| 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 | | |
| New Technique For The Double Bass - Vol. 4 (double Bass) Leduc, Alphonse
Nouvelle technique de la contrebasse, Vol. 4 is the fourth book of a method for ...(+)
Nouvelle technique de la
contrebasse, Vol. 4 is
the fourth book of a
method for Double Bass by
Francois Rabbath.
Following the three
previous volumes, it can
be used by upper
beginners or intermediate
players and requires some
basic musical knowledge
in theory and reading. It
also includes a DVD and
provides full
explanations, including
pictures for all the
technical points in
French, English, German
and Spanish. This book is
divided into five
chapters: exercises,
studies, scales and
arpeggios, orchestral
figures and pieces for
solo Double Bass. In term
of technical points, it
features the different
positions, the double
chords, the pivot and
some highlight on the bow
and the wrist positions
among others. This
helpful method is
definitely one of the
most complete. It will
help all Double Bass
beginners to get the
necessary basic skills.
Born in Syria in 1931,
Francois Rabbath has been
playing the Double Bass
from a really young age.
He later settled in Paris
when he was the main
Double Bass accompaniment
for renowned French
artists including Edith
Piaf, Georges Moustaki
and Serge Gainsbourg. He
recorded some CDs and
DVDs, did some touring
and was offered the
possibility of writing
his own Double Bass
method in which he
describes his ?crab
technique?.
$13.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Miniature Biographies from 'Nonsense Songs from Mother Goose', Op. 19 Fredonia Press
Vocal Mixed Choir with Piano SKU: AY.FRD54 Composed by John La Montaine. ...(+)
Vocal Mixed Choir with
Piano SKU:
AY.FRD54 Composed by
John La Montaine. Vocal.
Fredonia Press #FRD54.
Published by Fredonia
Press (AY.FRD54). ISBN
9790302115113. The
Nonsense Songs from
Mother Goose, Op. 19 for
mixed voices and piano
consists of seven songs:
In Islingen There Was a
Man, The Proposal, Rub a
Dub, Miniature
Biographies, Simple
Simon, Peter Piper, and
Merry Shall We Part and
Merry Meet Again. The
first performance took
place on May 6, 1973 at
the National Gallery of
Art, with the Georgetown
University Men's Chorus,
conducted by Paul Hume.
This product only
contains the fourth song
of the collection,
Miniature
Biographies. $6.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| God of Our Fathers Chorale SSATB SSATB, Piano [Octavo] Jackman Music Corporation
By George William Warren. Arranged by David Len Allen. For SSATB Choir. Medium D...(+)
By George William Warren.
Arranged by David Len
Allen. For SSATB Choir.
Medium Difficullt.
Duration 3:20
$1.70 $1.615 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| "ave, dulcissima maria" from regina coeli Chorale SATB [Set de Parties séparées] - Intermédiaire/avancé LudwigMasters Publications
Composed by George Frideric Handel (1685-1759). Set of Parts. Published by Ludwi...(+)
Composed by George
Frideric Handel
(1685-1759). Set of
Parts. Published by
LudwigMasters
Publications
(LG.10250103).
$2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Kaufman's Favorite 50 Celtic Reels for Mandolin, Tunes A-L Mandoline [Partition + CD] - Intermédiaire Mel Bay
By Steve Kaufman. For Mandolin. Solos. Celtic/Irish. Level: Intermediate. Book/C...(+)
By Steve Kaufman. For
Mandolin. Solos.
Celtic/Irish. Level:
Intermediate. Book/CD
Set. Size 8.5x11. 96
pages. Published by Mel
Bay Publications, Inc.
$22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| George Gershwin: George Gershwin At the Piano Piano seul [Partition] Alfred Publishing
Composed by George Gershwin (1898-1937), edited by Maurice Hinson. Collection fo...(+)
Composed by George
Gershwin (1898-1937),
edited by Maurice Hinson.
Collection for piano.
With introductory text.
52 pages. Published by
Alfred Publishing.
