| God, Whose Giving Knows No Ending Chorale SATB [Octavo] Hope Publishing Company
Composed by Lloyd Larson. Stewardship, Sacred, General Worship. Octavo. 8 page...(+)
Composed by Lloyd Larson.
Stewardship, Sacred,
General Worship. Octavo.
8 pages. Published by
Hope Publishing Company
(HP.C6002).
$2.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| God, Whose Giving Knows No Ending Chorale SATB Hope Publishing Company
SATB choir SKU: HP.C6002C Composed by Lloyd Larson. Piano Accompaniment. ...(+)
SATB choir SKU:
HP.C6002C Composed by
Lloyd Larson. Piano
Accompaniment. General
Worship, Stewardship,
Sacred.
Performance/Accompaniment
CD. Hope Publishing
Company #C6002C.
Published by Hope
Publishing Company
(HP.C6002C). UPC:
763628960025. Robert L.
Edwards. Original
anthem Original music
from Lloyd Larson
combined with Robert
Edwards' well-known hymn
text makes for an
impressive choral anthem
for SATB voices
accompanied with either
piano or organ. The text
focuses on the theme of
stewardship in
thanksgiving and praise
for God's bounty, along
with our response to
spread the Gospel
Word. $29.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Rise Up, Shepherd! Carl Fischer
Choral Bass 1, Bass 2, baritone voice tenor 1, tenor 2 SKU: CF.CM9634 Com...(+)
Choral Bass 1, Bass 2,
baritone voice tenor 1,
tenor 2 SKU:
CF.CM9634 Composed by
Traditional Christmas
Spiritual. Arranged by
Ken Berg. Sws.
Performance Score. 16
pages. Duration 3
minutes, 40 seconds. Carl
Fischer Music #CM9634.
Published by Carl Fischer
Music (CF.CM9634).
ISBN 9781491157060.
UPC: 680160915620. 6.875
x 10.5 inches. Key: G
major. English, English.
Traditional Christmas
Spiritual. Berg's
fantastic setting of this
beloved American
Christmas spiritual for
advanced tenor-bass
choirs tells a story of
hope and meaning. The
various textures
throughout the a cappella
arrangement with solos
add much variety and
musical interest. A
holiday programming
must!. This beloved
American Christmas
Spiritual, like all
spirituals and/or folk
songs, tells a story.
This is a story of hope
and meaning. The
introductory solo call
and response (mm. 1-7) is
hymnic in nature, just to
get us started. (Think of
it as an effective head
fake!) The entrance at m.
8 from the upper three
voices (we'll call them
the trio part henceforth)
is pivotal. They set the
stage for the
conversation between the
singers and the soloist
for the rest of the song.
From this point, the song
is basically a Jazz Trio
in vocal form. The bass
singers take on the role
of the cool dude in the
back wearing dark glasses
and a beret playing the
string bass. They provide
the driving force for the
forward movement of the
entire song. The trio
part, basically tenors 1
& 2 and baritones,
take on the role of the
keyboard providing
chordal structure and
syncopation. Their job is
to fill the listener's
ear with sound and
rhythm. The soloist tells
the story using the known
melody and text with
appropriate improv
opportunities to keep the
listeners focused on the
message of the song.
There is enough
repetition to make for
easy learning, but this
also means that the
chords need to snap into
position cleanly every
time. The Verses are
easily identified (there
are three) and presented
with some small
variations in Verse 3
(see mm. 56-58...this
only happens once). The
Refrain (mm. 30-37) is
the part of the song
where the singers switch
from the Jazz Trio role
and actually become a
Men's Choral Ensemble.
This Refrain is repeated
after Verse 3 at mm.
66-71. Between verses 2
& 3, there is not a
refrain. Instead, there
is a bridge repeated from
the introductory
material, but used this
time to move us into a
new key signature. This
can be a very exciting
moment for the singers as
well as the listeners!
Measures 72-75 is known
in the business as a
vamp. It can be repeated
once and then move on, OR
it can be repeated
multiple times, depending
on the comfort level of
the soloist and the
response of the audience.
It is important that
there be a clear signal
from the conductor as to
how to end the vamp and
move effectively to the
actual coda of the song.
