| 900 Series Sound Edge Hi-Hat Hal Leonard
SKU: HL.3710403 14-inches. Paiste Cymbals. General Merchandise. Ha...(+)
SKU: HL.3710403
14-inches. Paiste
Cymbals. General
Merchandise. Hal Leonard
#1903114. Published by
Hal Leonard (HL.3710403).
UPC: 697643114166.
14.0x14.0x0.043
inches. Series
Description: The 900
Series is crafted from
2002 Bronze, with its
legendary warmth,
brilliance and strength.
In sophisticated hybrid
manufacturing the cymbals
are refined by Swiss
craftsmanship with hand
hammering and lathing. A
special finish slightly
darkens the cymbals and
amplifies the lathing
grooves and hammer marks
for a spectacular
appearance that fuses
roughness and elegance.
The 900 Series sets the
new standard for advanced
sound at a reasonable
investment. Size:
14-inches Weight: medium
top/medium heavy bottom
Volume: medium to loud
Stick Sound: crisp
Intensity: lively
Sustain: medium long
Chick Sound: bright,
sharp Sound Character:
Bright, crisp, sharp.
Wide range, clean mix.
Very responsive feel.
Crisp stick sound,
energetic open sound.
Bright, defined chick.
Cutting hi-hats for
precise playing in
wide-ranging styles. $250.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Take Him, Earth Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.342402020 In Memoriam John F. Kennedy...(+)
Choral SATB choir, piano
SKU: PR.342402020
In Memoriam John F.
Kennedy, 1917-1963.
Composed by Steven
Stucky. Sws. Premiered by
ACDA National Conference,
Craig Jessop, cond.;
Meyerson Symphony Center,
Dallas, TX. Secular
choral. Performance
Score. With Standard
notation. Composed
November 3 2012. 24
pages. Duration 13
minutes. Theodore Presser
Company #342-40202.
Published by Theodore
Presser Company
(PR.342402020). ISBN
9781598064995. UPC:
680160616084. 8.5 x 11
inches. English. Text:
William Shakespeare;
Aurelius Prudentius
Clemens; Aeschylus.
Aurelius Clemens, William
Shakespeare, Aeschylus.
Texts from Aurelius
Prudentius Clemens,
Aeschylus, and William
Shakespeare. When
Tim Sharp, Executive
Director of the ACDA,
offered Stucky the Brock
Memorial Commission, it
was decided that the text
would commemorate the
50th anniversary of the
assassination of John F.
Kennedy, since the annual
convention would take
place in Dallas of that
year. To that end, Stucky
chose four different but
pertinent texts to honor
the occasion, although
never referencing JFK by
name. Take Him, Earth was
premiered at the ACDA
convention in March,
2013. Originally scored
for chorus and chamber
ensemble of nine
instruments (available on
a rental basis), Take
Him, Earth is presented
here in piano reduction.
For advanced choirs.
Duration: 13'. When
Tim Sharp, Executive
Director of the American
Choral Directors
Association, very
kindlyoffered me the
Raymond W. Brock Memorial
Commission for 2013, he
suggested that because
thepremiere would take
place at the national
conference in Dallas in
the 50th year since the
assassinationof John F.
Kennedy in that city, the
text might refer in some
way to that grim
anniversary. Hesuggested,
too, that I consider
using a chamber ensemble
or chamber orchestra to
accompany thechorus.I
took these suggestions to
heart, but at the same
time I wanted to write
something universal
enoughto be appropriate
on other occasions, in
other settings. Thus the
score is dedicated to
PresidentKennedy’s
memory, but otherwise he
is never referred to by
name. Instead, I
assembled a group oftexts
that are associated with
him in some way, but that
also stand alone as a
more general eulogy.As a
refrain, there are a few
lines from the early
Christian burial hymn
that begins “Take
him,Earth, for
cherishingâ€
— lines that were
earlier set to music by
Herbert Howells in his
classic motetcommissioned
for Kennedy’s
memorial service in 1963.
