| 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 | | |
| Ave Maria - High Voice * Schubert Voix haute, Piano Santorella Publications
Ave Maria - High Voice * Schubert composed by Franz Schubert (1797-1828). Arrang...(+)
Ave Maria - High Voice *
Schubert composed by
Franz Schubert
(1797-1828). Arranged by
Walter Scott. For voice
solo. Solo. Choral. Sheet
Music. Text Language:
English. 4 pages.
Published by Santorella
Publications
$3.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ave Maria - Low Voice * Schubert Voix basse, Piano Santorella Publications
Ave Maria - Low Voice * Schubert composed by Franz Schubert (1797-1828). Arrange...(+)
Ave Maria - Low Voice *
Schubert composed by
Franz Schubert
(1797-1828). Arranged by
Walter Scott. For voice
solo. Solo. Choral. Sheet
Music. Text Language:
English. 4 pages.
Published by Santorella
Publications
$3.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ave Maria, gratia plena Voix, Orgue [Partition] Barenreiter
Latin Ave Maria Settings of the 19th and early 20th Century for Solo Voice and O...(+)
Latin Ave Maria Settings
of the 19th and early
20th Century for Solo
Voice and Organ. Edited
by Wagner, Peter. For
Voice, Organ. Collection
(paperbound). Published
by Baerenreiter-Ausgaben
(German import).
$46.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Four Sacred Pieces (Ave Maria - 4, ac) (Stabat Mater - 4, Orch.) (Laudi Alta Vergine Maria - SSAA, ac) (Te Deum - 8, Orch.) Chorale SSAA [Partition] Kalmus
Latin Language Edition. Composed by Giuseppe Verdi (1813-1901). Choral (Sacred);...(+)
Latin Language Edition.
Composed by Giuseppe
Verdi (1813-1901). Choral
(Sacred); Choral Worship
Collection; Collections;
Masterworks; Performance
Music Ensemble; Worship
Resources. Kalmus
Edition. Masterwork;
Romantic; Sacred. Book.
72 pages. Kalmus Classic
Edition #00-K06939.
Published by Kalmus
Classic Edition
$10.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Ave Maria (Ave Maria) Chorale SATB SATB, Cordes [Conducteur] Carus Verlag
By Michael Haydn (1737-1806). Edited by Charles H. Sherman. For Solo Soprano, SA...(+)
By Michael Haydn
(1737-1806). Edited by
Charles H. Sherman. For
Solo Soprano, SATB Choir,
2 Violins, Basso
continuo. This edition:
paperbound. MH 72. Use /
Occasion: Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Level 3.
Score. Language: Latin.
Composed 1765. 16 pages.
Duration 5 min. Published
by Carus Verlag
$14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Werner: Einstimmige Messe; Liszt: Ave Maria; Acs: Einstimmige Messe, Jesu Dulcis Memoria [Conducteur] Carus Verlag
By Jozsef / Liszt Acs. Masses, Latin; Occasions: Feasts of the Blessed Virgin Ma...(+)
By Jozsef / Liszt Acs.
Masses, Latin; Occasions:
Feasts of the Blessed
Virgin Mary, Hymns in
praise of the Virgin
Mary. Collection. 12
pages. Published by Carus
Verlag (German import).
$6.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Geistliche Gesange I fur Solostimme bzw. Frauenchor mit Begleitung (GA, Bd. 6) Carus Verlag
SKU: CA.5020600 Composed by Josef Gabriel Rheinberger. Edited by Berthold...(+)
SKU: CA.5020600
Composed by Josef Gabriel
Rheinberger. Edited by
Berthold Over. This
edition: Complete
edition, linen cover.
Josef Gabriel Rheinberger
- Complete Works. German
title: Geistliche Gesange
I Solo + Gl.Stim. Sacred
vocal music. Full score
(complete edition /
selected edition). Carus
Verlag #CV 50.206/00.
Published by Carus Verlag
(CA.5020600). ISBN
9790007090234. Of
the works presented in
volume 6, the Four
elegiac Songs op. 128 for
solo voice and organ,
with their arialike
characteristics, are
musically among the most
demanding compositions.
The Marian Hymns op. 171
display a variety of
scorings for small
ensembles, a trait which
characterizes all the
songs in this volume:
This opus contains pieces
for one, two or three
voices. In addition, No.