The ending should be sung
with tight control that
only looks like reckless
abandon! Faces bright;
words clean; melody
clear; rhythms precise!
Enjoy. This beloved
American Christmas
Spiritual, like all
spirituals and/or folk
songs, tells a story.
This is a story of hope
and meaning. The
introductory solo call
and response (mm. 1-7) is
hymnic in nature, just to
get us started. (Think of
it as an effective head
fake!)The entrance at m.
8 from the upper three
voices (we’ll call
them the “trio
part†henceforth)
is pivotal. They set the
stage for the
conversation between the
singers and the soloist
for the rest of the song.
From this point, the song
is basically a Jazz Trio
in vocal form. The bass
singers take on the role
of the cool dude in the
back wearing dark glasses
and a beret playing the
string bass. They provide
the driving force for the
forward movement of the
entire song.The
“trio partâ€,
basically tenors 1 & 2
and baritones, take on
the role of the keyboard
providing chordal
structure and
syncopation. Their job is
to fill the
listener’s ear
with sound and rhythm.The
soloist tells the story
using the known melody
and text with appropriate
improv opportunities to
keep the listeners
focused on the message of
the song.There is enough
repetition to make for
easy learning, but this
also means that the
chords need to
“snap into
position†cleanly
every time. The Verses
are easily identified
(there are three) and
presented with some small
variations in Verse 3
(see mm. 56-58…this
only happens once).The
Refrain (mm. 30-37) is
the part of the song
where the singers switch
from the “Jazz
Trio†role and
actually become a
“Men’s
Choral Ensembleâ€.
This Refrain is repeated
after Verse 3 at mm.
66-71. Between verses 2 &
3, there is not a
refrain. Instead, there
is a bridge repeated from
the introductory
material, but used this
time to move us into a
new key signature. This
can be a very exciting
moment for the singers as
well as the
listeners!Measures 72-75
is known in the business
as a “vampâ€.
It can be repeated once
and then move on, OR it
can be repeated multiple
times, depending on the
comfort level of the
soloist and the response
of the audience.It is
important that there be a
clear signal from the
conductor as to how to
end the
“vamp†and
move effectively to the
actual coda of the song.
The ending should be sung
with tight control that
only looks like reckless
abandon!Faces bright;
words clean; melody
clear; rhythms precise!
Enjoy. $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Preces and Responses Chorale SATB Edition HH
SATB chorus divisi SKU: HH.HH554-CHS Composed by Emma Brown. Choral score...(+)
SATB chorus divisi
SKU: HH.HH554-CHS
Composed by Emma Brown.
Choral score. Edition HH
Music Publishers
#HH554-CHS. Published by
Edition HH Music
Publishers
(HH.HH554-CHS). ISBN
9790708185697. Thes
e vibrant preces and
responses are a
refreshing addition to
the repertoire for choral
evensong. The composer
approached the text as
prayers, sometimes
highlighting exultation,
sometimes vulnerability.
The setting is for SATB
divisi and it is not too
challenging. The cantor's
part can be sung in the
standard chanted rhythm
or in the suggested
metrical rhythm,
depending on the ability
of the cantor. $5.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| An Unending Legacy Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Barry Milner. Orchestra. Full Orchestra. Belwin Concert Full Orchestra. Grade...(+)
By Barry Milner.
Orchestra. Full
Orchestra. Belwin Concert
Full Orchestra. Grade 4.
Conductor Score and
Parts. 156 pages.
Published by Alfred Music
Publishing
$63.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| An Unending Legacy (score only) Orchestre [Conducteur] - Intermédiaire Alfred Publishing
By Barry Milner. Orchestra. For Full Orchestra. Full Orchestra. Belwin Concert F...(+)
By Barry Milner.
Orchestra. For Full
Orchestra. Full
Orchestra. Belwin Concert
Full Orchestra. 4 (grade
4). Score. 20 pages
$8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 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 | | |
| Tanquam sydus matutinum Chorale SSAATTBB [Conducteur] Crescendo Music Publications
SSAATTBB choir SKU: C4.9790902257183 Composed by Brooke Shelley. Classica...(+)
SSAATTBB choir SKU:
C4.9790902257183
Composed by Brooke
Shelley. Classical.