The lines of Aeschylus
“Drop, drop
— inour sleep,
upon the heart sorrow
falls†from
Agamemnon were quoted by
Robert F. Kennedy uponthe
death of Martin Luther
King in April 1968. The
celebrated “When he
shall die, cut him out
inlittle starsâ€
from Act III of
Shakespeare’s
Romeo and Juliet was
cited by RFK a few months
after hisbrother’s
murder. $4.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Classics for the Developing Pianist, Study Guide Piano seul Alfred Publishing
Book 4. Study Guide for Preparation, Practice and Performance. Composed by Ph...(+)
Book 4. Study Guide for
Preparation, Practice and
Performance. Composed by
Phyllis Alpert Lehrer and
Ingrid Jacobson
Clarfield.
Graded Standard
Repertoire;
Masterworks; Piano
Collection. Classics for
the
Developing Pianist.
Masterwork. Book. Alfred
Music #00-48591.
Published
by Alfred Music
$10.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Flute Studies 5-8 Flûte traversière - Intermédiaire The Frederick Harris Music Company
Flute - Intermediate to Early Advanced SKU: FH.FLS02 2010 Edition....(+)
Flute - Intermediate to
Early Advanced SKU:
FH.FLS02 2010
Edition. Composed by
The Royal Conservatory.
Overtones: A
Comprehensive Flute
Series. Book/CD. The
Frederick Harris Music
Company #FLS02. Published
by The Frederick Harris
Music Company (FH.FLS02).
ISBN
978-1-55440-298-4.
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. Caprice
in D Major, op. 37, no. 5
Karl Joachim
Andersen Study in G
sharp Minor Heinrich
Soussmann Study in C
Major, op. 88, no. 3
Giuseppe
Gariboldi Ringing the
Changes James
Rae Study in G Major
Harald
Genzmer Bulgarian
Bounce Allen
Vizzutti Caprice in G
Major, op. 37, no. 3 Karl
Joachim Andersen Study
in C Minor Louis
Drouet Study in C
Minor, op. 88, no. 20
Giuseppe
Gariboldi Consolation,
op. 66, no. 4 Ernesto
Koehler Study in F
Major Harald
Genzmer Imaginings
Oliver
Ledbury Tarantella
Allen Vizzutti Ocean
Tide Hilary
Taggart Exercise in A
Minor, op. 33, no. 2 Karl
Joachim Andersen Study
in B Minor Louis
Drouet Farewell, op.
66, no. 13 Ernesto
Koehler Study in G
Minor Antoine (Benoit)
Tranquille Berbiguier
Chilli con salsa Mike
Mower Study in B flat
Minor Russell
Stokes Study No. 4
Francois Veilhan
Exercise in C Minor,
op. 33, no. 20 Karl
Joachim Andersen Study
in D Minor Antoine
(Benoit) Tranquille
Berbiguier Study in D
sharp Minor Louis
Drouet Zig-Zag, op.
66, no. 8 Ernesto
Koehler Tango-etude
No. 4 Astor
Piazzolla Sidewalk
Hilary Taggart Study
No. 5 Endre
Szervanszky.
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. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mount Rockmore Orchestre d'harmonie [Conducteur] - Débutant FJH
Concert Band Concert Band - Grade 1.5 SKU: FJ.B1382S Score Only. A...(+)
Concert Band Concert Band
- Grade 1.5 SKU:
FJ.B1382S Score
Only. Arranged by
Chris Sharp. Concert
Band. FJH Developing
Band. Light Concert;
Novelty; Patriotic; Rock.
Score. Duration 1:30. The
FJH Music Company Inc
#98-B1382S. Published by
The FJH Music Company Inc
(FJ.B1382S).
English. As its
title suggests, this fun
chart combines rock and
Americana in an
arrangement that is sure
to have your entire
audience bursting out of
their seats! Chris Sharp
combines Stars and
Stripes Forever and
America with hints of
other patriotic tunes
while energizing the
entire work with a rock
groove. Lots of fun and a
huge crowd pleaser!
About FJH
Developing
Band Sligh
tly more advanced than
beginning band. Clarinet
1 begins to play over the
break. Rhythms and ranges
are expanded to
accommodate the end of
first-year as well as
second-year instruction.
Grade 1.5 $5.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mount Rockmore Orchestre d'harmonie - Débutant FJH
Concert Band Concert Band - Grade 1.5 SKU: FJ.B1382 Arranged by Chris Sha...(+)
Concert Band Concert Band
- Grade 1.5 SKU:
FJ.B1382 Arranged by
Chris Sharp. Concert
Band. FJH Developing
Band. Light Concert;
Novelty; Patriotic; Rock.
Score and Part(s).