(3)$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| George Gershwin: The Complete Gershwin Preludes for Piano
Piano seul [Partition] - Intermédiaire Alfred Publishing
Composed by George Gershwin (1898-1937), edited by Alicia Zizzo. Collection for ...(+)
Composed by George
Gershwin (1898-1937),
edited by Alicia Zizzo.
Collection for solo
piano. 36 pages.
Published by Alfred
Publishing.
(3)$10.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Carolan: The Life Times And Music Of An Irish Harper Harpe [Partition] Ossian Publications
By Turlough O Carolan ; Donal O'sullivan. For Harp. Irish, Folk, Celtic. 380 pag...(+)
By Turlough O Carolan ;
Donal O'sullivan. For
Harp. Irish, Folk,
Celtic. 380 pages.
Published by Ossian
Publications.
$49.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ariane H 370 Barenreiter
Soloists, Male choir (TB), Orchestra (Soli,Orch) SKU: BA.BA10580-01 Compo...(+)
Soloists, Male choir
(TB), Orchestra
(Soli,Orch) SKU:
BA.BA10580-01
Composed by Bohuslav
Martinu. Edited by Robert
Simon. This edition:
complete edition, urtext
edition. Linen. The
Bohuslav Martinu Complete
Edition I/1/12. Complete
edition, Score. H 370.
Baerenreiter Verlag
#BA10580_01. Published by
Baerenreiter Verlag
(BA.BA10580-01). ISBN
9790260109070. 33.5 x
26.5 cm inches. Text
Language: French.
Preface: Simon, Robert.
Text: Martinu, Bohuslav
(nach Georges
Neveux). Martinu
composed the one-act
operaArianeover the
course of a single month,
in June 1958. He prepared
the libretto himself
according to his friend
Georges Neveux's playThe
Voyage of Theseus(1943).
Most of the text was
taken from the second and
third act, besides
Ariane's lamentation at
the beginning of the
fourth act, which he
adapted as a grand
coloratura aria within
the opera's
finale.
Soon after
its completion, in summer
1958, and hoping for a
world premiere at Milan's
La Scala, Martinu entered
the opera into a
composer's competition
organised by the Italian
publishing house Ricordi
to celebrate the 150th
anniversary of its
founding. When the
contest was called off,
Martinu offered the work
to Barenreiter in spring
1959. Both the full score
and the vocal score
(arranged by the
composer) were published
posthumously in 1960. The
premiere took place at
the municipal theatre in
Gelsenkirchen in
1961.
The main
source of this
scholarly-critical
edition is the autograph
score, while the vocal
parts are also based on
the autograph vocal score
as a referential source.
The Appendix offers the
original beginning of the
work with an entirely
different orchestration,
which is also reproduced
as a facsimile.
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
$402.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bob Dylan: The Songs Of Bob Dylan Piano, Voix et Guitare [Partition] - Intermédiaire Cherry Lane
Performed by Bob Dylan. For voice, piano and guitar chords. Format: piano/vocal/...(+)
Performed by Bob Dylan.
For voice, piano and
guitar chords. Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. Folk
rock. 382 pages. 9x12
inches. Published by
Cherry Lane Music.
(3)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| High Performance Flute - The Sequel Flûte traversière [Partition + CD] - Intermédiaire Mel Bay
Grade 5 onwards. Composed by Robert Winn. Flute, Fife and Oboe, Method. Book...(+)
Grade 5 onwards. Composed
by
Robert Winn. Flute, Fife
and
Oboe, Method. Book and
Insert
with CD. 168 pages.
Published
by Mel Bay Publications,
Inc
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Nouvelle Technique De La Contrebasse (livre Avec Dvd Al30608) Volume 4 (texte Contre Basse [Partition + DVD] Leduc, Alphonse
| | |
| Cello Repertoire Level 1 Violoncelle The Frederick Harris Music Company
Cello - Elementary SKU: FH.VC1 Cello Series, 2013 Edition. Compose...(+)
Cello - Elementary
SKU: FH.VC1
Cello Series, 2013
Edition. Composed by
The Royal Conservatory.