1 (Ave Maria) appears in
versions for either low-
or high-registered voice.
The appendix of this
volume includes alternate
versions for a few works
in this volume, some of
which are first editions,
including Quam dilecta,
which is a Latin version,
with harp and organ, of
the hymn Wie lieblich
sind deine Wohnungen op.
35. $256.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| In Praise of Mary Chorale Unison - Débutant GIA Publications
Unison voices, organ, none accompaniment - Beginning SKU: GI.G-3135 Fi...(+)
Unison voices, organ,
none accompaniment -
Beginning SKU:
GI.G-3135 Five
Gregorian Chants in
English and Latin - The
Marian Antiphons.
Composed by Richard
Proulx. Edited by Richard
Proulx. Sacred. Octavo.
12 pages. GIA
Publications #3135.
Published by GIA
Publications (GI.G-3135).
Translation: Various.
Scripture: Luke 1:28,
42. This edition
presents five Marian
texts set to plainchant,
which can be sung in
unison without
accompaniment, but an
accompaniment for organ
or keyboard is included.
An assembly card is also
available for download,
D-3135A. Text sources and
uses include: Luke
1:28, 42, Council of
Ephesis, Marian anthems
at compline, Advent until
Lent, during Lent, during
Eastertime, and Trinity
Sunday until Advent.
 This edition
presents five Marian
texts set to plainchant,
which can be sung in
unison without
accompaniment, but an
accompaniment for organ
or keyboard is included.
An assembly card is also
available for download,
D-3135A. $3.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ave Maria Chorale SATB SATB, Piano [Reduction] - Facile GIA Publications
By Mode 1 Gregorian Chant. Edited by Richard Proulx. Arranged by Tomas Luis de V...(+)
By Mode 1 Gregorian
Chant. Edited by Richard
Proulx. Arranged by Tomas
Luis de Victoria. For
Voices: SATB, unison
(chant portion). Piano
reduction. Latin text
only. Ars Antiqua
Choralis Series Sacred.
Level: easy. 6 pages.
Published by GIA
Publications.
$2.20 $2.09 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ave Maria Chorale SATB SATB divisi, A Cappella Walton Music
Composed by Daniel Elder. Walton Choral. Advanced Choir, Concert, General Wor...(+)
Composed by Daniel Elder.
Walton Choral. Advanced
Choir, Concert, General
Worship, Latin, Sacred.
Duration 285 seconds.
Walton
Music #WW1554. Published
by
Walton Music
$2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Franz Schubert: Ave Maria Op. 52, No. 6
Voix moyenne, Piano [Feuillet] - Intermédiaire Schirmer
Composed by Franz Schubert (1797-1828). For medium voice and piano. Format: pian...(+)
Composed by Franz
Schubert (1797-1828). For
medium voice and piano.
Format: piano/vocal
single. With vocal
melody, piano
accompaniment and lyrics
(English, German, Latin).
Romantic period and
classical period. Ab
Major. 7 pages. 9x12
inches. Published by
Schirmer.
(5)$4.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Bruckner fur Gottesdienst und Konzert Chorale [Partition] Carus Verlag
By Anton Bruckner. Edited by Kreuels, Matthias. Hymn settings, Masses, Latin, Ma...(+)
By Anton Bruckner. Edited
by Kreuels, Matthias.
Hymn settings, Masses,
Latin, Mass Sections,
Motets, Psalms, Latin;
Choral Collections, Mixed
Choir, Choral
Collections, Men's Choir,
Music for Casuals;
Occasions: Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary, Tantum ergo,
Mourning, Death; Use
during church year:
Advent, Special Days,
Lent and Passiontide, Ho
$18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ave Maria Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1104923-140 Opus 52 No. ...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-1104923-140
Opus 52 No. 6.
Composed by Franz
Schubert. Arranged by
Robert van Beringen.
Great Classics. Festive
and Solemn Music. Score
Only. Composed 2010. 12
pages. De Haske
Publications #DHP
1104923-140. Published by
De Haske Publications
(BT.DHP-1104923-140).
9x12 inches.
