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Détails Détails	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 Vogtâ€™s Musical ParisGustave Vogt (1781â€“1870) was born into the â€œAge of Enlightenment,â€ at the apex of the Enlightenmentâ€™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 â€œgrandfather of the modern oboeâ€ and the â€œpremier 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 â€œSystem Sixâ€ TriÃ©bert 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 schoolâ€™s first oboe professor, Alexandre-Antoine Sallantin (1775â€“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 rÃ©pÃ©titeur, 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 schoolâ€™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 (1799â€“1839), Apollon Marie-Rose Barret (1804â€“1879), Charles Triebert (1810â€“1867), Stanislas Verroust (1814â€“1863), and Charles Colin (1832â€“1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854â€“1920), and then to Marcel Tabuteau (1887â€“1966), the oboist Americans lovingly describe as the â€œfather of American oboe playing.â€Opera was an important part of Vogtâ€™s life. His first performing position was with the ThÃ©Ã¢tre-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 ThÃ©Ã¢tre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the OpÃ©ra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris OpÃ©ra, the top orchestra in Paris at the time. He played with the Paris OpÃ©ra 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 (1803â€“1865) after having just arrived in Paris in 1822 and attended the Paris OpÃ©raâ€™s performance of Mehulâ€™s Stratonice and Persuisâ€™ ballet Nina. It was in response to the song Quand le bien-amiÃ© reviendra that Berlioz wrote: â€œI 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 Vogtâ€™s instrumentâ€¦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 Cherubiniâ€™s (1760â€“1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806â€“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 OpÃ©ra.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 ArtÃ´t (1815â€“1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having â€œlost none of his superiority over the oboeâ€¦. Itâ€™s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogtâ€™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 SociÃ©tÃ© des Concerts du Conservatoire, a group established in 1828 by violinist and conductor FranÃ§ois-Antoine Habeneck (1781â€“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 (1770â€“1836).After his retirement from the OpÃ©ra in 1834 and from the SociÃ©tÃ© des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubiniâ€™s Ave Maria on English horn with tenor Alexis Dupont (1796â€“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 AlbumsVogtâ€™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 (1492â€“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 (1504â€“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 NotestammbÃ¼cher). 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 â€œgrand tourâ€ 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 â€œmost valuable contributionâ€ came from Beethoven in 1815. Spohrâ€™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 NotenstammbÃ¼cher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogtâ€™s Musical Album of AutographsVogtâ€™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 Gounodâ€™s (1818â€“1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - Voir plus => Acheter Délais: 1 to 2 weeks Articles Similaires

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Détails Détails	The Jazz Theory Book Théorie de la musique [Livre] Sher Music Company Written by Mark Levine. Instructional book (spiral bound). With instructional te...(+) Written by Mark Levine. Instructional book (spiral bound). With instructional text, musical examples and black and white photos. 522 pages. Published by Sher Music Company. (12) $49.00 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	The Best Fake Book Ever - C Edition - 3rd Edition Fake Book [Fake Book] Hal Leonard (C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+) (C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Series: Hal Leonard Fake Books. 856 pages. 9x12 inches. Published by Hal Leonard. (14) $59.99 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	The Best Fake Book Ever - Bb 2nd Edition Instruments en Sib [Fake Book] Hal Leonard Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 864 p...(+) Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 864 pages. Published by Hal Leonard. (7) $49.95 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	The Best Fake Book Ever - 2nd Edition - Eb Edition Instruments en Mib [Fake Book] Hal Leonard Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: H...(+) Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: Hal Leonard Fake Books. 864 pages. Published by Hal Leonard. (2) $49.95 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	The Real Little Best Fake Book Ever - 3rd Edition Fake Book [Fake Book] Hal Leonard C Edition. Fake Book (Includes melody line and chords). Size 6x9 inches. 864 pag...(+) C Edition. Fake Book (Includes melody line and chords). Size 6x9 inches. 864 pages. Published by Hal Leonard. (7) $39.95 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	Rise Again Songbook Paroles et Accords Hal Leonard (Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+) (Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard $39.99 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	Rise Again Songbook Hal Leonard (Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+) (Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard $34.99 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	The Real Book Volume III - Second Edition - CD-ROM Tous Les Instruments [CD-ROM] Hal Leonard By Various. CD ROM SHEET MUSIC. CD-ROM $29.99 - Voir plus => Acheter Délais: 3 to 5 business days Articles Similaires