Score. Crescendo Music
Publications
#9790902257183. Published
by Crescendo Music
Publications
(C4.9790902257183).
ISBN 9790902257183.
8.27 x 11.7
inches. Commissione
d by Christopher and
Nicola Lock for the St
James's Church, King
Street Organ Replacement
& Restoration Appeal in
November 2019, this is a
beautifully radiant
introit, with text taken
from a liturgical book of
processions, dating from
about 1526.
Shelly
explains: The format for
the plainchant is such
that there is a response,
a verse, and repetitions
of the response. I
haven't replicated the
format in my work,
instead setting it as one
'run-through' of the text
in a full choral setting.
I've also set it in a way
that the ending doesn't
sound final. This is
deliberate because as an
Introit, it is an
introduction to the
liturgy, and I want the
piece to 'lead in' to the
rest of the liturgy.. $6.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Jingle Jive Orchestre d'harmonie [Conducteur] - Facile Alfred Publishing
Concert Band - Grade 2 SKU: AP.39613S Composed by James Lord Pierpont. Ar...(+)
Concert Band - Grade 2
SKU: AP.39613S
Composed by James Lord
Pierpont. Arranged by
Steve Hodges. Concert
Band; Performance Music
Ensemble; Single Titles.
Challenger Band Series.
Christmas; Jazz; Novelty;
Secular; Winter. Score. 8
pages. Duration 1:55.
Alfred Music #00-39613S.
Published by Alfred Music
(AP.39613S). UPC:
038081454788.
English. This
clever arrangement of
Jingle Bells invites all
sections of the band to
have some fun. With jazzy
variations of the melody,
call-and-response
interplay, and a dynamic
big band ending, this
chart will provide a
perfect upbeat ending to
a holiday concert!
(1:55). $6.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| LCT 140 AIR Stereo Condenser Mic (Pair) Aucune valeur Hal Leonard
SKU: HL.1117964 Lewitt Audio. Microphone. Hal Leonard #LCT140MP. Publishe...(+)
SKU: HL.1117964
Lewitt Audio. Microphone.
Hal Leonard #LCT140MP.
Published by Hal Leonard
(HL.1117964). UPC:
847986002129.
7.0x10.25x4.25
inches. Please
note: although we don't
keep stock on hand, this
item will drop ship
direct from the
manufacturer at the time
of your order. Two
switchable sound
characteristics, AIR and
FLAT. The 140 AIR has two
sound characteristics,
AIR and FLAT. AIR
delivers an open,
sparkling character which
is the right choice if
you need great sound
without spending time on
post-production. FLAT
provides a linear
frequency response for
âÂÂas-it-isâ
 reproduction of
drums, strings, acoustic
guitars, and choirs. It
is perfect if you aim for
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The best stereo matching
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How come? The frequency
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voltage of the capsule to
adjust the sensitivity,
so it is the same for all
LCT 140 AIR. Then, an
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measured frequency
response of each
microphone and finds the
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transient response and
full flexibility on all
instruments Transients
are the DNA of your
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retain the natural
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AIR delivers an excellent
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The LCT 140 AIR is great
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Drums Strings Choirs
Piano Ukulele Durable and
light aluminum housing
The LCT 140 AIR is very
durable yet lightweight
thanks to its CNC'ed
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Positioning and setup
become easy tasks. What's
in the box? The 140 AIR
Stereo Pair comes with
two snap-in mic clips, a
transport bag with two
pockets, and two
windscreens. $299.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| SF-12 Stereo Ribbon Microphone Aucune valeur
SKU: HL.1753728 Royer Labs. Microphone. Hal Leonard #SF-12. Published by ...(+)
SKU: HL.1753728
Royer Labs. Microphone.
Hal Leonard #SF-12.
Published by Hal Leonard
(HL.1753728).
The SF-12
stereo coincident ribbon
microphone combines high
quality audio performance
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It is a modern ribbon
design with no audible
diffraction effects or
cavity resonance. An
SF-12 is actually two
matched ribbon
microphones placed one
above the other; each
aimed 45 degrees from
center in the classic
Blumlein configuration.
