed until the
crescendo at m. 88, when
we return to business as
usual. Trumpets show off
again (rarely a problem
for trumpet players) on
the D. S. back to m. 6.
On the Coda, another
disjointed-sounding
theme, again departing
from any strict
interpretation of a
march—again,
making sure that the
staccatos are not too
clipped—is
followed by a repeat of
the main theme, this time
layered. Care should be
taken to balance the
entrances of the layered
instrument groups as they
enter.An exuberant final
four measures puts the
cherry on top. Percussion
can play out for the most
part, very little
subtlety required.
Overall, this piece is
meant to be FUN, for both
the performers and the
audience! $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Live On - Facile
Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 2
SKU: CF.YAS182
Composed by Larry Clark.
Young String Orchestra.
Set of Score and Parts.
With Standard notation.
16+16+10+4+3+10+10+12
pages. Duration 3
minutes, 32 seconds. Carl
Fischer Music #YAS182.
Published by Carl Fischer
Music (CF.YAS182).
ISBN 9781491151471.
UPC: 680160908974. 9 x 12
inches. Key: G
major. The title,
Live On, by Larry Clark,
is taken from Chrissie
Pinney's poem about grief
and loss. The piece is
meant to depict the
personality of Linda
Mann, to whom it is
dedicated. The opening is
poignant and pensive,
followed by a whimsical
theme which alludes to
happy thoughts of a life
well-lived. The piece
builds to a
triumphant?conclusion
based on an augmented
version of the
theme.
Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017. Linda Manns
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should depict
Lindas personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like. They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey. That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. Larry
Clark Lakeland, FL
2017 . Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017.A Linda Mannas
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should adepict
Lindaas personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like.a They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.A That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too A
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes.A She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time.A The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme.A This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. aLarry
Clark Lakeland, FL
2017 . Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017.A Linda Mannas
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should adepict
Lindaas personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like.a They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.A That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too A
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes.A She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time.A The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme.A This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. aLarry
Clark Lakeland, FL
2017 . Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017. Linda Mann's
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should depict
Linda's personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like. They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey. That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. -Larry
Clark Lakeland, FL
2017 . Live
On was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017. Linda
Mann's impact on the
field of music education
was profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association. In
discussing the type of
piece the school wanted
to honor Ms. Mann, they
indicated the piece
should depict Linda's
personality - dynamic,
sassy, yet thoughtful and
almost mentor-like. They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved teacher.
After contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey. That
poem is entitled Live On
by Chrissie Pinney. Live
On Now as I live on
Without you I hope to
keep The pieces of you
That I loved so dearly
Your mannerisms And
compassionate character
And smiles through
struggle So that you May
live on too -Chrissie
Pinney I reached out to
Ms. Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed that
she was deeply touched
that her work would
inspire me to write a
piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.
After the somber opening,
the piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work. It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live On.
-Larry Clark Lakeland, FL
2017. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality - dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by:
--Occasionally
extending to third
position
--Keys
carefully considered for
appropriate
difficulty
--Addition
of separate 2nd violin
and viola
parts
--Viola T.C.
part
included
--Increase
in independence of parts
over beginning levels $55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Live On [Conducteur] - Facile
Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 2
SKU: CF.YAS182F
Composed by Larry Clark.
Young String Orchestra
(YAS). Full score. With
Standard notation. 12
pages. Carl Fischer Music
#YAS182F. Published by
Carl Fischer Music
(CF.YAS182F). ISBN
9781491151846. UPC:
680160909346. 9 x 12
inches. The title,
Live On, by Larry Clark,
is taken from Chrissie
Pinney's poem about grief
and loss. The piece is
meant to depict the
personality of Linda
Mann, to whom it is
dedicated. The opening is
poignant and pensive,
followed by a whimsical
theme which alludes to
happy thoughts of a life
well-lived. The piece
builds to a
triumphant?conclusion
based on an augmented
version of the
theme.
Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017. Linda Manns
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should depict
Lindas personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like. They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey. That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. Larry
Clark Lakeland, FL
2017 . Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017.A Linda Mannas
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should adepict
Lindaas personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like.a They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.A That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too A
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes.A She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time.A The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme.A This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. aLarry
Clark Lakeland, FL
2017 . Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017.A Linda Mannas
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should adepict
Lindaas personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like.a They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.A That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too A
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes.A She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time.A The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme.A This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. aLarry
Clark Lakeland, FL
2017 . Live On
was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017. Linda Mann's
impact on the field of
music education was
profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association.
In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should depict
Linda's personality -
dynamic, sassy, yet
thoughtful and almost
mentor-like. They wanted
a piece that was upbeat,
yet still had moments
that were thoughtful,
portraying the grief that
the Diplomat Middle
School community has
suffered from the sudden
loss of such a beloved
teacher. After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey. That poem is
entitled Live On
by Chrissie
Pinney. Live
On Now as I live
on Without
you I
hope to keep
The pieces of
you That I loved so
dearly Your
mannerisms And
compassionate
character And smiles
through
struggle So
that you May live on
too
-Chrissie
Pinney I
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the
piece. After the somber
opening, the piece shifts
to a whimsical theme that
I hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the
work. It is my hope
that in some small way,
this piece will bring
comfort to those affected
by the loss of Linda
Mann, and that the music
will allow her memory to
Live
On. -Larry
Clark Lakeland, FL
2017 . Live
On was commissioned by
Diplomat Middle School's
staff, faculty and
students in Cape Coral,
Florida, and is dedicated
to the memory of their
Director of Bands, Linda
Mann. Director of
Orchestras, Roland Forti,
championed the
commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of 2017. Linda
Mann's impact on the
field of music education
was profound and
wide-reaching. She was a
beloved member of the
staff at Diplomat Middle
School, as well as the
music community of Cape
Coral and the state of
Florida. Linda was highly
respected throughout the
state, serving as recent
past-president of the
Florida Bandmasters
Association. In
discussing the type of
piece the school wanted
to honor Ms. Mann, they
indicated the piece
should depict Linda's
personality - dynamic,
sassy, yet thoughtful and
almost mentor-like. They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved teacher.
After contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey. That
poem is entitled Live On
by Chrissie Pinney. Live
On Now as I live on
Without you I hope to
keep The pieces of you
That I loved so dearly
Your mannerisms And
compassionate character
And smiles through
struggle So that you May
live on too -Chrissie
Pinney I reached out to
Ms. Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed that
she was deeply touched
that her work would
inspire me to write a
piece in honor of Linda
Mann. The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.
After the somber opening,
the piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This section
is followed by a return
of the opening material,
with snippets of the fast
theme intertwined, before
the piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work. It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live On.
-Larry Clark Lakeland, FL
2017. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality - dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by:
--Occasionally
extending to third
position
--Keys
carefully considered for
appropriate
difficulty
--Addition
of separate 2nd violin
and viola
parts
--Viola T.C.
part
included
--Increase
in independence of parts
over beginning levels $8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Verdiana [Conducteur]
Breitkopf & Härtel
Quintet (clar,orch) SKU: BR.EB-8981 Fantasy on Themes by Giuseppe Verd...(+)
Quintet (clar,orch)
SKU: BR.EB-8981
Fantasy on Themes by
Giuseppe Verdi.
Composed by Alexey Shor.
Chamber music. Edition
Breitkopf. Solo concerto;
New music (post-2000).
Score. Duration 15'.
Breitkopf and Haertel #EB
8981. Published by
Breitkopf and Haertel
(BR.EB-8981). ISBN
9790004187104. 0 x 0
inches. Verdiana is
a musical tribute to
Giuseppe Verdi. It takes
some of his most famous
melodies and reimagines
them in styles of Samba,
Bossa Nova and Tango to
produce a virtuosic
showpiece for clarinet
and orchestra. The work
is structured in three
movements. The titles of
the movements do not only
indicate from which
operas the main melodies
were taken, they also
function as a hint to the
styles in which the
movements are written.
The first movement,
titled Il Sambatore, is a
Samba based primarily on
the melodic material from
Verdi's Il Trovatore. The
second one, Un Bossa in
Maschera, is a slow Bossa
Nova and consists of an
aria from Un Ballo in
Maschera. The third and
the most virtuosic
movement is called Don
Tangoletto and derives
most of its material from
Don Carlos and Rigoletto.
The piece exists in 4
versions: Solo clarinet
with either full
orchestra, string
orchestra, string quartet
or piano. This
publication also includes
an alto sax part that can
be used instead of a
clarinet.
An
Hommage to Giuseppe
Verdi. $67.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | | |
| Verdiana
Clarinette et Piano
Breitkopf & Härtel
Clarinet and piano SKU: BR.EB-8980 Fantasy on Themes by Giuseppe Verdi...(+)
Clarinet and piano
SKU: BR.EB-8980
Fantasy on Themes by
Giuseppe Verdi.
Composed by Alexey Shor.
Solo instruments;
stapled. Edition
Breitkopf. Solo concerto;
New music (post-2000).
Piano reduction. 40
pages. Duration 15'.
Breitkopf and Haertel #EB
8980. Published by
Breitkopf and Haertel
(BR.EB-8980). ISBN
9790004187098. 9 x 12
inches. Verdiana is
a musical tribute to
Giuseppe Verdi. It takes
some of his most famous
melodies and reimagines
them in styles of Samba,
Bossa Nova and Tango to
produce a virtuosic
showpiece for clarinet
and orchestra. The work
is structured in three
movements. The titles of
the movements do not only
indicate from which
operas the main melodies
were taken, they also
function as a hint to the
styles in which the
movements are written.
The first movement,
titled Il Sambatore, is a
Samba based primarily on
the melodic material from
Verdi's Il Trovatore. The
second one, Un Bossa in
Maschera, is a slow Bossa
Nova and consists of an
aria from Un Ballo in
Maschera. The third and
the most virtuosic
movement is called Don
Tangoletto and derives
most of its material from
Don Carlos and Rigoletto.
The piece exists in 4
versions: Solo clarinet
with either full
orchestra, string
orchestra, string quartet
or piano. This
publication also includes
an alto sax part that can
be used instead of a
clarinet.
An
Hommage to Giuseppe
Verdi. $39.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | | |
| Aspirations - Débutant
Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 0.5
SKU: CF.PAS19
Composed by Larry Clark.
SWS FS. Primer String
Orchestra. Set of Score
and Parts. With Standard
notation. 8+2+5+5+5+2+8+8
pages. Duration 2
minutes, 51 seconds. Carl
Fischer Music #PAS19.
Published by Carl Fischer
Music (CF.PAS19). ISBN
9781491146347. UPC:
680160903849. 9 x 12
inches. Key: D
major. Aspirations
is written for the most
beginning musicians. It
uses minimal material,
including no more than
two repeated eighth notes
as the most difficult
rhythm. It contains bold
fanfare gestures, marcato
main melodic material,
and a contrasting legato
theme. Every section of
the ensemble is featured
in this sophisticated
piece.
Aspirations is
written for the youngest
and least experiences
musicians, who have only
had a short time on their
instruments. This piece
uses minimal material,
including no more than
two repeated eighth notes
as the most difficult
rhythm. When I
composepieces for young
people, I often try to
pick titles that will be
uplifting and inspiring.