Détails Détails	ARKA - 3 Rituale (Full Score) Voix basse, Piano Peters Orchestra solo oboe, solo pipa, timpani 4 Pauken, 1 Spieler, percussion, (Crotal...(+) Orchestra solo oboe, solo pipa, timpani 4 Pauken, 1 Spieler, percussion, (Crotali, Glockenspiel, gr, Trommel, vibraphonerafon - 1 Spieler), strings (7, 1) SKU: PE.EP14445 Composed by Bernd Franke. Full Scores. Edition Peters. Score. 52 pages. Duration 00:20:00. Edition Peters #98-EP14445. Published by Edition Peters (PE.EP14445). ISBN 9790014135041. 297 x 420 mm inches. German. ARKA stammt aus dem Sanskrit und bedeutet so viel wie Strahl, Blitz, Sonne, Licht, aber auch Lied, Feuer und Hymnus, und entwickelt in meiner Vorstellung sehr viele unterschiedliche Assoziationsfelder. In ARKA stecken auch die Worter arc (beten) und ka (Wasser), und es kann auch ubersetzt werden mit: ,,Das Wasser stromt aus dem heraus, der mehr weiss. Mein neues Werk fur Pipa, Oboe, Pauke, Schlagzeug und Orchester entstand im Auftrag der Kammerakademie Neuss und auf Anregung des Oboisten Christian Wetzel. Es entstanden drei Rituale mit zum Teil szenischen Elementen fur die Solisten und das Orchester. Inspirationsquelle in der Vorbeschaftigung waren zwei Quellen und Bucher. Das Daodejing von Laozi in der hervorragenden Neuubersetzung von Viktor Kalinke, eine der wichtigsten Quellen chinesischen Denkens und der Philosophie dieser grossen Kulturtradition und die chinesische Tradition der 5-Elementelehre und der Wandlungsphasen. Als zweites Buch hat mich ,,Die Glut von Roberto Calasso inspiriert, ein Buch uber die indischen Veden in Verbindung mit den Ursprungen des Buddhismus und den damit verbunden Ritualen. In den letzten 20 Jahren habe ich mich intensiv mit ostasiatischer Musik, Kunst und Philosophie beschaftigt und habe das auch durch langere Studienreisen und kompositorische Projekte vertiefen konnen. U.a. wurde 2012 mein Chorwerk PRAN in Kolkata in Indien uraufgefuhrt (Goethe-Institut), ebenfalls 2012 ,,in between VI fur Sho und Sheng in Tokyo und 2013 ,,Mirror and Circle fur Pipa, Cello und chinesisches Orchester in Taipeh/Taiwan (Auftragswerk der taiwanesischen Regierung). Mit der chinesischen Pipa-Virtuosin Ya Dong arbeite ich seit 2000 zusammen und habe fur sie mehrfach komponiert (Urauffuhrungen u.a. in Hannover/EXPO 2000, Rottweil 2001, Taipeh 2013, Magdeburg 2016). Auch mit Christian Wetzel arbeite ich seit uber 20 Jahren zusammen und habe ebenfalls haufig fur ihn komponiert (UA u.a. in Bonn 1999, Hannover/EXPO 2000, Rottweil 2001, Darmstadt 2004 und etliche weitere Projekte). Jedes dieser drei Rituale hat eine Lange von ca. 6-7 Minuten und stellt unterschiedliche Qualitaten und Besonderheiten der beiden Soloinstrumente heraus, immer in Verbindung mit der Interaktion zwischen Soli und Orchester. Die Besetzung war fur mich ausserst reizvoll, da beide Instrumente in dieser Kombination noch nie so erklungen sind. Die Pipa ist ein ungemein modernes und ungewohnliches Instrument, reich an Farben und vor allem an perkussiven Effekten. Das Tonmaterial wurde zum grossten Teil aus den Namen der beiden Solisten gewonnen und ergibt interessanter zwei gespiegelte Viertonmotive. In der asiatischen Kultur spielen der Spiegel und der Kreis eine wichtige Rolle, und so werden die Tone, Rhythmen und Formen eingewoben in diese drei Rituale, welche am Ende des dritten Satzes wieder kreisformig an den Anfang des ersten Rituals anknupfen. Ein von den Streichern und der Pauke erzeugtes Gerausch, verbunden mit dem Rhythmus der grossen Trommel, welcher einen Herzschlag symbolisieren soll. Die drei Untertitel der Rituale Himmel, Erde und (atmospharischer) Raum spielen im vedischen und chinesischen Denken eine grosse Rolle und war fur mich beim Komponieren ebenfalls eine sehr starke Inspirationsquelle. In vielen meiner Kompositionen gibt es Raumeffekte, Annaherungen an das Publikum, das Verschieben von Perspektiven, die Dekonstruktion und das Hinterfragen der ublichen Konzertsituation, so u.a in meinem Beuys-Zyklus oder in den Zyklen ,,CUT und ,,in between. In ARKA geht es mir besonders um die Interaktion zwischen westlichem und ostlichem Denken, um das gegenseitige Durchdringen dieser auf den ersten Blick so unterschiedlichen Denk- und Lebensweisen, um eine Verschmelzung scheinbarer Gegensatze - um Annaherung! Bernd Franke. Leipzig, 11.10.2019 W01476\|C\|Y 0.0000 Sheet Music _x000D_ 9780193556799 Y 23.50 X556799 357665 9780193556799 MISC C 1 432 8030 0.00 Oxford Solo Songs: Christmas 14 songs with piano PAPER 14 9780193556799 A-B CAROLS CHRISTMAS MISC MISCELLANEOUS OXFORD PIANO SOLO SONGS SONGS: VOICE WITH AB 00:00:0 Low voice & piano Low voice book + downloadable backing tracks 311x232 72 NEW NONE 29/07/2021 P 355580 9780193556799 Young: A babe is born Rutter: Angels' Carol McDowall: Before the paling of the stars Rutter: Candlelight Carol Rutter: I sing of a maiden Chilcott: Mid-winter Todd: My Lord has Come Bullard: Scots Nativity Quartel: Snow Angel Todd: Softly Chilcott: Sweet was the song Chilcott: The Shepherd's Carol Quartel: This endris night McGlade: What child is this? for low voice and piano This beautiful collection of 14 songs for low voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for high voice and piano. 