Cello Series, 2013
Edition. Book/CD. The
Frederick Harris Music
Company #VC1. Published
by The Frederick Harris
Music Company (FH.VC1).
ISBN
978-1-55440-537-4.
This inaugural edition of
the Cello Series offers a
sound and progressive
collection of Repertoire,
Recordings, Etudes,
Technique, and Orchestral
Excerpts for the aspiring
cellist. With an
expansive representation
of musical styles from
all eras, this series
addresses the need for a
single collection of
quality educational
materials to foster
musical development and
instill appreciation of
the richness and
diversity of music
written for cello.
Supporting a balanced
course of study, this
series organizes
repertoire into nine
volumes from the
Preparatory Level through
Level 8. Each level
offers music from a range
of styles and
compositional eras,
including standard
literature, new
arrangements of familiar
tunes, and music written
for cellists, by
cellists. These
selections provide the
flexibility to choose
pedagogically appropriate
material suited to each
individual, and to
motivate students to
fully develop their
musicianship and
technique. Baroque and
Classical
Repertoire: Menuet and
Trio, W.O 10, no. 3 -
Beethoven, Ludwig van
arr. Watson
Forbes Rondeau (from
The Fairy Queen) -
Purcell, Henry arr.
Watson
Forbes Sarabande -
Handel, George Frideric
arr. Jason
Noble Andante grazioso
- Mozart, Wolfgang
Amadeus arr. Jason
Gray Hornpipe a
l'Inglese - Galliard,
John Ernest arr.
Christine
Donkin Vittoria, mio
core! - Carissimi,
Giacomo arr. Christine
Donkin Traditional and
Romantic
Repertoire: Tambourin
- Rameau, Jean-Philippe
arr. Christine
Donkin All the Pretty
Little Horses - American
lullaby arr. Jason
Gray Barbara Allen -
British folk song arr.
Forrest Kinney Simple
Gifts - Brackett, Joseph
Jr. arr. Forrest
Kinney March (from The
Nutcracker) -
Tchaikovsky, Pyotr
Il'yich arr. Jason
Noble Londonderry Air
- Irish folk song arr.
Forrest
Kinney Repertoire
Composed After ca
1930: A Little Child's
Dance - Konicek,
Zdenek ...I Say
Ca-rib-'be-an - Birston,
Harold Sonata da
camera - Matz,
Rudolf - First
Movement: Adagio -
Fourth Movement: Allegro
vivace Grab the
Slippery Toad! - Lumsden,
Caroline and Ben
Attwood Hungarian
Stomp - Wedgwood,
Pam Budapesto -
Cheney, Carey Wild
West - Blackwell, David
and Kathy
Blackwell Livi's Blues
- Cheney, Elliott W. $30.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Novelette In Fourths Piano seul LudwigMasters Publications
Solo Piano SKU: AP.36-M388291 Composed by George Gershwin. Performance Mu...(+)
Solo Piano SKU:
AP.36-M388291
Composed by George
Gershwin. Performance
Music Ensemble; Solo
Piano. Ludwig Masters.
Score and Part(s).
LudwigMasters
Publications #36-M388291.
Published by
LudwigMasters
Publications
(AP.36-M388291). UPC:
660355184727.
English. Transcribe
d and edited by Richard
Dowling. First
Edition. As played
by George Gershwin on
Welte-Mignon Piano Roll
#3968, mid-1919.
Includes
biographical information
about the composer and
his relationship to the
player piano.
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. $4.95 - Voir plus => Acheter | | |
| Come, Ye Thankful People, Come (Choral Score) - Facile MorningStar Music Publishers
Congregation, descant, SATB choir, brass quartet, handbells (3 - Early Intermedi...(+)
Congregation, descant,
SATB choir, brass
quartet, handbells (3 -
Early Intermediate
SKU: MN.60-9940
Composed by Jeremy J.
Bankson. Thanksgiving,
21st Century,
Praise/Thanksgiving.