Certainly, we want our
young musicians to aspire
to great things through
music.The pieces opens
with a fanfare type of
musical gesture. This
material is the glue that
holds the piece together.
It should be played
marcato throughout. The
main melody then follows,
first sparse and then
with the full ensemble. A
bridge section is
presented that is legato
that leads to a return of
the main melody. Some
development then begins
with fragments of the
melody taken by the lower
strings followed by
interjections by the
upper strings on the
opening fanfare material.
After this development,
the piece builds to one
final full statement of
the main melody and then
a short coda based on the
fanfare material to
bookend the piece.As with
all of my pieces for
young students, I
encourage you to adjust
the tempo to fit this
needs of your students.
My tempo is only a
recommendation and you
should chose a tempo that
best works for your
students.It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your
program.—Larry
ClarkLakeland, FL
2017. $48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Moon Song, Sun Dance
Orchestre d'harmonie
Anglo Music
Brass Band; Flugelhorn (Score & Parts) SKU: HL.44013023 Flugel Horn So...(+)
Brass Band; Flugelhorn
(Score & Parts) SKU:
HL.44013023 Flugel
Horn Solo with Brass Band
Score/Parts. Composed
by Philip Sparke. Anglo
Music Concert Band.
Classical. Softcover.
Duration 520 seconds.
Anglo Music Press
#AMP341-030. Published by
Anglo Music Press
(HL.44013023).
Moon Song, Sun
Dance was commissioned by
flugel horn virtuoso,
Claude Romailler, and
premiered by him at the
Swiss National Solo
andQuartet Championships
in April 2012.As the
title implies, the work
is in two contrasting
movements, which can be
performed separately or
together.Moon Song opens
with a flowing modal
theme, which the soloist
embellishes before the
band takes centre stage.A
central section brightens
the mood with a new
melody over the lightest
of accompaniments; this
is once again developed
by the soloist until the
original theme reappears,
played by the band. This
introduces a cadenza for
the soloist which either
closes the movement, or
can be extended to link
directly to the second
movement.Sun Dance is a
vivace 6/8 scherzo which
opens with a flourish
from the band. The
soloist then introduces
the main theme, which in
turn is taken up by the
band. A short bridge
passage heralds a change
of key and a new melody
from the soloist. A brief
central interlude then
introduces a change of
meter and recalls the
main melody of Moon Song,
before a recapitulation
leads to a florid coda,
which brings the work to
a close.Solo part:
difficulty 5. $102.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| White Light
Orchestre d'harmonie [Conducteur] - Facile
Anglo Music
Concert Band - Grade 3 SKU: HL.44011005 Grade 3 - Score Only. Comp...(+)
Concert Band - Grade 3
SKU: HL.44011005
Grade 3 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band. Score
Only. Composed 2011. 22
pages. Anglo Music Press
#AMP317140. Published by
Anglo Music Press
(HL.44011005). UPC:
884088637651. 9x12
inches.
English-German-French-Dut
ch. White
Light was
commissioned by Fumiko
Teramoto, oboist with the
Musashino Grand Concert
Band in Tokyo, Japan. The
request was for a
moderately slow piece of
intermediate difficulty
that included the work
“white” (Ms.
Teramoto's lucky color)
in the title. The
composer used this
suggestion to write a
piece that was both
bright and light in terms
of harmony, color and
orchestration, with much
use of simple major and
minor chords and an
emphasis on the pure,
transparent timbres of
the upper woodwinds of
the band; he was also
keen to capture the
essence and history of
the oboe as a solo
instrument. The piece is
pastoral in character and
often almost baroque in
style. It opens with a
chorale-like passage on
flutes and clarinets; the
soloist enters with a
recitative over trilling
clarinets. The main theme
is then introduced,
accompanied by the
woodwinds. After a short
bridge passage, a change
of key heralds a second
theme by the soloist,
with gentle brass
punctuations. This builds
to a climax, ending on a
high trill from the
soloist. After short
passage over a timpani
roll, the band recalls
the main theme, taken up
once again by the
soloist. This leads to a
short cadenza before the
closing bars bring the
work peacefully to a
close. $29.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| White Light
Orchestre d'harmonie - Facile
Anglo Music
Grade 3 - Score and Parts. Composed by Philip Sparke (1951-). Anglo Music...(+)
Grade 3 - Score and
Parts. Composed by
Philip Sparke (1951-).
Anglo Music Concert Band.
Anglo Music Press
#AMP317010. Published by
Anglo Music Press
(HL.44011004).
$117.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| El Arbol Gris for Flute, Clarinet, Trombone, Piano, Violin and Cello [Conducteur et Parties séparées]
Periferia Music
Flute, Clarinet, Trombone, Piano, Violin and Violoncello SKU: AY.CM3088PM ...(+)
Flute, Clarinet,
Trombone, Piano, Violin
and Violoncello SKU:
AY.CM3088PM Composed
by Carles M. Eroles.
Ensembles - Chamber
Music. Score & Parts.
Duration 8'30. Periferia
Publishing #CM3088PM.
Published by Periferia
Publishing (AY.CM3088PM).
ISBN
9790543572942. The
title of the piece (the
Grey Tree) is taken from
a Piet Mondrian picture.
I think that is a very
expressive piece, and we
find at the
instrumentation a very
high attractive: two
woodwind, two brass, and
two string instruments,
all mixed by a deep,
expressive, and some
times inexorable, piano.