English-German-French-Dut
ch. Schubertâ€
s famous Ave Maria was
originally titled Ellens
dritter Gesang and was
the sixth song in the
Fräulein vom See song
cycle (after The Lady of
the Lake by Walter
Scott). Later the Latin
prayer Ave Maria was set
to the melody, creating
one of his most
well-known sacred songs
ever. In this arrangement
the melody line can be
played by either a solo
trumpet or by the entire
trumpet section. Either
option creates a
wonderful atmosphere that
will entertain and
enlighten your
audience.
Oorspron
kelijk heette Ave
Maria van Schubert
Ellens dritter
Gesang en was het het
zesde lied uit de
liederencyclus
Fräulein vom
See. Pas later werd
het met de tekst van het
Latijnse gedicht Ave
Maria gezongen.En
juist in die versie werd
het vele malen bekender
dan het origineel. In dit
fraaie arrangement van
Robert van Beringen kan
de trompetsectie of een
trompetsolist de melodie
op zich nemen. Welke
optie u ook kiest, dit
arrangementis een lust
voor het oor voor
muzikant en
publiek!
Urspru
76;nglich hieß
Schuberts Ave Maria
Ellens dritter
Gesang“ und war das
sechste Lied im
Liederzyklus Fräulein
vom See. Erst später
wurde es zum Text des
lateinischen Gedichtes
Ave Maria“ gesungen
und in dieser Version
weitaus berühmter
als das Original. In
diesem gelungenen
Arrangement von Robert
von Beringen kann das
Trompetenregister oder
eine einzelne Trompete
die Melodie spielen.
Beide Optionen ergeben
einen reizvollen
musikalischen Genuss
für Musiker und
Publikum.
PubliÃ
l’origine sous
le titre
d’Ellens
dritter Gesang (Le
troisième chant
d'Ellen),
l’Ave Maria
de Schubert constitue le
sixième lied du cycle
Das Fräulein vom
See, basé sur le
poème de Sir Walter
Scott, The Lady of the
Lake (La Dame du
Lac). Au fil du temps, le
texte en allemand fut
délaissé au profit
de la prière en latin.
Dans cet arrangement
signé Robert van
Beringen, le pupitre des
trompettes (ou la
trompette solo) joue la
ligne mélodique qui
plane au-dessus
d’un
accompagnement
céleste.
Pubbli
cata originariamente con
il titolo Ellens dritter
Gesang, l’Ave
Maria di Schubert
costituisce il sesto lied
del ciclo Das Fräulein
vom See, basato sul poema
di Sir Walter Scott, The
Lady of the Lake. In
questo arrangiamento
firmato Robert Van
Beringen, la sezione
delle trombe (o la tromba
solista), eseguono la
linea melodica che
aleggia sopra un
accompagnamento
celeste. $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ave Maria Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1104923-010 Opus 52 No. ...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-1104923-010
Opus 52 No. 6.
Composed by Franz
Schubert. Arranged by
Robert van Beringen.
Great Classics. Festive
and Solemn Music. Set
(Score and Parts).
Composed 2010. De Haske
Publications #DHP
1104923-010. Published by
De Haske Publications
(BT.DHP-1104923-010).
9x12 inches.
English-German-French-Dut
ch. Schubertâ??s
famous Ave Maria was
originally titled Ellens
dritter Gesang and was
the sixth song in the
Fräulein vom See song
cycle (after The Lady of
the Lake by Walter
Scott). Later the Latin
prayer Ave Maria was set
to the melody, creating
one of his most
well-known sacred songs
ever. In this arrangement
the melody line can be
played by either a solo
trumpet or by the entire
trumpet section. Either
option creates a
wonderful atmosphere that
will entertain and
enlighten your
audience.
Oorspron
kelijk heette Ave
Maria van Schubert
Ellens dritter
Gesang en was het het
zesde lied uit de
liederencyclus
Fräulein vom
See. Pas later werd
het met de tekst van het
Latijnse gedicht Ave
Maria gezongen.En
juist in die versie werd
het vele malen bekender
dan het origineel. In dit
fraaie arrangement van
Robert van Beringen kan
de trompetsectie of een
trompetsolist de melodie
op zich nemen. Welke
optie u ook kiest, dit
arrangementis een lust
voor het oor voor
muzikant en
publiek!