14 songs for solo voice Well-loved composers, including John Rutter and Bob Chilcott Wide selection of Christmas texts Accessible accompaniments Includes backing tracks downloadable from a Companion Website Available in volumes for high and low voice MISC\|AU\|Y 0.0000 Paperback _x000D_ EP73308R Y 0.00 73308R P73308R 1 ORCHA 8000 0.00 Hover A (LARGE) BEAMISH EP73308R GP:ORCHESTRAL HOVER ONLY RENTAL SALLY WORKS NONE ORCHA P 303000 EP73308R 0.0000 Sheet Music _x000D_ EP14437A Y 22.95 14437A P14437A FRANKE, BERND C 9790014137199 52A1 8000 0.00 AGNI A 9790014137199 AGNI BASS BERND CLARINET EP14437A FRANKE PHOTOPRINTS W01476 English / German 00:12:0 Instrumental Score 232 x 303 mm Bass clarinet 20 DETNT NEW PR43 23/04/2021 P 303006 AGNI is the Hindu god of fire; the elemental and transformative force inherent in everything: Every flame, every fire, every light, every warmth is AGNI. AGNI is omnipresent, establishing everything and ending everything. AGNI is often depicted with seven tongues which represent different aspects of his being. These include: creating, sustaining, cleansing, purifying, priestly, martial, devastating, destructive, and consuming. Derived from Franke's concerto of the same name, this solo work for bass clarinet compositionally traces the transformative processes initiated by the divine fire. The solo takes seven pieces from the concerto, presenting vivid character pieces exploring the creative possibilities and wide tonal range offered by the bass clarinet. This version of AGNI for bass clarinet solo was premiered on 4 December 2020 in Leipzig by Volker Hemken, the principal bass clarinetist of the Gewandhausorchester Leipzig. EP14437a convinces with its excellent and clear notation, making the piece a new standard for bass clarinet. W01476\|C\|Y 0.0000 Sheet Music _x000D_ EP68686 Y 165.00 68686 P68686 LEWIS C 9790300761299 97 8000 0.00 Ikons A 9790300761299 CONTEMPORARY ENSEMBLE EP68686 GEORGE IKONS LEWIS PHOTOPRINTS SMALL W06652 English 00:14:0 Conductor Score & Parts 303 x 232 mm Fl (A-fl in F).Cl.Bsn (Cbsn).Tbn.Perc.Vln.Vlc.C b 132 NEW PR43 USTNT 21/04/2021 P 303006 Ikons, commissioned by the Vancouver Cultural Olympiad 2010, exists in two forms. This 14-minute acoustic version, premiered by the Turning Point Ensemble, calls for an octet of live musicians to execute complex rhythms and quarter-tone harmonies. The interactive, electronic version, created with visual artist Eric Metcalfe and designed to be presented separately, incorporates samples from this acoustic version into a sculptural environment of seven pyramidal structures that respond sonically to the viewer. W06652\|C\|Y 0.0000 Sheet Music _x000D_ EP73531 Y 31.95 73531 P73531 PANUFNIK, ROXANNA C 9790577020976 61 8000 0.00 Sonnets without Words A 9790577020976 EP73531 HORN PANUFNIK PHOTOPRINTS PIANO ROXANNA SHAKESPEARE SONNETS W03578 WILLIAM WITHOUT WORDS English Score & Instrumental Parts 232 x 303 mm Horn and piano 28 NEW PR43 UKTNT 21/04/2021 P 303006 Roxanna Panufnik's Sonnets without Words is a contemporary piece for Horn in F and piano. Written for horn player Ben Goldscheider, Panufnik has reimagined the lyrical vocal lines from three of her previous settings of Shakespeare's sonnets (Mine eye, Music to hear and Sweet Love Remember'd for voice and piano) into a purely instrumental work. Score and horn part. Contempo rary work for Horn in F and piano Settings of Sheakespeare's Sonnets 8, 24 & 29 in instrumental form W03578\|C\|Y W06737\|LY\|N 0.0000 Sheet Music _x000D_ EP73571 Y 15.95 73571 P73571 MCNEFF, STEPHEN C 9790577021317 20 8000 0.00 Trig for Solo Cello A 9790577021317 (SOLO) CELLO EP73571 MCNEFF PHOTOPRINTS SOLO STEPHEN TRIG W03150 English 00:07:0 Instrumental Score 232 x 303 mm Solo Violoncello 8 NEW PR43 UKTNT 21/04/2021 P 303006 Stephen McNeff's Trig is a short 7-minute contemporary work for solo cello, written to celebrate the bicentennial of the Royal Academy of Music in 2022 and in memorium cellist Mike Edwards 1948-2010. Trig was premiered by Henry Hargreaves on 19 March 2021, livestreamed from the Royal Academy of Music. Contemp orary piece for solo cello Written for the Royal Academy of Music's bicentennial W03150\|C\|Y 0.0000 Sheet Music _x000D_ EP14528 Y 34.95 14528 P14528 SAUNDERS, REBECCA C 9790014136796 3 8000 0.00 to an utterance - study A 9790014136796 (SOLO) AN EP14528 PHOTOPRINTS PIANO REBECCA SAUNDERS STUDY TO UTTERANCE W04191 English Instrumental Score 420 x 297 mm Piano Solo 16 DETNT NEW PR43 21/04/2021 P 303006 to an utterance - study was commissioned by Klangforum Wien for the premiere commercial audio recording on a portrait CD in 2020 and first performed by Joonas Ahonen at the Berlin Philharmonie on 4th September 2020 at the Musikfest Berlin. W04191\|C\|Y 0.0000 Sheet Music _x000D_ EP71880 Y 75.00 71880 P71880 PANUFNIK, ROXANNA C 9790577008332 82 8000 0.00 Spirit Moves for Brass Quintet A 9790577008332 BRASS ENSEMBLE EP71880 MOVES PANUFNIK PHOTOPRINTS QUINTET ROXANNA SPIRIT W03578 English 00:15:0 Score & Instrumental Parts 232 x 303 mm Trumpet 1 in B flat (doubling Piccolo Trumpet), Trumpet 2 in B flat (doubling Flugel Horn), Horn in F, Trombone, Tuba 84 NEW PR43 UKTNT 21/04/2021 P 303006 Roxanna Panufnik's Spirit Moves, for brass quintet, was commissioned by the Fine Arts Brass Ensemble. This 15-minute piece is scored for two trumpets in Bb (one doubling piccolo trumpet and the other doubling flugel horn), horn in F, trombone and tuba. This brass quintet is so called because the outer movements are highly spirited and the central one is spiritual. This product consists of score and parts. W03578\|C\|Y 0.0000 Sheet Music _x000D_ EP73585 Y 4.00 73585 P73585 369282 WILLIAMS, RODERICK C 9790577021591 1 151 8000 0.00 Eriskay Love Lilt A 9790577021591 (SECULAR) CHORAL EP73585 ERISKAY HALSTAN-USA LILT LOVE RODERICK TRADITIONAL W05152 WILLIAMS WORKS English 00:03:0 190 x 272 mm SATB (divisi) and piano 16 NEW PR30 UKTNT 20/05/2021 P 377788 A gently flowing 3-minute arrangement by Roderick Williams for SATB (with divisi) with piano accompaniment