Like the tree, which has
three parts, the work
refers to the number
three: time ternary,
three main intervals
(second minor, third
minor and seventh major),
three main sections, a
long beginning with three
instruments. . . The
piece pesents a long way
between the very low
beginning to the very
high climax, at the
middle of the piece, to
walk again to the very
low, deep and espressive
final, in a similar way
as the life open and
close his way. $42.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| courbe 2
Harpe [Conducteur]
Carus Verlag
Viola, Electronics SKU: CA.1630200 For Viola and live electronics....(+)
Viola, Electronics
SKU: CA.1630200
For Viola and live
electronics. Composed
by Walter Feldmann. This
edition: Paperbound.
German title: Courbe 2
(1993/2001). Full score.
Composed 1993/rev. 2001.
34 pages. Duration 8
minutes. Carus Verlag #CV
16.302/00. Published by
Carus Verlag
(CA.1630200). ISBN
9790007099695. Language:
all languages. The
viola solo courbe 2 is
based on an excerpt from
the viola part in the
Trio for flute, viola and
harp << courbes >> -
sequences. In the densest
time curve of this piece
the viola plays the
leading role for a span
of almost three minutes.
This material is taken
from the Trio, presented
and divided into separate
parts. courbe 2 is three
times longer in duration
than the Trio excerpt
from which it is derived.
The musical text of the
individual fragments
remains as it is in the
original, but, pulsating,
demarcated in seconds.
Fissures emerge between
the fragments, windows
open: - to harmonic
fields, central sounds,
taken over from the
reverberations, from
which new tone material
is derived; the fields in
turn are distorted and
spacialised by the
electronics - to metrical
structures and pulses
freed from the individual
motives of the original
musical text, which forms
new variants in
interaction with these
fields. Thus in courbe 2
which, as already
indicated, is three times
longer in duration than
the original, three
musical levels are
interpenetrated, whereby
all three are derived
from one tone, which
plays an absolutely
central role in most of
my works. It is a
reference to the French
writer Anne-Marie Albiach
(and to her great text <<
H II >> lineaires), and
it remains as the only
tone at the end of the
piece, definitively,
determining everything, b
= 247 Hertz. Walter
Feldmann. $25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Cinque Danze sulle Crete for Guitar and Piano (2018)
Piano, Guitare (duo) [Conducteur et Parties séparées]
Ut Orpheus
Guitar SKU: UT.CH-322 Composed by Giovanni Scapecchi. Edited by Raffaello...(+)
Guitar SKU:
UT.CH-322 Composed by
Giovanni Scapecchi.
Edited by Raffaello
Ravasio. Saddle
stitching. Piero Bonaguri
Collection. Classical.
Score and Parts. Ut
Orpheus #CH 322.
Published by Ut Orpheus
(UT.CH-322). ISBN
9790215326309. 9 x 12
inches. I am
delighted to include in
this series â?? so far
almost totally made up of
pieces written for me
â?? this piece for
guitar and piano composed
by Giovanni Scapecchi and
dedicated to the duo made
up of my former student
Raffaello Ravasio, who
edited the fingering of
the guitar part, and of
Samuele Amidei. I am also
particularly delighted
because this piece was
commissioned by the Duo
Ravasio-Amidei as part of
their full project in
homage to Mario
Castelnuovo-Tedesco on
the fiftieth anniversary
of his death.
In this
composition, there are
many references to the
figure and work of Mario
Castelnuovo-Tedesco.
First of all the duo
guitar-piano is the same
as in Fantasia Op. 145 by
Castelnuovo-Tedesco
(written for Andrés
Segovia and Paquita
Madrigueira), the most
famous piece of the
twentieth century
composed for this
formation. The piece by
Giovanni Scapecchi, in
the form of a Suite of
dances, refers explicitly
to the one by the famous
dedicatee by means of
some references which
appear in the Sarabanda
and in the Giga. The
Crete mentioned in the
title are, of course, the
famous Senese clays
which, with their colours
and shapes, make up a
remarkable part of the
Tuscan landscape.
Furthermore, profound
meanings are attributed
by Giovanni Scapecchi to
the earth which makes up
the clays (like
Castelnuovo-Tedesco, he
is a native of Tuscany,
where he still lives).
The Composer recalls
first of all that the
book of Genesis tells us
that the first man was
taken from the earth
(there is therefore this
primordial connection
between man and earth).
Moreover, the historic
man, Mario
Castelnuovo-Tedesco,
honoured here, maintained
a deep relationship with
his homeland â?? despite
the dramatic separation
due to the enforced exile
to the USA, which took
place in 1939 following
the racial laws.
Stylistically, I then
found a further link
between this piece and
its dedicatee â?? who
was influenced in his
early works by musical
Impressionism â?? in a
certain French atmosphere
running through the
Suite.
(Piero
Bonaguri). $23.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | | |
| This Is It
Orchestre d'harmonie [Conducteur] - Facile
Music Sales
Concert Band/Harmonie - Grade 3 SKU: BT.1919-12-140-MS Composed by Michae...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.1919-12-140-MS
Composed by Michael
Jackson and Paul Anka.
Arranged by Hideaki
Miura. Pop & Rock. Score
Only. Composed 2012. 20
pages. Music Sales
#1919-12-140 MS.
Published by Music Sales
(BT.1919-12-140-MS).
9x12 inches.
English. This Is
It is the title track
from the film of the same
name that first appeared
after the death of
Michael Jackson. The
title, that should have
represented the climax of
a great career, has now
taken on a second,
unintentionally sadder
meaning. In a brand new
arrangement for wind
orchestra by Hideaki
Miura, the last hit of
the ‘King of
Pop’ is a must for
your entertaining
repertoire!
This Is It
is de titelsong van de
gelijknamige film die pas
na de dood van Michael
Jackson werd uitgebracht.