Urspru?ng
lich hieÃ? Schuberts Ave
Maria Ellens dritter
Gesangâ?? und war das
sechste Lied im
Liederzyklus Fräulein
vom See. Erst später
wurde es zum Text des
lateinischen Gedichtes
Ave Mariaâ?? gesungen
und in dieser Version
weitaus beru?hmter als
das Original. In diesem
gelungenen Arrangement
von Robert von Beringen
kann das
Trompetenregister oder
eine einzelne Trompete
die Melodie spielen.
Beide Optionen ergeben
einen reizvollen
musikalischen Genuss fu?r
Musiker und
Publikum.
PubliÃ
lâ??origine sous le
titre dâ??Ellens
dritter Gesang (Le
troisième chant
d'Ellen), lâ??Ave
Maria de Schubert
constitue le sixième
lied du cycle Das
Fräulein vom See,
basé sur le poème
de Sir Walter Scott,
The Lady of the
Lake (La Dame du
Lac). Au fil du temps, le
texte en allemand fut
délaissé au profit
de la prière en latin.
Dans cet arrangement
signé Robert van
Beringen, le pupitre des
trompettes (ou la
trompette solo) joue la
ligne mélodique qui
plane au-dessus dâ??un
accompagnement
céleste.
Pubbli
cata originariamente con
il titolo Ellens dritter
Gesang, lâ??Ave Maria di
Schubert costituisce il
sesto lied del ciclo Das
Fräulein vom See,
basato sul poema di Sir
Walter Scott, The Lady of
the Lake. In questo
arrangiamento firmato
Robert Van Beringen, la
sezione delle trombe (o
la tromba solista),
eseguono la linea
melodica che aleggia
sopra un accompagnamento
celeste. $98.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Liszt: Zwolf Stucke [Conducteur] Carus Verlag
By Franz Liszt (1811-1886). Edited by Thomas Kohlhase. This edition: paperbound....(+)
By Franz Liszt
(1811-1886). Edited by
Thomas Kohlhase. This
edition: paperbound.
Hymns, Psalms, Latin;
Occasions: Communion,
Confirmation, Feasts of
the Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary, Our Father;
Use during chuch year:
Corpus Christi. Score. 80
pages
$43.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Faure: Musique religieuse [Partition] Carus Verlag
By Gabriel Faure (1845-1924). Edited by Jean-Michel Nectoux. This edition: paper...(+)
By Gabriel Faure
(1845-1924). Edited by
Jean-Michel Nectoux. This
edition: paperbound.
Genres: Hymns, Latin
Masses, Mass Settings;
Use / Occasion: Feasts of
the Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary; Use during
church year: Christmas.
Collection. 184 pages.
Published by Carus Verlag
$104.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Freiburger Chorbuch Chorale SATB SATB [Partition] Carus Verlag
By Various. Edited by Kreuels, Matthias / Ducker, Martin / Essl, Jurgen / Geisma...(+)
By Various. Edited by
Kreuels, Matthias /
Ducker, Martin / Essl,
Jurgen / Geismann, Wilm /
Kohlmann, Mathias /
Langer, Leo / Ochs,
Jurgen / Drescher, Thomas
/ Frohlich, Brigitte /
Maag, Jurgen /
Rommelspacher, Stephan.
Sacred, Hymns, Hymn
settings, Magnificat,
Masses, Latin, Mass
Sections, Motets, Psalms,
German, Psalms, Latin;
Choral Collections, Mixed
Choir; Occasions:
Eucharist, Communion,
Peace and Justice,
Prayer, First Communion,
Confirmation, Praise and
thanks, F. Choral
collection. 256 pages
$37.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ave Maria Chorale SATBB Carus Verlag
SATBB choir SKU: CA.991610 Aus: Musica Mariana. Composed by Peter ...(+)
SATBB choir SKU:
CA.991610 Aus:
Musica Mariana.
Composed by Peter
Kiesewetter. Edited by
Kurt Suttner. Carus
Novus. German title: Ave
Maria. Sacred, Motets;
Occasions: Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Full score.
Op. 59, No. 1. Duration 5
minutes. Carus Verlag #CV
09.916/10. Published by
Carus Verlag (CA.991610).
ISBN 9790007090456.