Duration 1:30. The FJH
Music Company Inc
#98-B1382. Published by
The FJH Music Company Inc
(FJ.B1382). UPC:
674398224029.
English. As its
title suggests, this fun
chart combines rock and
Americana in an
arrangement that is sure
to have your entire
audience bursting out of
their seats! Chris Sharp
combines Stars and
Stripes Forever and
America with hints of
other patriotic tunes
while energizing the
entire work with a rock
groove. Lots of fun and a
huge crowd pleaser!
About FJH
Developing
Band Sligh
tly more advanced than
beginning band. Clarinet
1 begins to play over the
break. Rhythms and ranges
are expanded to
accommodate the end of
first-year as well as
second-year instruction.
Grade 1.5 $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Scriabin : Impromptus a la mazur, Op. 7 Piano seul - Avancé Forberg
For Piano. Composed by Alexander Scriabin (1872- 1915). Piano Solo. Classic...(+)
For Piano. Composed by
Alexander Scriabin
(1872-
1915). Piano Solo.
Classical. Softcover. 16
pages. Forberg Edition
#F95079. Published by
Forberg Edition
$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Windermere Overture Orchestre d'harmonie [Conducteur] - Débutant FJH
Concert Band Concert Band - Grade 1.5 SKU: FJ.B1235S Score Only. C...(+)
Concert Band Concert Band
- Grade 1.5 SKU:
FJ.B1235S Score
Only. Composed by
Chris Sharp. Arranged by
Chris Sharp. Concert
Band. FJH Developing
Band. Score. Duration
2:28. The FJH Music
Company Inc #98-B1235S.
Published by The FJH
Music Company Inc
(FJ.B1235S).
English. Winderm
ere Overture captures the
grandeur of the largest
lake in England by the
same name. The short
introduction quickly
builds to the stately
theme of the work. The
middle section, while at
the same tempo, explores
a lighter texture and is
generally orchestrated by
instrument family. As the
changing timbres continue
to develop, the main
theme returns, bringing
the piece to a triumphant
ending. A great overture
that is easy to put
together!
About FJH
Developing
Band Sligh
tly more advanced than
beginning band. Clarinet
1 begins to play over the
break. Rhythms and ranges
are expanded to
accommodate the end of
first-year as well as
second-year instruction.
Grade 1.5 $6.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Essentials of Music Theory -- Software, Version 3 Network Version, Complete Volume Théorie de la musique Alfred Publishing
(For 5 usersâ??$40 each additional user). By Andrew Surmani, Karen Farnum Surma...(+)
(For 5 usersâ??$40 each
additional user). By
Andrew Surmani, Karen
Farnum Surmani, and
Morton Manus. Reference
Textbooks; Software;
Textbook - General;
Theory. Essentials of
Music Theory. Published
by Alfred Music
Publishing
$599.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gustave Vogt's Musical Album of Autographs Cor anglais, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe SKU:
CF.WF229 15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229). ISBN
9781491153789. UPC:
680160911288. Intro
duction Gustave Vogt's
Musical Paris Gustave
Vogt (1781-1870) was born
into the Age of
Enlightenment, at the
apex of the
Enlightenment's outreach.
During his lifetime he
would observe its effect
on the world. Over the
course of his life he
lived through many
changes in musical style.
When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the grandfather of the
modern oboe and the
premier oboist of Europe.
Through his eighty-nine
years, Vogt would live
through what was perhaps
the most turbulent period
of French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
System Six Triebert oboe
(the instrument adopted
by Conservatoire
professor, Georges
Gillet, in 1882) was only
five years from being
developed. Vogt was born
March 18, 1781 in the
ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school's first
oboe professor,
Alexandre-Antoine
Sallantin (1775-1830).
Vogt's relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed repetiteur,
which involved teaching
the younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school's history. During
his tenure, he became the
most influential oboist
in France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799-1839), Apollon
Marie-Rose Barret
(1804-1879), Charles
Triebert (1810-1867),
Stanislas Verroust
(1814-1863), and Charles
Colin (1832-1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854-1920), and then to
Marcel Tabuteau
(1887-1966), the oboist
Americans lovingly
describe as the father of
American oboe playing.
Opera was an important
part of Vogt's life. His
first performing position
was with the
Theatre-Montansier while
he was still studying at
the Conservatoire.