De titel was eigenlijk
bedoeld als afsluiting
van een grootse
carrière van de grote
Michael Jackson.
Onbedoeld heeft het door
zijn vroegtijdige dood
een treurige bijbetekenis
gekregen. De laatste hit
van de King of Pop geven
wij nu uit in een
gloednieuwe bewerking
voor orkest. Een
must-have voor op uw
amusementsrepertoire!
This Is It
ist das Titellied zum
gleichnamigen Film, der
erst nach dem Tod von
Michael Jackson
veröffentlicht wurde.
Der Titel Das
war’s“, der
eigentlich den Abschluss
einer großartigen
Karriere markieren
sollte, hat nun ungewollt
eine zweite, traurige
Bedeutung bekommen. Der
letzte Hit des King of
Pop“ für
Blasorchester von Hideaki
Miura ist ein Muss
für Ihr
unterhaltsames
Repertoire!
This Is It
est le titre principal du
film éponyme qui est
sorti après la mort de
Michael Jackson. Ce
titre, qui aurait d
représenter
l’apogée
d’une grande
carrière, a maintenant
pris une autre
signification beaucoup
plus triste. Dans un tout
nouvel arrangement de
Hideaki Miura pour
orchestre
d’harmonie, le
dernier succès du
«roi de la pop» est
indispensable votre
répertoire !
This Is It
è il titolo della
canzone che accompagna
l’omonimo
documentario del 2009, in
gran parte realizzato
utilizzando il materiale
girato da Michael Jackson
nei giorni immediatamente
precedenti il suo
decesso, mentre preparava
le coreografie per il
tour. Un titolo, che dopo
la tragica morte del
grande artista, suonò
come una premonizione.
L’arrangiamento di
Hideaki Miura è un
must del repertorio di
musica da
intrattenimento. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| This Is It
Orchestre d'harmonie [Conducteur et Parties séparées] - Facile
Music Sales
Concert Band/Harmonie - Grade 3 SKU: BT.1919-12-010-MS Composed by Michae...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.1919-12-010-MS
Composed by Michael
Jackson and Paul Anka.
Arranged by Hideaki
Miura. Pop & Rock. Set
(Score & Parts). Composed
2012. Music Sales
#1919-12-010 MS.
Published by Music Sales
(BT.1919-12-010-MS).
9x12 inches.
English. This Is
It is the title track
from the film of the same
name that first appeared
after the death of
Michael Jackson. The
title, that should have
represented the climax of
a great career, has now
taken on a second,
unintentionally sadder
meaning. In a brand new
arrangement for wind
orchestra by Hideaki
Miura, the last hit of
the ‘King of
Pop’ is a must for
your entertaining
repertoire!
This Is It
is de titelsong van de
gelijknamige film die pas
na de dood van Michael
Jackson werd uitgebracht.
De titel was eigenlijk
bedoeld als afsluiting
van een grootse
carrière van de grote
Michael Jackson.
Onbedoeld heeft het door
zijn vroegtijdige dood
een treurige bijbetekenis
gekregen. De laatste hit
van de King of Pop geven
wij nu uit in een
gloednieuwe bewerking
voor orkest. Een
must-have voor op uw
amusementsrepertoire!
This Is It
ist das Titellied zum
gleichnamigen Film, der
erst nach dem Tod von
Michael Jackson
veröffentlicht wurde.
Der Titel Das
war’s“, der
eigentlich den Abschluss
einer großartigen
Karriere markieren
sollte, hat nun ungewollt
eine zweite, traurige
Bedeutung bekommen. Der
letzte Hit des King of
Pop“ für
Blasorchester von Hideaki
Miura ist ein Muss
für Ihr
unterhaltsames
Repertoire!
This Is It
est le titre principal du
film éponyme qui est
sorti après la mort de
Michael Jackson. Ce
titre, qui aurait d
représenter
l’apogée
d’une grande
carrière, a maintenant
pris une autre
signification beaucoup
plus triste. Dans un tout
nouvel arrangement de
Hideaki Miura pour
orchestre
d’harmonie, le
dernier succès du
«roi de la pop» est
indispensable votre
répertoire !
This Is It
è il titolo della
canzone che accompagna
l’omonimo
documentario del 2009, in
gran parte realizzato
utilizzando il materiale
girato da Michael Jackson
nei giorni immediatamente
precedenti il suo
decesso, mentre preparava
le coreografie per il
tour. Un titolo, che dopo
la tragica morte del
grande artista, suonò
come una premonizione.
L’arrangiamento di
Hideaki Miura è un
must del repertorio di
musica da
intrattenimento. $130.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Invention
Shawnee Press
Score and Parts String Orchestra (Parts And Score) - Level 3.5 SKU: HL.350110...(+)
Score and Parts String
Orchestra (Parts And
Score) - Level 3.5
SKU: HL.35011048
Composed by Ken Baird.
Shawnee Press. Shawnee
Press #J0175. Published
by Shawnee Press
(HL.35011048). UPC:
747510071587. Inven
tion is an exciting work
for high school or
college orchestra that
features an accented,
multi-metered main theme,
contrapuntal writing, a
fugue, a reflective
melodic interlude, and an
optional extended violin
cadenza. The title refers
to the process undertaken
by great inventors such
as Thomas Edison and
Leonardo Da Vinci. In
this work, the composer
reflects the many
emotions and processes an
inventor might experience
as he is working on his
creation: the spark of
inspiration, the
excitement of a new
project, trial and error,
frustration and anger,
intensity, and, at last,
success! $45.00 - Voir plus => AcheterDélais: 3 to 5 business days | | | |
| Invention
Orchestre [Conducteur]
Shawnee Press
String Orchestra (Score) - Level 3.5 SKU: HL.35011049 Composed by Ken Bai...(+)
String Orchestra (Score)
- Level 3.5 SKU:
HL.35011049 Composed
by Ken Baird. Shawnee
Press. Shawnee Press
#JC0588. Published by
Shawnee Press
(HL.35011049).