Language:
Latin. Score
available separately -
see item CA.991600. $3.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ave Maria (Ave Maria) Orgue [Conducteur] Carus Verlag
Aus: Sechs Marianische Hymnen. By Josef Gabriel Rheinberger. For Solo Soprano (T...(+)
Aus: Sechs Marianische
Hymnen. By Josef Gabriel
Rheinberger. For Solo
Soprano (T), Organ.
Occasions: Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Score.
Language: Latin/English.
Composed 1888. 171 no.
1a. 4 pages. Duration 4
min. Published by Carus
Verlag (German import).
$4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ave Maria Chorale 2 parties - Facile GIA Publications
2-part mixed voices, piano accompaniment - Early intermediate SKU: GI.G-9503<...(+)
2-part mixed voices,
piano accompaniment -
Early intermediate
SKU: GI.G-9503
Composed by Bob Moore.
Advent 4 B, Advent 4 C,
Visitation, Assumption,
Immaculate Conception.
Simple Gifts. Sacred. 8
pages. GIA Publications
#9503. Published by GIA
Publications (GI.G-9503).
UPC: 785147950301.
Latin. Text Source: Trad.
Latin, 13th c. When
creating our Simple Gifts
series, we envisioned the
following as the
standard: a quality piece
by an established
composer who could craft
simple, but never
simplistic, music for
smaller choirs. Bob
Moore’s setting of
the “Ave
Mariaâ€â€”which
certainly fits this
description—will
have use throughout the
church year. Choirs will
enjoy the flowing
lyricism of the vocal
writing, so aptly joined
to this venerable
text. $2.20 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ave Maria - Débutant GIA Publications
SS, voice solo, organ accompaniment - Beginning SKU: GI.G-8321 Composed b...(+)
SS, voice solo, organ
accompaniment - Beginning
SKU: GI.G-8321
Composed by Iain Quinn.
Annunciation, Children.
Choral. Sacred. Octavo. 8
pages. GIA Publications
#8321. Published by GIA
Publications (GI.G-8321).
UPC: 785147832102.
Latin. Text Source: Luke
1:29, Latin, 13th c.
Scripture: Luke
1:29. Do you have
an abundance of sopranos?
Here is an elegant piece
scored for two soprano
voices and organ.
Originally conceived for
girl choristers, this
setting of the Ave Maria
could also be programmed
as a vocal duet. $2.20 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ave Maria Quatuor à cordes: 2 violons, alto, violoncelle Schott
String Quartet; Voice SKU: HL.49045100 For Voice and String Quartet Sc...(+)
String Quartet; Voice
SKU: HL.49045100
For Voice and String
Quartet Score And Parts -
Latin. Composed by
Bertold Hummel. This
edition: Saddle
stitching. Sheet music.
Vocal Ensemble.
Classical. Softcover.
Composed 1982. 16 pages.
Duration 3'. Schott Music
#ED22542. Published by
Schott Music
(HL.49045100). ISBN
9790001160674.
9.0x12.0x0.056 inches.
Latin. Bertold
Hummel schrieb das
vorliegende Ave Maria fur
seinen Sohn Martin, der
dieses Stuck auch in
Begleitung des familiaren
Streichquartetts
musizierte, wovon eine
noch erhaltene
Bratschenstimme zeugt.
Die zweiteilige
Komposition verbindet
eine terzverwandt
angelegte
Dur-Moll-Tonalitat mit
modaler Harmonik.
Pragendes Element der
Begleitung ist eine
absteigende, phrygische
Tonleiter, die im Verlauf
des Stuckes die Richtung
wechselt und auch
Transformationen ins
Dorische bzw. ins Moll
erfahrt. Der zweite Teil
('Sancta Maria...')
greift die Musik des
Anfangs wieder auf und
fuhrt zu neuen
Kombinationen des
musikalischen Materials.
(Christoph Weinhart
2015). $12.99 - Voir plus => Acheter | | |
| Ave Maria Choral Score Choral Score Ssa/ssaa & Pano Latin Schott
Female choir (SSA or SSAA) and piano (SSA/SSAA) SKU: HL.49044940 Composed...(+)
Female choir (SSA or
SSAA) and piano
(SSA/SSAA) SKU:
HL.49044940 Composed
by Rolf Rudin. This
edition: Saddle
stitching. Sheet music.