Choral score. MorningStar
Music Publishers
#60-9940. Published by
MorningStar Music
Publishers (MN.60-9940).
UPC: 688670699405.
English. This
concertato on ST.
GEORGE'S WINDSOR begins
with an introduction in
which the melody is set
against a jaunty
countermelody of dotted
rhythms, a motif which
recurs throughout the
piece. The first verse is
in unison, the second is
SATB and organ only, the
third gives the
countermelody to the
choir with handbells
accompanying. The fourth
verse is unison with
descant and fully
utilizes the brass
quartet and 3-5 octaves
of handbells. This is a
bold and joyful setting
of this tune which
highlights its fun side
rather than its usual
staid self!
$2.65 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Chants du Rhin for Trombone and Piano Trombone et Piano - Avancé Cherry Classics
Trombone and Piano - advanced SKU: CY.CC2718 Composed by Georges Bizet. A...(+)
Trombone and Piano -
advanced SKU:
CY.CC2718 Composed by
Georges Bizet. Arranged
by Ralph Sauer. 19th
Century French. Solo part
and Piano accompaniment.
Published by Cherry
Classics (CY.CC2718).
The Chants du
Rhin (Songs of the
Rhine), a cycle of six
pieces, based on poems by
Joseph Mery, were written
in 1865, and Bizet
performed two of them on
16 April 1866 at a soiree
of the Beaujolais
Philharmonic Society. The
songs are grouped
symmetrically around La
bohemienne as the central
piece, framed by two
meditatively yearning
pieces (in E and D flat
major) and two vividly
exuberant ones (similarly
in E and D flat major),
with L'aurore serving as
an
introduction.
In
this cycle Bizet takes up
the theme of the gypsy
girl which had already
entered European music in
the operas The Bohemian
Girl by the Irish
composer Michael William
Balfe and Verdi's Il
trovatore, as well as in
Franz Liszt's Hungarian
Rhapsodies for piano.
Bizet will return to it
one year later in La
jolie fille de Perth and
ten years later in
Carmen. The fourth piece
Les confidences shows
similarities in tonality,
structure and motifs to
the middle part of the
third movement of
Chopin's Sonata in B
minor. $27.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Chants du Rhin for Euphonium and Piano Euphonium, Piano (duo) - Avancé Cherry Classics
Euphonium and Piano - advanced SKU: CY.CC2722 Composed by Georges Bizet. ...(+)
Euphonium and Piano -
advanced SKU:
CY.CC2722 Composed by
Georges Bizet. Arranged
by Ralph Sauer. 19th
Century French. Solo part
and Piano accompaniment.
Published by Cherry
Classics (CY.CC2722).
The Chants du
Rhin (Songs of the
Rhine), a cycle of six
pieces, based on poems by
Joseph Mery, were written
in 1865, and Bizet
performed two of them on
16 April 1866 at a soiree
of the Beaujolais
Philharmonic Society. The
songs are grouped
symmetrically around La
bohemienne as the central
piece, framed by two
meditatively yearning
pieces (in E and D flat
major) and two vividly
exuberant ones (similarly
in E and D flat major),
with L'aurore serving as
an
introduction.
In
this cycle Bizet takes up
the theme of the gypsy
girl which had already
entered European music in
the operas The Bohemian
Girl by the Irish
composer Michael William
Balfe and Verdi's Il
trovatore, as well as in
Franz Liszt's Hungarian
Rhapsodies for piano.
Bizet will return to it
one year later in La
jolie fille de Perth and
ten years later in
Carmen. The fourth piece
Les confidences shows
similarities in tonality,
structure and motifs to
the middle part of the
third movement of
Chopin's Sonata in B
minor.
This
version includes parts in
B-flat treble clef as
well as bass clef. $27.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Flute Repertoire 5 Flûte traversière - Intermédiaire The Frederick Harris Music Company
Flute - Intermediate SKU: FH.FLR05 2010 Edition. Composed by The R...(+)
Flute - Intermediate
SKU: FH.FLR05
2010 Edition.
Composed by The Royal
Conservatory. Overtones:
A Comprehensive Flute
Series. Book/Piano
Accompaniment/CD. The
Frederick Harris Music
Company #FLR05. Published
by The Frederick Harris
Music Company (FH.FLR05).