Invention is an
exciting work for high
school or college
orchestra that features
an accented,
multi-metered main theme,
contrapuntal writing, a
fugue, a reflective
melodic interlude, and an
optional extended violin
cadenza. The title refers
to the process undertaken
by great inventors such
as Thomas Edison and
Leonardo Da Vinci. In
this work, the composer
reflects the many
emotions and processes an
inventor might experience
as he is working on his
creation: the spark of
inspiration, the
excitement of a new
project, trial and error,
frustration and anger,
intensity, and, at last,
success! $6.00 - Voir plus => AcheterDélais: 3 to 5 business days | | | |
| Mass in g minor
Chorale SATB - Facile
Carus Verlag
Orchestra ATB vocal soli, SATB choir, 2 oboes, 2 violins, viola, basso continuo ...(+)
Orchestra ATB vocal soli,
SATB choir, 2 oboes, 2
violins, viola, basso
continuo - Grade 3
SKU: CA.3123511
Kyrie-Gloria-Messe
(Lutherische Messe).
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Missa In G /Bwv 235
Rev.2000. Innovative
practice aids, Sacred
vocal music, Masses,
Latin, Mass settings,
incomplete (also Missa
brevis). Single Part,
Violin 1. Composed the
period at Leipzig. BWV
235. 12 pages. Duration
30 minutes. Carus Verlag
#CV 31.235/11. Published
by Carus Verlag
(CA.3123511). ISBN
9790007085926. Key: G
minor. Language:
Latin. As well as
the Mass in B minor,
there are four further,
shorter mass compositions
by Bach, the so-called
Lutheran or Kyrie-Gloria
masses. Despite their
high musical qualities,
they are often
overshadowed by other
church works by Bach.
With their six-movement
structure (up to the Cum
sancto spiritu) they had
their specific liturgical
position in church
services of the time of
Bach. The masses largely
comprise parodies, with
the original music mainly
taken from cantatas which
Bach sometimes
considerably reworked in
his well-known style
according to the new
context of the work.
Ulrich Leisinger has
edited the four works for
Carus in new critical
editions. Score and part
available separately -
see item CA.3123500. $7.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Mass in g minor
Chorale SATB [Conducteur et Parties séparées] - Facile
Carus Verlag
Orchestra ATB vocal soli, SATB choir, 2 oboes, 2 violins, viola, basso continuo ...(+)
Orchestra ATB vocal soli,
SATB choir, 2 oboes, 2
violins, viola, basso
continuo - Grade 3
SKU: CA.3123509
Kyrie-Gloria-Messe
(Lutherische Messe).
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger. This
edition: urtext. 1x
31.235/21 oboe 1, 1x
31.235/22 oboe 2.
Stuttgart Urtext Edition:
Bach vocal. German title:
Missa In G /Bwv 235
Rev.2000. Innovative
practice aids, Sacred
vocal music, Masses,
Latin, Mass settings,
incomplete (also Missa
brevis). Set of Orchestra
Parts. Composed the
period at Leipzig. BWV
235. 20 pages. Duration
30 minutes. Carus Verlag
#CV 31.235/09. Published
by Carus Verlag
(CA.3123509). ISBN
9790007211080. Key: G
minor. Language:
Latin. As well as
the Mass in B minor,
there are four further,
shorter mass compositions
by Bach, the so-called
Lutheran or Kyrie-Gloria
masses. Despite their
high musical qualities,
they are often
overshadowed by other
church works by Bach.
With their six-movement
structure (up to the Cum
sancto spiritu) they had
their specific liturgical
position in church
services of the time of
Bach. The masses largely
comprise parodies, with
the original music mainly
taken from cantatas which
Bach sometimes
considerably reworked in
his well-known style
according to the new
context of the work.
Ulrich Leisinger has
edited the four works for
Carus in new critical
editions. Score and parts
available separately -
see item CA.3123500. $12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Mass in g minor
Chorale SATB - Facile
Carus Verlag
Orchestra ATB vocal soli, SATB choir, 2 oboes, 2 violins, viola, basso continuo ...(+)
Orchestra ATB vocal soli,
SATB choir, 2 oboes, 2
violins, viola, basso
continuo - Grade 3
SKU: CA.3123505
Kyrie-Gloria-Messe
(Lutherische Messe).
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Missa In G /Bwv 235
Rev.2000. Innovative
practice aids, Sacred
vocal music, Masses,
Latin, Mass settings,
incomplete (also Missa
brevis). Choral Score.
Composed the period at
Leipzig. BWV 235. 16
pages. Duration 30
minutes. Carus Verlag #CV
31.235/05. Published by
Carus Verlag
(CA.3123505). ISBN
9790007085919. Key: G
minor. Language:
Latin. As well as
the Mass in B minor,
there are four further,
shorter mass compositions
by Bach, the so-called
Lutheran or Kyrie-Gloria
masses. Despite their
high musical qualities,
they are often
overshadowed by other
church works by Bach.
With their six-movement
structure (up to the Cum
sancto spiritu) they had
their specific liturgical
position in church
services of the time of
Bach. The masses largely
comprise parodies, with
the original music mainly
taken from cantatas which
Bach sometimes
considerably reworked in
his well-known style
according to the new
context of the work.