Shortly after, he moved
to the Ambigu-Comique
and, in 1801 was
appointed as first oboist
with the Theatre-Italien
in Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opera-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opera, the
top orchestra in Paris at
the time. He played with
the Paris Opera until
1834, all the while
bringing in his current
and past students to fill
out the section. In this
position, he began to
make a name for himself;
so much so that specific
performances were
immortalized in memoirs
and letters. One comes
from a young Hector
Berlioz (1803-1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opera's performance of
Mehul's Stratonice and
Persuis' ballet Nina. It
was in response to the
song Quand le bien-amie
reviendra that Berlioz
wrote: I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt's instrument...
Shortly after this,
Berlioz gave up studying
medicine and focused on
music. Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini's (1760-1842)
Ave Maria, with soprano
Anna (Nanette) Schechner
(1806-1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opera. He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artot (1815-1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having lost none of his
superiority over the
oboe.... It's always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to Vogt's oboe.
Vogt was also active
performing in Paris as a
chamber and orchestral
musician. He was one of
the founding members of
the Societe des Concerts
du Conservatoire, a group
established in 1828 by
violinist and conductor
Francois-Antoine Habeneck
(1781-1849). The group
featured faculty and
students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770-1836). After his
retirement from the Opera
in 1834 and from the
Societe des Concerts du
Conservatoire in 1842,
Vogt began to slow down.
His final known
performance was of
Cherubini's Ave Maria on
English horn with tenor
Alexis Dupont (1796-1874)
in 1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of Autographs.
Autograph Albums Vogt's
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death. As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492-1550), a collection
of 212 Latin emblem
poems. In 1558, the first
book conceived for the
purpose of the album
amicorum was published by
Lyon de Tournes
(1504-1564) called the
Thesaurus Amicorum. These
books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans. The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbucher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music. This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his grand tour through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his most valuable
contribution came from
Beethoven in 1815.
Spohr's Notenstammbuch,
comprised only of musical
entries, is
groundbreaking because it
was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbucher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later. Vogt's Musical
Album of Autographs
Vogt's Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod's (1818-1893)
Faust, which premiered in
1859, was submitted.
Within this album we find
sixty-two entries from
musicians whom he must
have known very well
because they were
colleagues at the
Conservatoire, or
composers of opera whose
works he was performing
with the Paris Opera.
Other entries came from
performers with whom he
had performed and some
who were simply passing
through Paris, such as
Joseph Joachim
(1831-1907). Of the
sixty-three total
entries, some are
original, unpublished
works, while others came
from well-known existing
works. Nineteen of these
works are for solo piano,
sixteen utilize the oboe
or English horn, thirteen
feature the voice (in
many different
combinations, including
vocal solos with piano,
and small choral settings
up to one with double
choir), two feature
violin as a solo
instrument, and one even
features the now obscure
ophicleide. The
connections among the
sixty-two contributors to
Vogt's album are
virtually never-ending.
All were acquainted with
Vogt in some capacity,
from long-time
friendships to
relationships that were
created when Vogt
requested their entry.
Thus, while Vogt is the
person who is central to
each of these musicians,
the web can be greatly
expanded. In general, the
connections are centered
around the Conservatoire,
teacher lineages, the
Opera, and performing
circles. The
relationships between all
the contributors in the
album parallel the
current musical world, as
many of these kinds of
relationships still
exist, and permit us to
fantasize who might be
found in an album created
today by a musician of
the same standing. Also
important, is what sort
of entries the
contributors chose to
pen. The sixty-three
entries are varied, but
can be divided into
published and unpublished
works. Within the
published works, we find
opera excerpts, symphony
excerpts, mass excerpts,
and canons, while the
unpublished works include
music for solo piano,
oboe or English horn,
string instruments
(violin and cello), and
voice (voice with piano
and choral). The music
for oboe and English horn
works largely belong in
the unpublished works of
the album. These entries
were most likely written
to honor Vogt. Seven are
for oboe and piano and
were contributed by
Joseph Joachim, Pauline
Garcia Viardot
(1821-1910), Joseph
Artot, Anton Bohrer
(1783-1852), Georges
Onslow (1784-1853),
Desire Beaulieu
(1791-1863), and Narcisse
Girard (1797-1860). The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work, which he even
included in his
signature. Two composers
contributed pieces for
English horn and piano,
and like the previous
oboe entries, are simple
and repetitive. These
were written by Michele
Carafa (1787-1872) and
Louis Clapisson
(1808-1866). There are
two other entries that
were unpublished works
and are chamber music.