ISBN
978-1-55440-293-9.
Unparalleled in scope,
Overtones offers all the
music flutists want in
one complete series! This
progressive collection
includes fundamental
repertoire and supporting
materials such as
Studies, Compact Discs,
Orchestral Excerpts, and
Technique. The richness
of music carefully
selected for this
compilation will resonate
with teachers and
students at every level
of study.This compilation
of standard orchestral
passages for flute is an
indispensable resource
for the developing years
and beyond. Teachers and
students will find this
unrivalled volume
essential for examination
or audition
preparation. Sonata in
F Major, op. 1, no. 11,
HWV 369, First movement
and Second movement
George Frideric Handel,
arr. Kathleen Wood
Sonata in D Major,
op. 21, no. 1, Second
movement Franz Anton
Hoffmeister, arr.
Kathleen Wood Sonata
in F Major, op. 1, no. 4,
First movement and Second
movement Jean-Baptiste
Loeillet (de Gant), arr.
Kathleen Wood Sonata
in F Major, TWV41:F2,
First movement and Second
movement Georg Philipp
Telemann, arr. Kathleen
Wood Sicilienne, op.
78 Gabriel Faure
Sonatina, First
movement and Second
movement Endre
Szervanszky I
conversed with you in a
dream, Fourth movement
Jocelyn
Morlock Seguidilla,
from Carmen Georges
Bizet, arr. Stephen
Chatman Lawn Tennis
Wilhelm Peterson-Berger,
arr. Goeran
Marcusson Capriccio-So
nata in A Major, Second
movement Anton Johann
Stamitz Echoes for
Solo Flute, Second
movement: Espressivo Maya
Badian Petite suite
pour flute, First
movement and Second
movement Srul Irving
Glick.
About
Overtones
Unparalleled in scope,
Overtones offers all the
music flutists want in
one complete series! This
progressive collection
includes fundamental
Repertoire and supporting
materials such as Etudes,
Compact Discs, Orchestral
Excerpts, and Technique.
The richness of music
carefully selected for
this compilation will
resonate with teachers
and students at every
level of study and is the
official series for those
using The Royal
Conservatory Music
Development program. $35.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Studies for Rhythm - Volume 4 Leduc, Alphonse
SKU: HL.48180798 Composed by Georges Dandelot. Leduc. Classical. Softcove...(+)
SKU: HL.48180798
Composed by Georges
Dandelot. Leduc.
Classical. Softcover. 27
pages. Alphonse Leduc
#AL19263. Published by
Alphonse Leduc
(HL.48180798). UPC:
888680852580.
7.0x10.5x0.143
inches. Etude du
Rythme is an educational
tool proposed by Georges
Dandelot (1895-1975), a
French composer, agreeing
with the concept that
rhythm is the foundation
on which melody and
harmony are then layered.
It was conceived to
progressively teach
musicians how to deal
with complicated rhythms
such as those used by
Bartok or Ravel. This
volume is the fourth out
of five composing a
step-by-step method to
learn and master rhythm
in music. It follows on
the knowledge acquired in
the three first volumes
and uses complex
combinations of rhythms
and melody with binary
and tertiary tempos. $14.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| How Excellent Your Name, O Lord Chorale 2 parties 2 parties, Piano [Octavo] Laurendale Associates
Composed by George Frideric Handel (1685-1759). Arranged by Robert Van Howten. F...(+)
Composed by George
Frideric Handel
(1685-1759). Arranged by
Robert Van Howten. For
2-part mixed voices,
organ or piano, optional
B-flat trumpet. General.
Medium. Octavo. Duration
2 minutes, 15 seconds.