The frequency response is
excellent regardless of
the angle of sound
striking the ribbons and
off-axis coloration is
negligible. The SF-12
utilizes two 1.8-micron
ribbons, each weighing
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milligram and producing
superb transient
response. The two ribbon
transducers are
magnet/pole piece
structures that produce a
wide, uniform frequency
response with no
substantial peaks or
dips. The case is ingot
iron and forms part of
the magnetic return
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labled âUpperâ
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| LCT 140 AIR Aucune valeur Hal Leonard
SKU: HL.1117963 Lewitt Audio. Microphone. Hal Leonard #LCT1040AIR. Publis...(+)
SKU: HL.1117963
Lewitt Audio. Microphone.
Hal Leonard #LCT1040AIR.
Published by Hal Leonard
(HL.1117963). UPC:
847986002044.
6.75x10.25x4.0
inches. Please
note: although we don't
keep stock on hand, this
item will drop ship
direct from the
manufacturer at the time
of your order. Two
switchable sound
characteristics, AIR and
FLAT The 140 AIR has two
sound characteristics,
AIR and FLAT. AIR
delivers an open,
sparkling character which
is the right choice if
you need great sound
without spending time on
post-production. FLAT
provides a linear
frequency response for
âÂÂas-it-isâ
 reproduction of
drums, strings, acoustic
guitars, and choirs. It
is perfect if you aim for
realistic sonic images.
Excellent transient
response to capture the
natural sound of your
instruments. Transients
are the DNA of your
instrument's sound. To
retain the natural
musicality of your
instruments, the LCT 140
AIR delivers an excellent
transient response.
Durable and light
aluminum housing The LCT
140 AIR is very durable
yet lightweight thanks to
its CNC'ed aluminum
housing. Positioning and
setup become easy tasks.
What's in the box? The
140 AIR comes with a
snap-in mic clip, a
transport bag, and a
windscreen. $159.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sing Gloria, Sing Noel! SATB Chorale SATB Hope Publishing Company
Arranged by Joel Raney. Christmas, Sacred. Octavo. Hope Publishing Company #C...(+)
Arranged by Joel Raney.
Christmas, Sacred.
Octavo.
Hope Publishing Company
#C6163. Published by Hope
Publishing Company
$3.45 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Almost The Blues Ensemble Jazz [Conducteur] - Facile C.L. Barnhouse
Grade 3 SKU: CL.SCM-1111-01 Composed by Carubia. Jazz Ensemble. Extra ful...(+)
Grade 3 SKU:
CL.SCM-1111-01
Composed by Carubia. Jazz
Ensemble. Extra full
score. C.L. Barnhouse
#SCM-1111-01. Published
by C.L. Barnhouse
(CL.SCM-1111-01).
A moderate
tempo rock groove with
plenty of unison uses
call & response passages
stating the melody. Solos
are based on two chords
in the friendly key of
Bb. Two eight measure
ensemble sections follow
the solos then to a big
ending. Very upbeat and
an easy play for your
inexperienced group.
Includes an optional
flute part. Totally
Cool! $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| When time is broke Chorale SSAA SSAA A Cappella Oxford University Press
SSAA choir, a cappella (Upper Voices - 3 parts or more) - Difficult SKU: OU.9...(+)
SSAA choir, a cappella
(Upper Voices - 3 parts
or more) - Difficult
SKU:
OU.9780193413740
Three Shakespeare
Songs. Composed by
Cecilia McDowall. Secular
Choral - Upp. Voices. New
Horizons. Vocal score. 36
pages. Duration 11'.
Oxford University Press
#9780193413740. Published
by Oxford University
Press (OU.9780193413740).
ISBN 9780193413740. 10
x 7 inches. for
SSAA (with divisions)
unaccompanied Cecilia
McDowall's fresh and
appealing style is amply
displayed in this cycle,
subtitled 'Three
Shakespeare Songs'. In
total, six Shakespeare
texts are used, and
McDowall's response
encompasses a
fleet-footed impression
of Scottish fiddle music,
a gorgeously plangent
slow movement, and a
helter-skelter finale
that broadens to a
mysteriously pitchless
ending. Also available
for SSATB. $10.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spring Diary. Baritone & Pf Voix Baryton, Piano [Conducteur] Stainer and Bell
Baritone voice & Piano SKU: ST.Y272 Composed by Rhian Samuel. Vocal music...(+)
Baritone voice & Piano
SKU: ST.Y272
Composed by Rhian Samuel.