Ulrich Leisinger has
edited the four works for
Carus in new critical
editions. Score available
separately - see item
CA.3123500. $7.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Mass in g minor
Chorale SATB - Facile
Carus Verlag
Orchestra ATB vocal soli, SATB choir, 2 oboes, 2 violins, viola, basso continuo ...(+)
Orchestra ATB vocal soli,
SATB choir, 2 oboes, 2
violins, viola, basso
continuo - Grade 3
SKU: CA.3123513
Kyrie-Gloria-Messe
(Lutherische Messe).
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Missa In G /Bwv 235
Rev.2000. Innovative
practice aids, Sacred
vocal music, Masses,
Latin, Mass settings,
incomplete (also Missa
brevis). Single Part,
Viola. Composed the
period at Leipzig. BWV
235. 12 pages. Duration
30 minutes. Carus Verlag
#CV 31.235/13. Published
by Carus Verlag
(CA.3123513). ISBN
9790007085940. Key: G
minor. Language:
Latin. As well as
the Mass in B minor,
there are four further,
shorter mass compositions
by Bach, the so-called
Lutheran or Kyrie-Gloria
masses. Despite their
high musical qualities,
they are often
overshadowed by other
church works by Bach.
With their six-movement
structure (up to the Cum
sancto spiritu) they had
their specific liturgical
position in church
services of the time of
Bach. The masses largely
comprise parodies, with
the original music mainly
taken from cantatas which
Bach sometimes
considerably reworked in
his well-known style
according to the new
context of the work.
Ulrich Leisinger has
edited the four works for
Carus in new critical
editions. Score and part
available separately -
see item CA.3123500. $7.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Mass in g minor
Chorale SATB - Facile
Carus Verlag
Orchestra ATB vocal soli, SATB choir, 2 oboes, 2 violins, viola, basso continuo ...(+)
Orchestra ATB vocal soli,
SATB choir, 2 oboes, 2
violins, viola, basso
continuo - Grade 3
SKU: CA.3123514
Kyrie-Gloria-Messe
(Lutherische Messe).
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Missa In G /Bwv 235
Rev.2000. Innovative
practice aids, Sacred
vocal music, Masses,
Latin, Mass settings,
incomplete (also Missa
brevis). Single Part,
Cello/Double Bass.
Composed the period at
Leipzig. BWV 235. 12
pages. Duration 30
minutes. Carus Verlag #CV
31.235/14. Published by
Carus Verlag
(CA.3123514). ISBN
9790007085957. Key: G
minor. Language:
Latin. As well as
the Mass in B minor,
there are four further,
shorter mass compositions
by Bach, the so-called
Lutheran or Kyrie-Gloria
masses. Despite their
high musical qualities,
they are often
overshadowed by other
church works by Bach.
With their six-movement
structure (up to the Cum
sancto spiritu) they had
their specific liturgical
position in church
services of the time of
Bach. The masses largely
comprise parodies, with
the original music mainly
taken from cantatas which
Bach sometimes
considerably reworked in
his well-known style
according to the new
context of the work.
Ulrich Leisinger has
edited the four works for
Carus in new critical
editions. Score and part
available separately -
see item CA.3123500. $7.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| L'Attraction et la nécessité
Barenreiter
SKU: PA.H07942 Czech title: L'Attraction et la necessite. Classical. Book...(+)
SKU: PA.H07942
Czech title: L'Attraction
et la necessite.
Classical. Book, CD. With
Publication language:
French. Editio
Baerenreiter Praha
#H07942_00. Published by
Editio Baerenreiter Praha
(PA.H07942). ISBN
9788086385273. 23 x 16 cm
inches. Between the
1890s and World War II
the axis of Paris -
Prague was found to be
incredibly attractive.
Its attraction lay in
sharing mutual political
and social values and led
to the demand of certain
cultural and artistic
unity. The aim of this
book is to raise
questions regarding the
musical works of this
period, and discuss which
musical works show this
'affinity in choice'.
During the course of the
20th century 'cultural
polarities' started
blurring, and
paradoxically enough it
was not one of the Slav
countries, but Paris
where Czech composers
reinvented, through the
Neo-Classical style (
mainly Stravinski's)
their 'Eastern pole':
light and archaic themes,
a specific register of
folk and trivial music,
and the preference for
creative spontaneity in
compositions. Which
features in the direction
taken by Bohuslav Martinu
can be regarded as
typical of this tendency?
What were the positions
of the other Czech
composers such as Leos
Janacek, Alois Haba,
Karel Husa, Jaroslav
Jezek and others, and
artists working in the
musical, artistic or
literal fields, for
instance Arne Hosek,
Milada Souckova, Jiri
Kolar, Milan Slavicky,
Milan Kundera, within
this context? The
analysis of these
questions regarding the
whole of the 20th century
is completed with several
so far unpublished or
unknown sources. $41.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Mass in g minor
Chorale SATB [Conducteur et Parties séparées] - Facile
Carus Verlag
Orchestra ATB vocal soli, SATB choir, 2 oboes, 2 violins, viola, basso continuo ...(+)
Orchestra ATB vocal soli,
SATB choir, 2 oboes, 2
violins, viola, basso
continuo - Grade 3
SKU: CA.3123519
Kyrie-Gloria-Messe
(Lutherische Messe).
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Missa In G /Bwv 235
Rev.2000. Innovative
practice aids, Sacred
vocal music, Masses,
Latin, Mass settings,
incomplete (also Missa
brevis). Set of Orchestra
Parts. Composed the
period at Leipzig. BWV
235. Duration 30 minutes.
Carus Verlag #CV
31.235/19. Published by
Carus Verlag
(CA.3123519). ISBN
9790007137380. Key: G
minor. Language:
Latin. As well as
the Mass in B minor,
there are four further,
shorter mass compositions
by Bach, the so-called
Lutheran or Kyrie-Gloria
masses. Despite their
high musical qualities,
they are often
overshadowed by other
church works by Bach.