that captures the beauty of this famous traditional Hebridean love song. The song text uses both old dialect and English, each verse ending with the words, 'Sad am I without thee'. Commiss ioned by The Sixteen choir and recorded on their 2021 album 'Goodnight Beloved' Roderick Williams is a composer/arranger and also a world-renowned baritone The arrangement is described by Williams as 'having a little nod to Ravel and Grieg' W05152\|C\|Y W04819\|LY\|N 0.0000 Sheet Music _x000D_ 9780193556782 Y 23.50 X556782 357665 9780193556782 MISC C 1 432 8030 0.00 Oxford Solo Songs: Christmas 14 songs with piano PAPER 14 9780193556782 A-B CAROLS CHRISTMAS MISC MISCELLANEOUS OXFORD PIANO SOLO SONGS SONGS: VOICE WITH AB 00:00:0 High voice & piano High voice book + downloadable backing tracks 311x232 72 NEW NONE 29/07/2021 P 355580 9780193556782 Young: A babe is born Rutter: Angels' Carol McDowall: Before the paling of the stars Rutter: Candlelight Carol Rutter: I sing of a maiden Chilcott: Mid-winter Todd: My Lord has Come Bullard: Scots Nativity Quartel: Snow Angel Todd: Softly Chilcott: Sweet was the song Chilcott: The Shepherd's Carol Quartel: This endris night McGlade: What child is this? for high voice and piano This beautiful collection of 14 songs for high voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for low voice and piano. 14 songs for solo high voice Well-loved composers, including John Rutter and Bob Chilcott Wide selection of sacred and secular Christmas texts Accessible accompaniments Includes backing tracks downloadable from a Companion Website Available in volumes for high and low solo voice MISC\|AU\|Y 0.0000 Paperback _x000D_ 9780193559066 Y 4.25 X559066 357665 9780193559066 YOUNG C 1 444 8030 0.00 O splendour of God's glory bright PAPER 9780193559066 BRIGHT CHORAL GLORY GOD'S MIXED OF OXFORD SACRED SPLENDOUR TOBY VOICES W06576 YOUNG C 00:03:30 SATB & organ Vocal score 254x178 SATB 20 NONE P 355580 9780193559066 for SATB and organ This energetic setting of words by St Ambrose of Milan is a real showstopper. With pop-influences and a sparkling organ part, Young effortlessly fuses modern and traditional sound worlds, while changes in key and metre build up to an invigorating finish. Perfect for accomplished choirs looking for something different. W06576\|C\|Y 0.0000 Paperback _x000D_ 9780193554399 Y 2.60 X554399 357665 9780193554399 LASSUS, ORLANDO DE C 1 445 8030 0.00 Oculus non vidit PAPER 9780193554399 CHORAL DE KEANE LASSUS MARK NON OCULUS ORLANDO OXFORD SACRED UPPER VIDIT VOICES W02750 B 00:01:30 SA unaccompanied Vocal score 254x178 Upper Voices - 3 parts or more 4 NONE 10/06/2021 P 355580 9780193554399 for SA unaccompanied This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit). W02750\|C\|Y W06960\|E\|N 0.0000 Paperback _x000D_ 9780193954298 Y 3.35 X954298 357665 9780193954298 TALLIS, THOMAS C 1 448 8030 0.00 Honor, virtus et potestas PAPER 9780193954298 CANTICLES DUNKLEY ET HONOR OXFORD POTESTAS SALLY SERVICES TALLIS THOMAS VIRTUS W04705 C 00:06:0 SAATB unaccompanied Vocal score MSER00020 SATB 12 NONE 28/05/2021 P 355580 9780193954298 for SAATB unaccompanied. This glorious musical depiction of the honour, strength, power and authority of the Holy Trinity by Thomas Tallis is the third issue in the CMS's series of great English Responds from the 16th century, edited by Sally Dunkley. Scored for SAATB, it can be performed either as a motet or as a full Responsory with plainsong alternating with polyphony. W04705\|C\|Y W01184\|E\|N 0.0000 Paperback _x000D_ EP73527 Y 6.95 73527 P73527 BEAMISH, SALLY C 9790577020891 50 8000 0.00 The Parting Glass A 9790577020891 (SOLO) BEAMISH CLARINET EP73527 GLASS PARTING PHOTOPRINTS SALLY W00306 English Score 232 x 303 mm Clarinet 4 NEW PR43 UKTNT 12/12/2020 P 303006 Based on a traditional Scottish/Irish 'farewell' song, this short piece is one of six works written to express my love of Scotland. After living there for nearly half my life, and raising a family, I moved back to England in 2018, and remarried in 2019. Of course, there were many different emotions attached to the move south: especially the joy and excitement of new beginnings, and reconnection with friends from my youth. But this piece expresses the wrench I experienced after a last family meal in Glasgow, and the realisation of all I was about to leave behind. I have taken the melody of the original song, and expanded it, exploring the detail of its patterns, so that it becomes a timeless meditation. The six pieces in the 'farewell' series are for 6 violas, string quintet, string quartet, trio, violin and clarinet duo, and solo clarinet. The Parting Glass was composed in 2020 during the coronavirus lockdown, which intensified the feeling of separation from my Scottish family, as well as from other musicians. It was commissioned by Vittorio Ceccanti for the ContempoArtEnsemble. W00306\|C\|Y 0.0000 Sheet Music _x000D_ EP73516 Y 6.95 73516 P73516 BEAMISH, SALLY C 9790577020747 20 8000 0.00 Maple A 9790577020747 (SOLO) BEAMISH CELLO EP73516 MAPLE PHOTOPRINTS SALLY W00306 English 00:06:0 Score 232 x 303 mm Contemporary cello solo 8 NEW PR43 UKTNT 12/12/2020 P 303006 Seed; Spinning Seed; Roots, shoots; Leaves ; Flowers; Tree ; Autumn ; Cello Maple arose from a commission to write a work for solo cello, to be performed alongside readings from artist John Newling's collection of letters entitled 'Dear Nature'; a poetic manifestation of our relationship with the natural world. The piece is in eight short sections, to be interspersed with readings of groups of the poems. It may also be performed as a single movement. It begins with a seed - the seed of a maple tree, as it hangs on the mature tree, ready to drop. The seeds are like propellers, sometimes travelling more than a mile before landing on the ground. Maple follows the growth of the tree to maturity - which in reality would take at least a hundred years. 