One is an oboe trio by
Jacques Halevy
(1799-1862) and the other
is for oboe and strings
(string trio) by J. B.
Cramer (1771-1858). There
are five published works
in the album for oboe and
English horn. There are
three from operas and the
other two from symphonic
works. Ambroise Thomas
(1811-1896) contributed
an excerpt from the
Entr'acte of his opera La
Guerillero, and was
likely chosen because the
oboe was featured at this
moment. Hippolyte Chelard
(1789-1861) also chose to
honor Vogt by writing for
English horn. His entry,
for English horn and
piano, is taken from his
biggest success, Macbeth.
The English horn part was
actually taken from Lady
Macbeth's solo in the
sleepwalking scene.
Vogt's own entry also
falls into this category,
as he entered an excerpt
from Donizetti's Maria di
Rohan. The excerpt he
chose is a duet between
soprano and English horn.
There are two entries
featuring oboe that are
excerpted from symphonic
repertoire. One is a
familiar oboe melody from
Beethoven's Pastoral
Symphony entered by his
first biographer, Anton
Schindler (1796-1864).
The other is an excerpt
from Berlioz's choral
symphony, Romeo et
Juliette. He entered an
oboe solo from the Grand
Fete section of the
piece. Pedagogical
benefit All of these
works are lovely, and fit
within the album
wonderfully, but these
works also are great oboe
and English horn music
for young students. The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work in the piano. This
repetitive structure is
beneficial for young
students for searching
for a short solo to
present at a studio
recital, or simply to
learn. They also work
many technical issues a
young player may
encounter, such as
mastering the rolling
finger to uncover and
recover the half hole.
This is true of Bealieu's
Pensee as well as
Onslow's Andantino.
Berlioz's entry from
Romeo et Juliette
features very long
phrases, which helps with
endurance and helps keep
the air spinning through
the oboe. Some of the
pieces also use various
levels of ornamentation,
from trills to grace
notes, and short
cadenzas. This allows the
student to learn
appropriate ways to
phrase with these added
notes. The chamber music
is a valuable way to
start younger students
with chamber music,
especially the short
quartet by Cramer for
oboe and string trio. All
of these pieces will not
tax the student to learn
a work that is more
advanced, as well as give
them a full piece that
they can work on from
beginning to end in a
couple weeks, instead of
months. Editorial Policy
The works found in this
edition are based on the
manuscript housed at the
Morgan Library in New
York City (call number
Cary 348, V886. A3). When
possible, published
scores were consulted and
compared to clarify pitch
and text. The general
difficulties in creating
an edition of these works
stem from entries that
appear to be hastily
written, and thus omit
complete articulations
and dynamic indications
for all passages and
parts. The manuscript has
been modernized into a
performance edition. The
score order from the
manuscript has been
retained. If an entry
also exists in a
published work, and this
was not indicated on the
manuscript, appropriate
titles and subtitles have
been added tacitly. For
entries that were
untitled, the beginning
tempo marking or
expressive directive has
been added as its title
tacitly. Part names have
been changed from the
original language to
English. If no part name
was present, it was added
tacitly. All scores are
transposing where
applicable. Measure
numbers have been added
at the beginning of every
system. Written
directives have been
retained in the original
language and are placed
relative to where they
appear in the manuscript.
Tempo markings from the
manuscript have been
retained, even if they
were abbreviated, i.e.,
Andte. The barlines,
braces, brackets, and
clefs are modernized. The
beaming and stem
direction has been
modernized. Key
signatures have been
modernized as some of the
flats/sharps do not
appear on the correct
lines or spaces. Time
signatures have been
modernized. In a few
cases, when a time
signature was missing in
the manuscript, it has
been added tacitly.
Triplet and rhythmic
groupings have been
modernized. Slurs, ties,
and articulations
(staccato and accent)
have been modernized.
Slurs, ties, and
articulations have been
added to parallel
passages tacitly.
Courtesy accidentals
found in the manuscript
have been removed, unless
it appeared to be helpful
to the performer. Dynamic
indications from the
manuscript have been
retained, except where
noted. --Kristin
Leitterman. Introducti
onGustave Vogt’s
Musical ParisGustave Vogt
(1781–1870) was
born into the “Age
of Enlightenment,â€
at the apex of the
Enlightenment’s
outreach. During his
lifetime he would observe
its effect on the world.