Choral. Softcover. 20
pages. Schott Music
#C56719. Published by
Schott Music
(HL.49044940). ISBN
9790001201889. UPC:
841886023918.
7.5x11.0x0.064 inches.
Latin. Rolf Rudin
has made a name for
himself as an
award-winning composer
far beyond the borders of
Germany. Among the large
number of his sacred
choral compositions is
also the church music
setting of 'Ave Maria'.
It has been published
both in a version for
mixed choir and in a
version for three- or
four-part women's choir
(SSA or SSAA) and can be
performed either a
cappella or with piano
accompaniment. The
three-minute musical
Latin prayer in honour of
the Virgin Mary is ideal
for church services. It
is filled with catchy
sumptuous harmonies and a
tender depth of feeling
which is supported
instrumentally by the
softly swaying ad libitum
piano accompaniment. $7.99 - Voir plus => Acheter | | |
| Ave Maria Chorale SATB - Intermédiaire Carus Verlag
Soprano voice solo, SATB choir, 2 violins, basso continuo - Level 3 SKU: CA.5...(+)
Soprano voice solo, SATB
choir, 2 violins, basso
continuo - Level 3
SKU: CA.5034519
Composed by Michael
Haydn. Edited by Charles
H. Sherman. Ave Maria In
F (Offertorium) Mh 72.
Sacred vocal music,
Feasts of the Blessed
Virgin Mary, Hymns in
praise of the Virgin
Mary. Set of Orchestra
Parts. Composed 1765. MH
72. Duration 5 minutes.
Carus Verlag #CV
50.345/19. Published by
Carus Verlag
(CA.5034519). ISBN
9790007145491. Key: F
major. Language:
Latin. The present
offertory Ave Maria is
one of Haydn's earliest
Salzburg sacred
compositions. Dating, in
all probability, from the
year 1765, it displays
the modest means and
genial lyricism that is
typical of his music from
the time. Score and parts
available separately -
see item CA.5034500. $33.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ave Maria Chorale SATB - Intermédiaire Carus Verlag
Soprano voice solo, SATB choir, 2 violins, basso continuo - Level 3 SKU: CA.5...(+)
Soprano voice solo, SATB
choir, 2 violins, basso
continuo - Level 3
SKU: CA.5034511
Composed by Michael
Haydn. Edited by Charles
H. Sherman. Ave Maria In
F (Offertorium) Mh 72.
Sacred vocal music,
Feasts of the Blessed
Virgin Mary, Hymns in
praise of the Virgin
Mary. Single Part, Violin
1. Composed 1765. MH 72.
2 pages. Duration 5
minutes. Carus Verlag #CV
50.345/11. Published by
Carus Verlag
(CA.5034511). ISBN
9790007081393. Key: F
major. Language:
Latin. The present
offertory Ave Maria is
one of Haydn's earliest
Salzburg sacred
compositions. Dating, in
all probability, from the
year 1765, it displays
the modest means and
genial lyricism that is
typical of his music from
the time. Score and part
available separately -
see item CA.5034500. $1.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ave Maria Orgue - Facile Carus Verlag
Orchestra orchestra version: SSAA choir, 2 flutes, 2 oboes, 2 clarinets, 2 basso...(+)
Orchestra orchestra
version: SSAA choir, 2
flutes, 2 oboes, 2
clarinets, 2 bassoons, 2
horns, 2 violins, viola,
cello, contrabass, organ
- Grade 2 SKU:
CA.4018015 Composed
by Johannes Brahms.
German title: Ave Maria
op.12. Sacred vocal
music, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Single Part,
Double Bass. Composed
1858. Op. 12. 2 pages.
Duration 5 minutes. Carus
Verlag #CV 40.180/15.
Published by Carus Verlag
(CA.4018015). ISBN
9790007064099. Key: F
major. Language:
Latin/English. Brah
ms's Ave Maria was
composed in 1858. The
widely-held opinions in
the literature on Brahms
- that the work has
justifiably been
forgotten, the
part-writing is
monotonous and the style
and diction is ponderous
- don't do justice to a
truly charming piece,
based on folksong-like
models. Score and part
available separately -
see item CA.4018000. $2.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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