'Roots, shoots' grows downwards and upwards from a pedal note, and the dance-like 'Flowers' is followed by the stately 'Tree', and then the warm, cascading 'Autumn'. Maple is very often the wood of choice for the back of a stringed instrument, and the last section uses open strings to explore the full resonance of the cello. The piece starts with a 'seed' of only five notes, which grows into different configurations. It is intended to be played in an improvisatory style. Maple was co-commissioned by Brighton Festival, Ars et Terra Festival with SACEM and Ditchling Arts and Crafts Museum, to be performed by Margarita Balanas as part of the Brighton Festival's 'Dear Nature' project. W00306\|C\|Y 0.0000 Sheet Music _x000D_ EP73508 Y 39.95 73508 P73508 DILLON, JAMES C 9790577020648 3 8000 0.00 echo the angelus A 9790577020648 (SOLO) ANGELUS DILLON ECHO EP73508 JAMES PHOTOPRINTS PIANO W01097 English 00:25:0 Score 232 x 303 mm Piano Solo 44 NEW PR43 UKTNT 12/01/2021 P 303006 First performed by Noriko Kawai for Huddersfield Contemporary Music Festival, in a broadcast from the Radio Theatre, BBC Broadcasting House, November 2020. Full of beautifully crafted, delicate tintinnabulations - Richard Morrison, The Times This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer. $90.00 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	The Hymn Fake Book - C Edition Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+) For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, lyrics, piano accompaniment, chord names and leadsheet notation. Hymn. Series: Hal Leonard Fake Books. 494 pages. 9x12 inches. Published by Hal Leonard. (3) $39.99 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	What About Us Chorale 3 parties SAB Hal Leonard Choral; Piano (SAB Choir) SKU: HL.258989 By Pink. By Alecia Moore, Johnny...(+) Choral; Piano (SAB Choir) SKU: HL.258989 By Pink. By Alecia Moore, Johnny McDaid, and Steve Mac. Arranged by Mark A. Brymer. Pop Choral Series. Anthem, Pop, Rock, Show Choir. Octavo. 16 pages. Duration 210 seconds. Published by Hal Leonard (HL.258989). UPC: 888680725570. 6.75x10.5x0.036 inches. Pink's powerful song tells the story of a lost generation--its themes mirroring the pain of the many people who feel abandoned and unheard in today's society. At a time when musicians and audiences are searching for music lifting up social justice, this is a great example and a wonderful selection for your singers. Passion and connection are easy to find in this powerful pop/rock anthem. $2.25 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	The Folksong Fake Book - C Edition Fake Book [Fake Book] Hal Leonard For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+) For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Folk. Series: Hal Leonard Fake Books. 536 pages. 9.6x12 inches. Published by Hal Leonard. (10) $34.99 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	The Definitive Bob Dylan Songbook (Small Format) Paroles et Accords [Partition] Music Sales By Bob Dylan. By Bob Dylan. Arranged by Don Giller and Ed Lozano. Music Sales Am...(+) By Bob Dylan. By Bob Dylan. Arranged by Don Giller and Ed Lozano. Music Sales America. Folk, Pop, Rock. Softcover. Composed 2016. 788 pages. Music Sales #AM978923. Published by Music Sale $35.99 - Voir plus => Acheter Délais: 24 hours - In Stock Articles Similaires

Détails Détails	Believer, What About Us and More Hot Singles Piano seul - Facile Hal Leonard Pop Piano Hits Simple Arrangements for Students of All Ages. By Various. Pop ...(+) Pop Piano Hits Simple Arrangements for Students of All Ages. By Various. Pop Piano Hits. Softcover. 32 pages. Published by Hal Leonard $9.99 - Voir plus => Acheter Délais: 3 to 5 business days Articles Similaires

Détails Détails	Concerto In C For Piano And Symphonic Wind Orch. Orchestre d'harmonie Beriato Music Concert Band/Harmonie and Piano SKU: BT.BMP8095417 Composed by Leroy Ande...(+) Concert Band/Harmonie and Piano SKU: BT.BMP8095417 Composed by Leroy Anderson. Arranged by JÃ¶rg Murschinski. Score Only. Composed 2008. Beriato Music #BMP8095417. Published by Beriato Music (BT.BMP8095417). A lot is known about the American composer Leroy Anderson. This son of Swedish immigrants played the piano, organ, accordion, trombone, tuba and double bass. He spoke several languages fluently and graduated from Harvard with first-class honours.While on military service, the army also commissioned him to write a manual on Icelandic grammar.He already started writing musical arrangements as a student, and from his 30th year arranged and composed for the Boston Pops Orchestra. Such melodiesas Serenata, The Typewriter, Sleigh Ride and Bugler�s Holiday made him world famous. His best-known work, Blue Tango, reached number one in the US charts in 1952, and it sold more than a million copies. In 1975, a year after hisdeath, he was given a star at the Walk of Fame in Hollywood.Most of his works last no longer than three minutes, about the maximum length of a single at that time. One work that lasts longer is his 1953 Piano Concerto in C for piano and orchestra.The first performance was in Chicago, conducted by the composer and with Eugene List at the piano. However, after three performances he was no longer happy with the work and withdrew it. He always intended to revise it, but never got round to it. Itwas only in 1989 that the Anderson family decided to republish the work.This three-part composition is on the one hand characterised by a careless elegance, but on the other one can hear the influence of