Vocal music. Five songs
to poems by Anne
Stevenson. Score. Stainer
& Bell Ltd. #Y272.
Published by Stainer &
Bell Ltd. (ST.Y272).
ISBN
9790220222849. 1.
Arrival Dream 2.
Snow Squalls 3. It
Happens 4. East Wind
5. A Clearer
Memory The
contrasting aspects of
nature are a major theme
in the work of Rhian
Samuel, and in her song
cycle Spring
Diary for baritone
and piano she responds
passionately to its
vernal magic.
Beginning in dream and
ending in memory, the
five movements of the
collection are a dramatic
response to the turning
season in Wales, conveyed
through the fine detail
of its characteristic
weather and landscape as
observed by the poet Anne
Stevenson.
Premiered at London's
City University,
Spring Diary is
excellent material for
graduate singers and
pianists, who will draw
inspiration from its
vivid and assured
word-setting and
substantial and evocative
keyboard part. $11.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| To Create a Voice Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euph...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Horn 1, Horn 2, Mallet
Percussion 1, Mallet
Percussion 2, Marimba,
Oboe, Percussion 1,
Percussion 2, Shaker,
Snare Drum and more. -
Grade 3 SKU:
CF.CPS226 Composed by
Carol Brittin Chambers.
Concert Band (CPS). Set
of Score and Parts. With
Standard notation.
16+4+8+16+16+4+4+4+4+4+4+
8+8+8+4+4+6+6+6+8+2+2+2+6
+12+24+4 pages. Duration
3 minutes, 55 seconds.
Carl Fischer Music
#CPS226. Published by
Carl Fischer Music
(CF.CPS226). ISBN
9781491152522. UPC:
680160910021. Inspi
red by the memory of an
influential music
educator, Carol Brittin
Chambers has woven a
multitude of grooves,
colors, and uplifting
themes into To Create a
Voice. Chambers has
attempted to convey
distinct moods and
emotions that this
educator tried to instill
in his students. In honor
of this dynamic teacher,
you will hear Hot
Cross Buns cleverly
placed throughout the
composition. To Create
a Voice was commissioned
by the Valley Concert
Band in Stockton,
California. The piece
premiered in October
2017, in memory and
celebration of Chris
Anderson, a local
musician and
educator.When writing
this piece, I tried to
convey certain moods and
emotions throughout:
soulful at the beginning
with calm woodwind chords
and solo trombone;
increased energy
throughout the various
sections of the piece;
exploration of different
grooves and colors; an
uplifting, emotional
ending that leaves the
listener with a sense of
how positive and loving
Chris was.This piece is
largely inspired by a
specific quote from
Chris:Most people would
consider the sounds
students first make on
their instruments to be
cringe-worthy, but to me
that’s music to my
ears, because
that’s the first
time students put a voice
to their instrument. Over
time those voices become
stronger; they become
clear, more confident,
and get to a point where
they use those voices to
communicate with each
other, and to their
audiences.To relate to
the first notes on the
instrument idea, I used
motifs based on the first
notes most beginners ever
play, do-re-mi, which are
introduced at the
beginning of the piece
with the trombone solo,
Chris’ instrument.
During the section at m.
15, the brass introduce a
chorale that I named
Chris’ Theme while
the woodwinds keep
reminding us of do-re-mi.
Later in the piece (mm.
71 and 79), I use these
notes again, but in
reverse, which becomes a
reference to the first
song most beginners
learn, Hot Cross Buns.
This section is also
meant to portray
Chris’ quirky and
joking side. In mm. 75
and 83, Chris’
Theme presents itself
again a couple of times
in response to Hot Cross
Buns.Toward the end, at
the uplifting moment (m.
97), do-re-mi is heard
again, but this time in
harmony with mi-fa-sol.
This represents the
ultimate satisfaction we
all feel as musicians
when we have finally
progressed enough to play
in harmony with others.