Published by Laurendale
Associates
$2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Carol: Kings and Shepherds Chorale SATB - Intermédiaire/avancé Schott
Choral (SATB) - intermediate to advanced SKU: HL.49017917 Text From Ch...(+)
Choral (SATB) -
intermediate to advanced
SKU: HL.49017917
Text From Christmas
Poem by George Mackay
Brown. Composed by
Sir Peter Maxwell Davies.
This edition: Saddle
stitching. Sheet music.
Choral. Christmas,
Classical. Choral score.
Composed 2008. 8 pages.
Duration 3'. Schott Music
#ED13283. Published by
Schott Music
(HL.49017917). ISBN
9790220131325. UPC:
884088601836.
8.25x11.75x0.05 inches.
English. As Master
of the Queens Music, Sir
Peter Maxwell Davies has
written a new carol for
Her Majesty the Queen
each Christmas since his
appointment began in
2004. Kings and Shepherds
is the fourth and like An
Heavenly Song, Wonder
Tidings and The Yule-tide
Bell, will be published
as part of the Schott
Royal Collection.Written
for the 2008 Christmas
service and performed in
the Ballroom of
Buckingham Palace, Kings
and Shepherds is a short
traditional setting of
Christmas Poem by George
Mackey Brown, a poet who
lived near to Maxwell
Davies on the Orkney
Islands. A wonderful
addition to the carol
repertoire and ideal for
amateur choirs looking to
programme new pieces. $6.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Patriotic Salute (the Yankee Doodle Boy/you're A Grand Old Flag)/sab Chorale 3 parties SAB [Octavo] - Intermédiaire Alfred Publishing
For choir. Choral/Vocal (Choral Performance Music). Level: Level 3. Published by...(+)
For choir. Choral/Vocal
(Choral Performance
Music). Level: Level 3.
Published by Alfred
Publishing. (18651)
6-PACK includes six
original copies of this
piece.
$2.95 $2.8025 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Patriotic Salute (the Yankee Doodle Boy/you're A Grand Old Flag)/2-part (6-PACK) Chorale 2 parties 2 parties [Octavo] - Facile Alfred Publishing
For choir. Choral/Vocal (Choral Performance Music). Level: Level 2. Published by...(+)
For choir. Choral/Vocal
(Choral Performance
Music). Level: Level 2.
Published by Alfred
Publishing. (18652)
6-PACK includes six
original copies of this
piece.
$2.95 $2.8025 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Handel's Christmas Messiah: A Cantata - Satb Choral Score Chorale SATB SATB, Piano [Vocal Score] Alfred Publishing
Handel's Christmas Messiah: A Cantata by George Frideric Handel (1685-1759). Arr...(+)
Handel's Christmas
Messiah: A Cantata by
George Frideric Handel
(1685-1759). Arranged by
Hal H. Hopson. Choir
Sacred. SATB choir.
Choral (Sacred); Choral
Worship Cantata; Larger
Works; Masterworks;
Worship Resources.
Choral, Masterwork;
Sacred, Christmas. Choral
Score. 56 pages.
Published by Alfred Music
Publishing
$8.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Gershwin: Complete Works for Solo Piano
Piano seul [Partition] - Intermédiaire/avancé Alfred Publishing
By George Gershwin. Edited by Maurice Hinson. For Piano. Piano Collection. Alfre...(+)
By George Gershwin.
Edited by Maurice Hinson.
For Piano. Piano
Collection. Alfred
Masterwork Edition. Jazz;
Masterwork. Level: Early
Advanced / Advanced.
Book. 136 pages.
Published by Alfred
Publishing.
(2)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hallelujah Chorus (from Messiah) Piano seul - Facile Alfred Publishing
By George Frideric Handel (1685-1759). Arranged by Tom Gerou. For Piano. Masterw...(+)
By George Frideric Handel
(1685-1759). Arranged by
Tom Gerou. For Piano.
Masterworks; Piano Solo;
Sheet; Solo. Christmas;
Masterwork Arrangement;
Sacred; Winter. Late
Elementary. 4 pages.
Published by Alfred Music
Publishing
$3.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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