Rachmaninoff, Copland, Gershwin, and evenBeethoven and Mozart, as well as the Viennese classics.Anderson used the sonata form for the first movement. It ends with a cadenza that carries us on into the second part (in e minor). The third part is a typically cheerful American folk dance in2/4 time, a so-called Hoe Down, with a lilting, lyrical passage as its middle section. At the end comes a solo passage followed by a rapid close.In this piano concerto, Anderson combines a rigidly classical form of composition with simple andappealing themes and elements from light music. So this work is a perfect synthesis of light music and what is called serious music, in the same way as Gershwin�s Rhapsody in Blue. A work that can be played equally well in a concerthall, at an open-air concert or even a pop concert. Over de Amerikaanse componist Leroy Anderson is veel bekend. Deze zoon van Zweedse immigranten speelde piano, orgel, accordeon, trombone, tuba en contrabas. Hij sprak vloeiend verschillende talen en studeerde met grote onderscheidingaf aan Harvard en schreef tijdens zijn legerdienst in opdracht van het leger een handboek grammatica Ijslands.Al in zijn studententijd begon hij met het maken van arrangementen, en vanaf zijn 30ste arrangeerde en componeerde hijvoor het Boston Pops Orchestra. MelodieÃ«n zoals Serenata, The Typewriter, Sleigh Ride en Bugler's Holiday maakte hem wereldberoemd. Zijn bekendste werk Blue Tango stond in 1952 op nummer Ã©Ã©n in de VS Charts, ener werden meer dan een miljoen exemplaren van verkocht. Een jaar na zijn dood in 1975 kreeg hij een ster op de Walk of Fame in Hollywood.Zijn meeste werken duren niet langer dan drie minuten, ongeveer de maximumduur van een singletoen. Een werk dat wel langer duurt, is het pianoconcerto in C voor piano en orkest uit 1953. Het werd in Chicago gecreÃ«erd onder zijn leiding met Eugene List aan de piano. Na drie uitvoeringen echter, was hij niet meer tevredenover zijn werk en trok dit terug. Hij had zijn leven lang de intentie het te herwerken doch kwam er niet meer toe. Pas in 1989 besliste de Anderson Familie zijn pianoconcerto toch opnieuw uit te geven.Dit driedelige werk wordtenerzijds getypeerd door een zorgeloze elegantie, maar anderzijds zijn invloeden van Rachmaninoff, Copland, Gerschwin en zelfs Beethoven en Mozart alsook de Weense klassiekers te horen.Voor de eerste beweging, past Anderson de sonatevormtoe. Op het einde volgt een cadenza die ons in het tweede deel (in mi klein) voert. Het derde deel is een typische Amerikaanse, vrolijke volksdans in 2/4, een zogenaamde Hoe Down met als middengedeelte een zangerige, lyrische Ãœber den amerikanischen Komponisten Leroy Anderson lÃ¤sst sich vieles berichten: Der Sohn schwedischer Immigranten spielte Klavier, Orgel, Akkordeon, Posaune, Tuba und Kontrabass, sprach neun Sprachen flieÃŸend, absolvierte mit einemMagna-cum-laude-Absc hluss die Harvard UniversitÃ¤t und verfasste wÃ¤hrend seiner MilitÃ¤rzeit im Zweiten Weltkrieg fÃ¼r die amerikanische Armee eine Grammatik des IslÃ¤ndischen. Schon wÃ¤hrend seiner Studentenzeit begann er zu arrangieren, ab Mitte der30er Jahre des letzten Jahrhunderts arrangierte und komponierte er fÃ¼r das Boston Pops Orchestra. Aus seiner Feder stammen so bekannte Werke der leichten Muse wie Serenata, The Typewriter, Sleigh Ride oder Bugler�s Holiday. Sein wohlbekanntestes StÃ¼ck, Blue Tango, wurde als erste Instrumentalkomposition Ã¼ber eine Million Mal verkauft und belegte im Jahr 1952 Platz 1 der US-Charts. FÃ¼r seine Verdienste um die Schallplattenindustrie erhielt er ein Jahr nach seinem Tod einenStern auf dem Walk of Fame in Hollywood.Charakteristisc h fÃ¼r seine Werke ist die Dauer: die meisten sind rund drei Minuten lang � mehr passte nicht auf den damals gebrÃ¤uchlichen TontrÃ¤ger, eine Singleschallplatte. Nur wenige seinerKompositionen sprengen diesen Zeitrahmen. Dazu gehÃ¶rt sein Konzert C-Dur fÃ¼r Klavier und Orchester. Er komponierte es 1953, die UrauffÃ¼hrung fand unter seiner Leitung und mit Eugene List am Klavier im selben Jahr in Chicago statt. Da Anderson mit demWerk aber nicht zufrieden war, zog er es im Sommer 1954, nach nur drei AuffÃ¼hrungen, wieder ein. Er hatte zeitlebens die Absicht, es zu Ã¼berarbeiten, allein, es kam nicht mehr dazu. Erst 1989 entschied sich die Anderson-Familie dazu, dasKlavierkonzert wieder zu verÃ¶ffentlichen.Das dreisÃ¤tzige Werk zeigt die Unbeschwertheit und Eleganz, die Andersons sÃ¤mtliche Kompositionen auszeichnen. Dennoch findet man darin auch AnklÃ¤nge an Komponisten wie Rachmaninoff, Copland, Gershwin, undeben Beethoven und Mozart, sowie die Wiener Klassiker. Der erste Satz folgt der Sonatenhauptsatzform. An seinem Ende steht eine Klavierkadenz, die direkt in den langsamen zweiten Satz (in e-Moll) Ã¼berleitet. Der dritte Satz schlieÃŸlich ist einwaschechter Hoe Down, ein frÃ¶hlicher amerikanischer Volkstanz im 2/4-Takt, in dessen Zentrum aber eine lyrisch-gesangliche Passage steht. Eine weitere Solo-Kadenz fÃ¼hrt das Werk in einen spritzigen Schlussabschnitt.In seinem Klavierkonzertvereinigt Anderson einen klassisch-traditionellen Form- und Kompositionsstil mit Elementen der Unterhaltungsmusik und eingÃ¤ngigen Melodien, die schon immer sein Markenzeichen waren. Daher bildet dieses Werk eine perfekte Synthese von ernster undleichter Musik. Es passt � wie beispielsweise auch George Gershwins Rhapsody in Blue � gleichermaÃŸen in einen vornehmen Konzertsaal, wie auch zur zwanglos-lockeren AtmosphÃ¤re einer sommerlichen Open-Air-Veranstaltung oder einesPops-Konzertes. < br>Nous savons beaucoup de choses sur le compositeur amÃ©ricain Leroy Anderson. Ce fils dimmigrants suÃ©dois jouait du piano, de lorgue, de laccordÃ©on, du trombone, du tuba et de la contrebasse. Il parlait couramment plusieurs langues et Ã©tait diplÃ´mÃ© avec grande distinction de Harvard. Pendant son service militaire, il Ã©crivit un manuel de grammaire islandaise commandÃ© par larmÃ©e.