The half-time feeling in
3 at that moment also has
significance, relating
(rhythmically) to those
important three notes
again.I really hope you
enjoy performing and
listening to this piece
as much as I have enjoyed
creating it! $95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Glory Train Chorale SSAB a cappella [Octavo] Heritage Music Press
By Linda Spevacek. For SSAB choir (a cappella). Concert. Octavo. Published by He...(+)
By Linda Spevacek. For
SSAB choir (a cappella).
Concert. Octavo.
Published by Heritage
Music Press
$2.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sing Gloria, Sing Noel Hope Publishing Company
Choir; percussion SKU: HP.C6163C Arranged by Joel Raney. Piano with Optio...(+)
Choir; percussion SKU:
HP.C6163C Arranged by
Joel Raney. Piano with
Optional Unison Choir (or
Solo). Christmas, Sacred.
Choral
Performance/Accompaniment
CDs. Hope Publishing
Company #C6163C.
Published by Hope
Publishing Company
(HP.C6163C). UPC:
763628961633. Origi
nal Christmas anthem This
Christmas original is a
wonderful way to combine
adult voices with
children's choir. It's
set in a delightful
calypso style, and
features a call and
response, with the
children ending each
phrase in a playful rhyme
scheme: 'day-o, hay-o,
lullaby-o, asleep-o,
sheep-o,' etc. It all
adds up to a joyous
version of the Christmas
story, highlighting all
of the characters that
were present at Jesus'
birth. $29.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Our Moment In Time Orchestre d'harmonie [Conducteur et Parties séparées] - Facile C.L. Barnhouse
Grade 2 SKU: CL.024-4985-00 A Joyous Fanfare!. Composed by James S...(+)
Grade 2 SKU:
CL.024-4985-00 A
Joyous Fanfare!.
Composed by James
Swearingen. Young Concert
Band. Score and set of
parts. C.L. Barnhouse
#024-4985-00. Published
by C.L. Barnhouse
(CL.024-4985-00).
If
you’re looking for
a grade 2 piece that
produces impact at the
start of your concert,
then you’ll
definitely want to
consider this outstanding
work by celebrated
composer James
Swearingen. Brass,
woodwinds and percussion
all unite with the
playing of a glorious
fanfare. The best is yet
to come, with wonderful
themes that are layered
over driving rhythms. The
dramatic ending is a wait
and see moment for what
is sure to be an
enthusiastic response by
the entire audience. A
glorious moment for one
and all! $50.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Field Mass H 279 - Intermédiaire Barenreiter
Sg-Bar-solo,Men's choir (Baritone solo, Male choir) - Level 3 SKU: BA.BA10581...(+)
Sg-Bar-solo,Men's choir
(Baritone solo, Male
choir) - Level 3 SKU:
BA.BA10581 Composed
by Bohuslav Martinu.
Edited by Paul Wingfield.
This edition: urtext
edition. Stapled.
Barenreiter Urtext.
Choral score. H 279. 12
pages. Baerenreiter
Verlag #BA10581_00.
Published by Baerenreiter
Verlag (BA.BA10581).
ISBN 9790260109124. 27
x 19 cm inches. Text
Language:
Czech. Bohuslav
Martinu’s
“Field Massâ€
is one of his most
significant
vocal-instrumental works.
It originated in 1939 in
Paris in response to the
outbreak of World War II
and was intended for
outdoor performance. The
libretto, by JirÃ
Mucha, contains
references to the
Bible.
This study
score adopts the musical
text from the Bohuslav
Martinu Complete Edition,
Volume VI/2/2. As an
interesting performance
alternative, the appendix
contains an early version
of the ending that quotes
the medieval Czech hymn
“Jezu Kriste,
štedrý
kneže†(Jesus
Christ, Generous
Prince).
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$6.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Lux Aeterna [Conducteur] Peermusic Classical
Choir and Chamber Orchestra SKU: BT.PMC3599 Composed by Morten Lauridsen....(+)
Choir and Chamber
Orchestra SKU:
BT.PMC3599 Composed
by Morten Lauridsen.
Score Only. 60 pages.
Peermusic Classical
#PMC3599. Published by
Peermusic Classical
(BT.PMC3599).