Over the course of his
life he lived through
many changes in musical
style. When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the “grandfather
of the modern oboeâ€
and the “premier
oboist of
Europe.â€Through his
eighty-nine years, Vogt
would live through what
was perhaps the most
turbulent period of
French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
“System Sixâ€
Triébert oboe (the
instrument adopted by
Conservatoire professor,
Georges Gillet, in 1882)
was only five years from
being developed.Vogt was
born March 18, 1781 in
the ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school’s
first oboe professor,
Alexandre-Antoine
Sallantin
(1775–1830).Vogtâ
€™s relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed
répétiteur, which
involved teaching the
younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school’s history.
During his tenure, he
became the most
influential oboist in
France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799–1839),
Apollon Marie-Rose Barret
(1804–1879),
Charles Triebert
(1810–1867),
Stanislas Verroust
(1814–1863), and
Charles Colin
(1832–1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854–1920), and
then to Marcel Tabuteau
(1887–1966), the
oboist Americans lovingly
describe as the
“father of American
oboe playing.â€Opera
was an important part of
Vogt’s life. His
first performing position
was with the
Théâtre-Montansier
while he was still
studying at the
Conservatoire. Shortly
after, he moved to the
Ambigu-Comique and, in
1801 was appointed as
first oboist with the
Théâtre-Italien in
Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opéra-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opéra,
the top orchestra in
Paris at the time. He
played with the Paris
Opéra until 1834, all
the while bringing in his
current and past students
to fill out the section.
In this position, he
began to make a name for
himself; so much so that
specific performances
were immortalized in
memoirs and letters. One
comes from a young Hector
Berlioz
(1803–1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opéra’s
performance of
Mehul’s Stratonice
and Persuis’
ballet Nina. It was in
response to the song
Quand le bien-amié
reviendra that Berlioz
wrote: “I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt’s
instrument…â€
Shortly after this,
Berlioz gave up studying
medicine and focused on
music.Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini’s
(1760–1842) Ave
Maria, with soprano Anna
(Nanette) Schechner
(1806–1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opéra.He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artôt
(1815–1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having “lost none
of his superiority over
the oboe….
It’s always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to
Vogt’s
oboe.â€Vogt was also
active performing in
Paris as a chamber and
orchestral musician. He
was one of the founding
members of the
Société des
Concerts du
Conservatoire, a group
established in 1828 by
violinist and conductor
François-Antoine
Habeneck
(1781–1849). The
group featured faculty
and students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770–1836).After
his retirement from the
Opéra in 1834 and from
the Société des
Concerts du Conservatoire
in 1842, Vogt began to
slow down. His final
known performance was of
Cherubini’s Ave
Maria on English horn
with tenor Alexis Dupont
(1796–1874) in
1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of
Autographs.Autograph
AlbumsVogt’s
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death.As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492–1550), a
collection of 212 Latin
emblem poems. In 1558,
the first book conceived
for the purpose of the
album amicorum was
published by Lyon de
Tournes
(1504–1564) called
the Thesaurus Amicorum.
These books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans.The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbücher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music.This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his “grand
tour†through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his “most valuable
contribution†came
from Beethoven in 1815.
Spohr’s
Notenstammbuch, comprised
only of musical entries,
is groundbreaking because
it was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbücher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later.Vogt’s
Musical Album of
AutographsVogt’s
Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod’s
(1818–1893) Faust,
which premiered in 1859,
was submitted.Within this
album ... $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concert Solo No. 6, Op. 82 - Les Classiques de la Flute No. 74 Flûte traversière et Piano Leduc, Alphonse
For Flute and Piano. Composed by Jules Edouard Demerssema. Leduc. Classical. S...(+)
For Flute and Piano.
Composed
by Jules Edouard
Demerssema.
Leduc. Classical.
Softcover.
24 pages. Alphonse Leduc
#AL19484. Published by
Alphonse Leduc
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| Elegiac Melodies Op 34 [Conducteur et Parties séparées] Forton Music
Clarinet ensemble 4 Bb clarinets, alto and bass clarinet (4 Bb clarinets, alto c...(+)
Clarinet ensemble 4 Bb
clarinets, alto and bass
clarinet (4 Bb clarinets,
alto clarinet and bass
clarinet) -
Intermediate-Advanced
SKU: FT.FM008
Composed by Edvard Grieg.