Ã‰tudiant, il avait dÃ©j commencÃ© faire des arrangements et dÃ¨s l ge de 30 ans, il arrangeait et composait pour le Boston Pops Orchestra. Des mÃ©lodies telles que Serenata, The Typewriter, Sleigh Ride et Buglers Holiday lui valurent une renommÃ©e mondiale. Son uvre phare, Blue Tango, fut numÃ©ro un descharts amÃ©ricains en 1952 et se vendit plus dun million dexemplaires. Un an aprÃ¨s sa mort en 1975, il eut droit son Ã©toile sur le Walk of Fame Hollywood.La plupart de ses uvres nexcÃ¨dent pas trois minutes, soit peu prÃ¨s la durÃ©e maximale dun single lÃ©poque. Son concerto en ut pour piano et orchestre de 1953 est quant lui plus long. Il fut crÃ©Ã© Chicago sous sa direction avec Eugene List au piano. AprÃ¨s trois exÃ©cutions, Anderson nÃ©tait toutefois plus satisfait de son travail et le retira. Toute sa vie, il eut lintention de le remanier mais ne le fit pas. Ce nest quen 1989 que la famille Anderson dÃ©cida de tout de m?me rÃ©Ã©diter son concerto pour piano.Cette uvre en trois parties se caractÃ©rise par son Ã©lÃ©gance nonchalante mais aussi par linfluence de Rachmaninoff, Copland, Gershwin et m?me de Beethoven et Mozart, ainsi que des classiques viennois.Pour le premier mouvement, Anderson opte pour une sonate. la fin, une cadence nous conduit la deuxiÃ¨me partie (en mi mineur). La troisiÃ¨me partie est une danse populaire joyeuse et typiquement amÃ©ricaine en 2/4, une Hoe Down avec un passage lyrique et mÃ©lodieux en son milieu. la fin, un solo est suivi par une clÃ´ture rapide.Dans son concerto pour piano, Anderson unit une composition pure et classique des thÃ¨mes beaux et simples, sans oublier des Ã©lÃ©ments de la musique lÃ©gÃ¨re. Cette uvre. $38.95 - Voir plus => Acheter Délais: 4 to 6 weeks Articles Similaires

Détails Détails	Concerto In C For Piano And Symphonic Wind Orch. Orchestre d'harmonie Beriato Music Concert Band/Harmonie and Piano SKU: BT.BMP8091417 Composed by Leroy Ande...(+) Concert Band/Harmonie and Piano SKU: BT.BMP8091417 Composed by Leroy Anderson. Arranged by JÃ¶rg Murschinski. Set (Score & Parts). Composed 2008. Beriato Music #BMP8091417. Published by Beriato Music (BT.BMP8091417). A lot is known about the American composer Leroy Anderson. This son of Swedish immigrants played the piano, organ, accordion, trombone, tuba and double bass. He spoke several languages fluently and graduated from Harvard with first-class honours.While on military service, the army also commissioned him to write a manual on Icelandic grammar.He already started writing musical arrangements as a student, and from his 30th year arranged and composed for the Boston Pops Orchestra. Such melodiesas Serenata, The Typewriter, Sleigh Ride and Bugler�s Holiday made him world famous. His best-known work, Blue Tango, reached number one in the US charts in 1952, and it sold more than a million copies. In 1975, a year after hisdeath, he was given a star at the Walk of Fame in Hollywood.Most of his works last no longer than three minutes, about the maximum length of a single at that time. One work that lasts longer is his 1953 Piano Concerto in C for piano and orchestra.The first performance was in Chicago, conducted by the composer and with Eugene List at the piano. However, after three performances he was no longer happy with the work and withdrew it. He always intended to revise it, but never got round to it. Itwas only in 1989 that the Anderson family decided to republish the work.This three-part composition is on the one hand characterised by a careless elegance, but on the other one can hear the influence of Rachmaninoff, Copland, Gershwin, and evenBeethoven and Mozart, as well as the Viennese classics.Anderson used the sonata form for the first movement. It ends with a cadenza that carries us on into the second part (in e minor). The third part is a typically cheerful American folk dance in2/4 time, a so-called Hoe Down, with a lilting, lyrical passage as its middle section. At the end comes a solo passage followed by a rapid close.In this piano concerto, Anderson combines a rigidly classical form of composition with simple andappealing themes and elements from light music. So this work is a perfect synthesis of light music and what is called serious music, in the same way as Gershwin�s Rhapsody in Blue. A work that can be played equally well in a concerthall, at an open-air concert or even a pop concert. Over de Amerikaanse componist Leroy Anderson is veel bekend. Deze zoon van Zweedse immigranten speelde piano, orgel, accordeon, trombone, tuba en contrabas. Hij sprak vloeiend verschillende talen en studeerde met grote onderscheidingaf aan Harvard en schreef tijdens zijn legerdienst in opdracht van het leger een handboek grammatica Ijslands.Al in zijn studententijd begon hij met het maken van arrangementen, en vanaf zijn 30ste arrangeerde en componeerde hijvoor het Boston Pops Orchestra. MelodieÃ«n zoals Serenata, The Typewriter, Sleigh Ride en Bugler's Holiday maakte hem wereldberoemd. Zijn bekendste werk Blue Tango stond in 1952 op nummer Ã©Ã©n in de VS Charts, ener werden meer dan een miljoen exemplaren van verkocht. Een jaar na zijn dood in 1975 kreeg hij een ster op de Walk of Fame in Hollywood.Zijn meeste werken duren niet langer dan drie minuten, ongeveer de maximumduur van een singletoen. Een werk dat wel langer duurt, is het pianoconcerto in C voor piano en orkest uit 1953. Het werd in Chicago gecreÃ«erd onder zijn leiding met Eugene List aan de piano. Na drie uitvoeringen echter, was hij niet meer tevredenover zijn werk en trok dit terug. Hij had zijn leven