Each of the
five connected movements
in this choral cycle
contains references to
'Light,' assembled from
various sacred Latin
texts. I composed Lux
Aeterna in response to my
mother's final illness
and found great personal
comfortand solace in
setting to music these
timeless and wondrous
words about Light, a
universal symbol of
illumination at all
levels - spiritual,
artistic and
intellectual. The work
opens and closes with the
beginning and ending of
theRequiem Mass, with the
central three movements
drawn respectively from
the Te Deum, O Nata Lux
and Veni, Sancte
Spiritus. The opening
Introitus introduces
several themes that recur
later in the work and
includes an extended
canonon et lux perpetua.
In Te, Domine, Speravi
contains, among other
musical elements, the
cantus firmus
Herzliebster Jesu (from
the Nuremburg Songbook,
1677) and a lengthy
inverted canon on fiat
misericordia. O Nata Lux
and Veni,Sancte Spiritus
are paired songs, the
former an a cappella
motet at the center of
the work and the latter a
spirited, jubilant
canticle. A quiet setting
of the Agnus Dei precedes
the final Lux Aeterna,
which reprises the
openingsection of the
Introitus and concludes
with a joyful celebratory
Alleluia. --Morten
Lauridsen. $64.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| A Utopian Fantasia Orchestre - Facile Belwin
Orchestra - Grade 3 SKU: AP.49897 Composed by Anthony Granata. MakeMusic ...(+)
Orchestra - Grade 3
SKU: AP.49897
Composed by Anthony
Granata. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra. Belwin
Concert String Orchestra.
Score and Part(s).
Duration 3:00. Belwin
Music #00-49897.
Published by Belwin Music
(AP.49897). ISBN
9781470657291. UPC:
038081575445.
English. A Utopian
Fantasia, by Anthony
Granata, depicts a
beautifully majestic and
serene landscape shrouded
in mystery and wonder.
Set in the key of E
minor, the opening
features a rich legato
ballad with an eerily
somber melody passing
through each section of
the orchestra. The mood
abruptly shifts to a
jarring and heavily
accented six-note motif.
Reminiscent of Classical
literature, a small
contrapuntal passage
develops this motif,
interspersed with the
original opening melody.
Inversions of the theme
finally give way to a
call-and-response
dialogue within the
different sections of the
orchestra before finally
ending quietly and slowly
with a subtle hint to the
opening. (3:00). $65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Glory Train - Performance/Rehearsal CD Heritage Music Press
SKU: LO.99-2385H Composed by Linda Spevacek. Choral. Concert. Performance...(+)
SKU: LO.99-2385H
Composed by Linda
Spevacek. Choral.
Concert.
Performance/rehearsal CD.
Heritage Music Press
#99/2385H. Published by
Heritage Music Press
(LO.99-2385H). UPC:
000308122039. Get
on board with this
energetic original
spiritual! Accessibility,
call-and-response style,
opportunities for solos,
a chorus featuring a
dynamite hook, and
terraced dynamics fueling
the strong ending all
unite to offer a
fabulously creative work,
ideal for developing
choirs. $24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Lux Aeterna
Chorale SATB SATB [Vocal Score] Peermusic Classical
(SATB Vocal Score). By Morten Lauridsen (1943-). SATB Score. Peermusic Classical...(+)
(SATB Vocal Score). By
Morten Lauridsen (1943-).
SATB Score. Peermusic
Classical. Softcover. 56
pages. Peermusic
#61911-122. Published by
Peermusic
$9.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Wash Rag for String Quartet Quatuor à cordes: 2 violons, alto, violoncelle - Facile LudwigMasters Publications
String Quartet - Grade 3 SKU: AP.36-52703617 Composed by Alan Shulman. Th...(+)
String Quartet - Grade 3
SKU:
AP.36-52703617
Composed by Alan Shulman.
This edition: Latham
Music. Quartet; Solo
Small Ensembles; String -
Quartet. LudwigMasters -
Latham Music. Book.
LudwigMasters
Publications
#36-52703617. Published
by LudwigMasters
Publications
(AP.36-52703617). UPC:
735816385521.
English. This
humorous little vignette
for string quartet was
composed in 1979 and was
originally intended to be
published by Piedmont
Music, the ASCAP division
of EB Marks Classical.