Arranged by Robert
Rainford. Score and
parts. Forton Music
#FM008. Published by
Forton Music (FT.FM008).
ISBN
9790708085072. Clar
inet Ensemble Eb
clarinet, 4 Bb clarinets,
Alto clarinet (or Bb
clarinet), Bass clarinet
(or Alto clarinet),
Contrabass clarinet (or
Bass/Contra-alto
clarinet) Two movements,
Allegretto Expressivo and
Andante. These are larger
scale arrangements
allowing other members of
the clarinet family to
shine. The first movement
features a long bass
clarinet solo, whilst the
second movement features
the Eb clarinet more.
Slower tempi, but more
complicated notes; double
sharps feature in one
section of the second
movement. All clarinet
parts cross the break.
About grade 5-8
standard. $32.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Le Solfege Des Violinistes (violin Solo) Violon Leduc, Alphonse
Violin (Violin) SKU: HL.48185819 Composed by Amé, lie Oliviero-Dena...(+)
Violin (Violin) SKU:
HL.48185819 Composed
by Amé, lie
Oliviero-Denaë, and
s. Leduc. Classical.
Softcover. Alphonse Leduc
#AL29555. Published by
Alphonse Leduc
(HL.48185819).
Amelie
Oliviero-Denaes studied
at the Paris
Conservatoire where she
won First Prize for Music
Theory. As an advanced
violinist herself,
Oliviero-Denaes'
Violinist's Music Theory
is very well-informed.
Oliviero-Denaes'
Violinist's Music Theory
is described as the
'simultaneous learning of
Theory and Violin'.
Violinist's Music Theory
addresses the stave,
clefs, the 4 strings of
the Violin, note names
and values, time
signatures, sharps and
flats, rests, scales and
tones, and intervals,
among other aspects. For
all beginner violinists,
Oliviero-Denaes'
Violinist's Music Theory
ensures a high standard
of understanding and
progression.. $25.80 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Theory Notebook Complete Piano seul [Livre] Santorella Publications
Composed by John Brimhall. For Piano. Paperback. Instructional, Method. Book. 11...(+)
Composed by John
Brimhall. For Piano.
Paperback. Instructional,
Method. Book. 112 pages.
Published by Santorella
Publications
$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concert Studies Volume 1 for Trombone Trombone - Avancé Cherry Classics
Trombone - advanced SKU: CY.CC2905 Composed by Ludwig Milde. Arranged by ...(+)
Trombone - advanced
SKU: CY.CC2905
Composed by Ludwig Milde.
Arranged by Ralph Sauer.
Studies. Romantic. Coil
booklet. Published by
Cherry Classics
(CY.CC2905).
Ralph Sauer has
beautifully edited Volume
I of the Milde Concert
Studies. They will add
much to the Trombone
study/etude literature.
We look forward to many
performers using these
valuable studies to
improve their technique
and
musicianship. Origina
lly written for the
bassoon, these studies
were favorites of the
great trombone teacher,
Emory Remington
(1891-1971). While
perhaps not
“concertÃ
¢â‚¬Â material,
they provide much more
musical interest than the
typical etude book.bBr
/>I have added dynamics
and changed phrasings to
be more suitable for the
trombone while keeping
the wide tessitura and
the many clef changes of
the original. Alternate
positions are included to
make the music more
fluid. I have not
indicated whether an
alternate position is to
be played slightly higher
or lower. The trombonist
should know what
adjustments are needed,
and adding the small
sharps or flats would
only clutter the
notation. These
enjoyable and challenging
studies will provide many
hours of pleasurable
practice. I have returned
to these two volumes
often over the years and
hope that you will also
find them useful and
rewarding. Ralph
Sauer. $32.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 78 Studies for Tuba Tuba Leduc, Alphonse
Music for Brass No. 288. Composed by Boris Grigoriev. Robert King. Etude, Cla...(+)
Music for Brass No. 288.
Composed by Boris
Grigoriev.
Robert King. Etude,
Classical. Softcover. 72
pages. Alphonse Leduc
#AL28611. Published by
Alphonse Leduc
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| 24 Studies For The Flute, Op.37 (flute) Flûte traversière Leduc, Alphonse
Composed by Theobald Boehm (1794-1881). Leduc. Classical. Softcover. 25 pages...(+)
Composed by Theobald
Boehm
(1794-1881). Leduc.