With their six-movement
structure (up to the Cum
sancto spiritu) they had
their specific liturgical
position in church
services of the time of
Bach. The masses largely
comprise parodies, with
the original music mainly
taken from cantatas which
Bach sometimes
considerably reworked in
his well-known style
according to the new
context of the work.
Ulrich Leisinger has
edited the four works for
Carus in new critical
editions. Score and parts
available separately -
see item CA.3123500. $121.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Mass in g minor
Chorale SATB - Facile
Carus Verlag
Orchestra ATB vocal soli, SATB choir, 2 oboes, 2 violins, viola, basso continuo ...(+)
Orchestra ATB vocal soli,
SATB choir, 2 oboes, 2
violins, viola, basso
continuo - Grade 3
SKU: CA.3123512
Kyrie-Gloria-Messe
(Lutherische Messe).
Composed by Johann
Sebastian Bach. Edited by
Ulrich Leisinger. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Missa In G /Bwv 235
Rev.2000. Innovative
practice aids, Sacred
vocal music, Masses,
Latin, Mass settings,
incomplete (also Missa
brevis). Single Part,
Violin 2. Composed the
period at Leipzig. BWV
235. 12 pages. Duration
30 minutes. Carus Verlag
#CV 31.235/12. Published
by Carus Verlag
(CA.3123512). ISBN
9790007085933. Key: G
minor. Language:
Latin. As well as
the Mass in B minor,
there are four further,
shorter mass compositions
by Bach, the so-called
Lutheran or Kyrie-Gloria
masses. Despite their
high musical qualities,
they are often
overshadowed by other
church works by Bach.
With their six-movement
structure (up to the Cum
sancto spiritu) they had
their specific liturgical
position in church
services of the time of
Bach. The masses largely
comprise parodies, with
the original music mainly
taken from cantatas which
Bach sometimes
considerably reworked in
his well-known style
according to the new
context of the work.
Ulrich Leisinger has
edited the four works for
Carus in new critical
editions. Score and part
available separately -
see item CA.3123500. $7.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Memento Vivere - Kythere Satb A Cappella W/ Bass Solo, German - Avancé
Schott
Mixed choir a cappella with bass-solo - advanced SKU: HL.49044128 Zwei...(+)
Mixed choir a cappella
with bass-solo - advanced
SKU: HL.49044128
Zwei Gesange nach
Texten von Friedrich
Hebbel und Gerda von
Robertus. Composed by
Rudi Stephan. Arranged by
Clytus Gottwald. This
edition: Saddle
stitching. Sheet music.
Choral. Octavo. Composed
1908/1911. 16 pages.
Duration 7'. Schott Music
#SKR20060. Published by
Schott Music
(HL.49044128). ISBN
9790001168915.
German. He was
regarded as the German
hope among the composers
of his generation and as
'next man of New Music',
but his early death
quashed all such hopes of
the music scene: Rudi
Stephan died at the early
age of 28, leaving behind
instrumental works as
well as some songs in
which he admitted
expressionist concepts of
art, as were later
expressed mainly by the
Viennese School. Clytus
Gottwald has taken up the
cause of transcribing two
of the songs by this
composer, who died in the
First World War, for
nine-part mixed a
cappella choir
(SSAATTBBB) with solo
bass in his honour. In
spite of the Latin title,
Memento vivere is a
German-language secular
song based on a text by
Friedrich Hebbel which is
permeated by harmonies
sharpened with
dissonances. The music of
Kythere to words by Gerda
von Robertus is
characterized by the
excessive use of harmonic
shifts in the style of
Debussy. $10.99 - Voir plus => Acheter | | | |
| Symphony No. 2
Carus Verlag
Soli SA, Coro SATB (teils geteilt), Pfte SKU: CA.2380203 4th and 5th m...(+)
Soli SA, Coro SATB (teils
geteilt), Pfte SKU:
CA.2380203 4th and
5th movement.
Composed by Gustav
Mahler. Edited by
Nicholas Kok. Arranged by
Nicholas Kok. Innovative
practice aids, Secular
choral music. Vocal
score. Carus Verlag #CV
23.802/03. Published by
Carus Verlag
(CA.2380203). ISBN
M-007-24441-5.
German. Nicholas
Kok's newly-created vocal
score of the 4th and 5th
movements of Mahler's 2nd
Symphony is aimed
particularly at vocal
soloists and choral
singers who wish to
practice the two vocal
movements in this work;
it is available on sale,
as is the chorus score.
To ensure a secure entry
at the attacca beginning
of the 4th movement, the
vocal score begins
earlier in the 3rd
movement. The rehearsal
letters in the
prevalently used
orchestral materials have
been taken into
consideration so that the
vocal score and chorus
score are compatible with
all the available music
editions. In his 2nd
Symphony, premiered in
1895 after a seven-year
gestation period, Gustav
Mahler combined different
work concepts which he
had previously tried out
in various independent
compositions: the 1st
movement with the
original title
Todtenfeier was conceived
as a symphonic poem, the
3rd movement is based on
the original song for
voice and piano St
Anthony of Padua's Sermon
to the Fishes, the 4th
movement is the
orchestral song Urlicht
for alto, with text, like
the 3rd movement, from
Des Knaben Wunderhorn,
and the 5th is a setting
and elaboration of the
Klopstock Ode Die
Auferstehung for soprano
and alto solo with mixed
chorus. Mahler created a
work in the
vocal-symphonic tradition
founded by Beethoven and,
despite its challenges in
extent and scoring, it
remains one of his most
popular compositions. $18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
|