For reasons unknown,
however, it remained in
manuscript form until
2021, when a copy of the
composer's autograph
parts was discovered in
the archives of a
completely different Alan
Shulman piece. This newly
engraved Latham Music
edition therefore
represents the first
publication of Shulman's
delightful work, as well
as the first full score.
As the title suggests,
this is a medium-slow
rag, or cakewalk in a
loose AABA form. The
bluesy and graceful main
melody is introduced by
the first violin in a
call and response
exchange with the rest of
the ensemble. The
restatement of the
primary theme is led by
the second violin, with
the entire ensemble
playing pizzicato, having
the effect of playful
mockery. In the B
section, the first violin
earnestly reasserts the
stately grace from the
opening however, the
cello is clearly becoming
restless and decides to
take over the lead just
before the final reprise.
The lighthearted ending
again has the first
violin doing its best to
bring the tune to a
refined conclusion, but
the rest of the group
still has mischief in
mind. After a couple
moments of seeming
confusion, the ensemble
regroups at last and
plays the final riff with
resolute emphasis. If
you're looking to add a
light moment to a recital
program, or looking for a
short, medium level
contest piece that
players and audiences
alike will enjoy, this
little miniature is an
ideal choice!
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $8.95 - Voir plus => Acheter | | |
| Lux Aeterna Orgue Peermusic Classical
Mixed Choir [SATB], Chamber Orchestra or Organ SKU: BT.PMC3367 For Cho...(+)
Mixed Choir [SATB],
Chamber Orchestra or
Organ SKU:
BT.PMC3367 For
Chorus and Chamber
Orchestra or Organ- Organ
Score. Composed by
Morten Lauridsen. Vocal
Score. Composed 1997. 56
pages. Peermusic
Classical #PMC3367.
Published by Peermusic
Classical (BT.PMC3367).
Each of the
five connected movements
in this choral cycle
contains references to
'Light,' assembled from
various sacred Latin
texts. I composed Lux
Aeterna in response to my
mother's final illness
and found great personal
comfortand solace in
setting to music these
timeless and wondrous
words about Light, a
universal symbol of
illumination at all
levels - spiritual,
artistic and
intellectual. The work
opens and closes with the
beginning and ending of
theRequiem Mass, with the
central three movements
drawn respectively from
the Te Deum, O Nata Lux
and Veni, Sancte
Spiritus. The opening
Introitus introduces
several themes that recur
later in the work and
includes an extended
canonon et lux perpetua.
In Te, Domine, Speravi
contains, among other
musical elements, the
cantus firmus
Herzliebster Jesu (from
the Nuremburg Songbook,
1677) and a lengthy
inverted canon on fiat
misericordia. O Nata Lux
and Veni,Sancte Spiritus
are paired songs, the
former an a cappella
motet at the center of
the work and the latter a
spirited, jubilant
canticle. A quiet setting
of the Agnus Dei precedes
the final Lux Aeterna,
which reprises the
openingsection of the
Introitus and concludes
with a joyful celebratory
Alleluia. --Morten
Lauridsen. $36.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Go, Mary, Go! Chorale SATB Daybreak Music
Composed by David Angerman and Michael Barrett. Daybreak Easter Choral. Easter...(+)
Composed by David
Angerman
and Michael Barrett.
Daybreak
Easter Choral. Easter,
Sacred. Octavo. Published
by
Daybreak Music
$2.35 $2.2325 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Almost The Blues Ensemble Jazz [Conducteur et Parties séparées] - Facile C.L. Barnhouse
Grade 3 SKU: CL.SCM-1111-00 Composed by Carubia. Jazz Ensemble. Score and...(+)
Grade 3 SKU:
CL.SCM-1111-00
Composed by Carubia. Jazz
Ensemble. Score and set
of parts. C.L. Barnhouse
#SCM-1111-00. Published
by C.L. Barnhouse
(CL.SCM-1111-00).
A moderate
tempo rock groove with
plenty of unison uses
call & response passages
stating the melody. Solos
are based on two chords
in the friendly key of
Bb. Two eight measure
ensemble sections follow
the solos then to a big
ending. Very upbeat and
an easy play for your
inexperienced group.
Includes an optional
flute part. Totally
Cool! $48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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