lang de intentie het te herwerken doch kwam er niet meer toe. Pas in 1989 besliste de Anderson Familie zijn pianoconcerto toch opnieuw uit te geven.Dit driedelige werk wordtenerzijds getypeerd door een zorgeloze elegantie, maar anderzijds zijn invloeden van Rachmaninoff, Copland, Gerschwin en zelfs Beethoven en Mozart alsook de Weense klassiekers te horen.Voor de eerste beweging, past Anderson de sonatevormtoe. Op het einde volgt een cadenza die ons in het tweede deel (in mi klein) voert. Het derde deel is een typische Amerikaanse, vrolijke volksdans in 2/4, een zogenaamde Hoe Down met als middengedeelte een zangerige, lyrische Ãœber den amerikanischen Komponisten Leroy Anderson lÃ¤sst sich vieles berichten: Der Sohn schwedischer Immigranten spielte Klavier, Orgel, Akkordeon, Posaune, Tuba und Kontrabass, sprach neun Sprachen flieÃŸend, absolvierte mit einemMagna-cum-laude-Absc hluss die Harvard UniversitÃ¤t und verfasste wÃ¤hrend seiner MilitÃ¤rzeit im Zweiten Weltkrieg fÃ¼r die amerikanische Armee eine Grammatik des IslÃ¤ndischen. Schon wÃ¤hrend seiner Studentenzeit begann er zu arrangieren, ab Mitte der30er Jahre des letzten Jahrhunderts arrangierte und komponierte er fÃ¼r das Boston Pops Orchestra. Aus seiner Feder stammen so bekannte Werke der leichten Muse wie Serenata, The Typewriter, Sleigh Ride oder Bugler�s Holiday. Sein wohlbekanntestes StÃ¼ck, Blue Tango, wurde als erste Instrumentalkomposition Ã¼ber eine Million Mal verkauft und belegte im Jahr 1952 Platz 1 der US-Charts. FÃ¼r seine Verdienste um die Schallplattenindustrie erhielt er ein Jahr nach seinem Tod einenStern auf dem Walk of Fame in Hollywood.Charakteristisc h fÃ¼r seine Werke ist die Dauer: die meisten sind rund drei Minuten lang � mehr passte nicht auf den damals gebrÃ¤uchlichen TontrÃ¤ger, eine Singleschallplatte. Nur wenige seinerKompositionen sprengen diesen Zeitrahmen. Dazu gehÃ¶rt sein Konzert C-Dur fÃ¼r Klavier und Orchester. Er komponierte es 1953, die UrauffÃ¼hrung fand unter seiner Leitung und mit Eugene List am Klavier im selben Jahr in Chicago statt. Da Anderson mit demWerk aber nicht zufrieden war, zog er es im Sommer 1954, nach nur drei AuffÃ¼hrungen, wieder ein. Er hatte zeitlebens die Absicht, es zu Ã¼berarbeiten, allein, es kam nicht mehr dazu. Erst 1989 entschied sich die Anderson-Familie dazu, dasKlavierkonzert wieder zu verÃ¶ffentlichen.Das dreisÃ¤tzige Werk zeigt die Unbeschwertheit und Eleganz, die Andersons sÃ¤mtliche Kompositionen auszeichnen. Dennoch findet man darin auch AnklÃ¤nge an Komponisten wie Rachmaninoff, Copland, Gershwin, undeben Beethoven und Mozart, sowie die Wiener Klassiker. Der erste Satz folgt der Sonatenhauptsatzform. An seinem Ende steht eine Klavierkadenz, die direkt in den langsamen zweiten Satz (in e-Moll) Ã¼berleitet. Der dritte Satz schlieÃŸlich ist einwaschechter Hoe Down, ein frÃ¶hlicher amerikanischer Volkstanz im 2/4-Takt, in dessen Zentrum aber eine lyrisch-gesangliche Passage steht. Eine weitere Solo-Kadenz fÃ¼hrt das Werk in einen spritzigen Schlussabschnitt.In seinem Klavierkonzertvereinigt Anderson einen klassisch-traditionellen Form- und Kompositionsstil mit Elementen der Unterhaltungsmusik und eingÃ¤ngigen Melodien, die schon immer sein Markenzeichen waren. Daher bildet dieses Werk eine perfekte Synthese von ernster undleichter Musik. Es passt � wie beispielsweise auch George Gershwins Rhapsody in Blue � gleichermaÃŸen in einen vornehmen Konzertsaal, wie auch zur zwanglos-lockeren AtmosphÃ¤re einer sommerlichen Open-Air-Veranstaltung oder einesPops-Konzertes. < br>Nous savons beaucoup de choses sur le compositeur amÃ©ricain Leroy Anderson. Ce fils dimmigrants suÃ©dois jouait du piano, de lorgue, de laccordÃ©on, du trombone, du tuba et de la contrebasse. Il parlait couramment plusieurs langues et Ã©tait diplÃ´mÃ© avec grande distinction de Harvard. Pendant son service militaire, il Ã©crivit un manuel de grammaire islandaise commandÃ© par larmÃ©e.Ã‰tudiant, il avait dÃ©j commencÃ© faire des arrangements et dÃ¨s l ge de 30 ans, il arrangeait et composait pour le Boston Pops Orchestra. Des mÃ©lodies telles que Serenata, The Typewriter, Sleigh Ride et Buglers Holiday lui valurent une renommÃ©e mondiale. Son uvre phare, Blue Tango, fut numÃ©ro un descharts amÃ©ricains en 1952 et se vendit plus dun million dexemplaires. Un an aprÃ¨s sa mort en 1975, il eut droit son Ã©toile sur le Walk of Fame Hollywood.La plupart de ses uvres nexcÃ¨dent pas trois minutes, soit peu prÃ¨s la durÃ©e maximale dun single lÃ©poque. Son concerto en ut pour piano et orchestre de 1953 est quant lui plus long. Il fut crÃ©Ã© Chicago sous sa direction avec Eugene List au piano. AprÃ¨s trois exÃ©cutions, Anderson nÃ©tait toutefois plus satisfait de son travail et le retira. Toute sa vie, il eut lintention de le remanier mais ne le fit pas. Ce nest quen 1989 que la famille Anderson dÃ©cida de tout de m?me rÃ©Ã©diter son concerto pour piano.Cette uvre en trois parties se caractÃ©rise par son Ã©lÃ©gance nonchalante mais aussi par linfluence de Rachmaninoff, Copland, Gershwin et m?me de Beethoven et Mozart, ainsi que des classiques viennois.Pour le premier mouvement, Anderson opte pour une sonate. la fin, une cadence nous conduit la deuxiÃ¨me partie (en mi mineur). La troisiÃ¨me partie est une danse populaire joyeuse et typiquement amÃ©ricaine en 2/4, une Hoe Down avec un passage lyrique et mÃ©lodieux en son milieu. la fin, un solo est suivi par une clÃ´ture rapide.Dans son concerto pour piano, Anderson unit une composition pure et classique des thÃ¨mes beaux et simples, sans oublier des Ã©lÃ©ments de la musique lÃ©gÃ¨re. Cette uvre. $361.95 - Voir plus => Acheter Délais: 2 to 3 weeks Articles Similaires

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