Classical. Softcover. 25
pages. Alphonse Leduc
#AL21001. Published by
Alphonse Leduc
$17.99 - Voir plus => Acheter | | |
| Justin Guitar - Note Reading For Guitarists Guitare Music Sales
Music Sales America. Softcover. 152 pages. Music Sales #AM1012088. Published ...(+)
Music Sales America.
Softcover. 152 pages.
Music
Sales #AM1012088.
Published
by Music Sales
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| Twenty Caprices (clarinet) Clarinette Leduc, Alphonse
Clarinet (Clarinet) SKU: HL.48181419 Composed by Vincenzo Gambaro. Leduc....(+)
Clarinet (Clarinet)
SKU: HL.48181419
Composed by Vincenzo
Gambaro. Leduc.
Classical. Softcover. 13
pages. Alphonse Leduc
#AL20942. Published by
Alphonse Leduc
(HL.48181419). UPC:
888680855857.
9.0x12.25x0.153
inches. Reviewed by
Ulysse Delecluse, this
edition of Twenty
Caprices<strong
style=font-weight:
bold;> for Clarinet by
Vincenzo
Gambaro(1746-1810) has a
faster tempo compared to
previous versions such as
the one edited by David
Hite. These interesting
studies have a range of
keys with 3 sharps and 3
flats while their tempo
is quite varied. They
would be ideal for
upper-intermediate/lower-
advanced level players.
Vincenzo Gambaro is an
Italian Clarinettist and
arranger who spent most
of his life in France
where he founded a music
publishers and shop in
Paris. He also
transcribed some work of
Mozart, Beethoven and
Haydn and was known as a
virtuoso composer of wind
music.. $32.75 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Four Star Sight Reading and Ear Tests: Book 4
Piano seul [Partition] - Intermédiaire Frederick Harris Music Company
By Boris Berlin And Andrew Markow. Daily Exercises for Piano Students. Ear Train...(+)
By Boris Berlin And
Andrew Markow. Daily
Exercises for Piano
Students. Ear Training
and Sight Reading. Early
Intermediate. Level:
Grade 4. Book. 56 pages.
Published by The
Frederick Harris Music
Company.
(1)$13.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Complete 10-Hole Diatonic Harmonica Series: G Harmonica [Partition] - Débutant Mel Bay
By Jim Major. For Harmonica (Diatonic). Method. Complete Diatonic Harmonica Seri...(+)
By Jim Major. For
Harmonica (Diatonic).
Method. Complete Diatonic
Harmonica Series.
Acoustic Music. Level:
Beginning. Book. Size
8.5x11. 48 pages.
Published by Mel Bay
Publications, Inc.
$9.99 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Complete 10-Hole Diatonic Harmonica Series: C Harmonica [Partition] - Débutant Mel Bay
By Jim Major. For Harmonica (Diatonic). Method. Complete Diatonic Harmonica Seri...(+)
By Jim Major. For
Harmonica (Diatonic).
Method. Complete Diatonic
Harmonica Series.
Acoustic Music. Level:
Beginning. Book. Size
8.5x11. 48 pages.
Published by Mel Bay
Publications, Inc.
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Complete 10-Hole Diatonic Harmonica Series: B Harmonica [Partition] - Débutant Mel Bay
By Jim Major. For Harmonica (Diatonic). Method. Complete Diatonic Harmonica Seri...(+)
By Jim Major. For
Harmonica (Diatonic).
Method. Complete Diatonic
Harmonica Series.
Acoustic Music. Level:
Beginning. Book. Size
8.5x11. 40 pages.
Published by Mel Bay
Publications, Inc.
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pieces De Clavecin Vol.2 Clavecin Heugel
Harpsichord SKU: HL.48188858 Composed by Louis Couperin. Leduc. Softcover...(+)
Harpsichord SKU:
HL.48188858 Composed
by Louis Couperin. Leduc.
Softcover. 172 pages.
Heugel & Cie #HE33691.
Published by Heugel & Cie
(HL.48188858). UPC:
840126994933.
9.0x12.0x0.306 inches.
French. The
complete Harpsichord work
- Volume 2 by Louis
Couperin is the second of
a series of volumes with
suites for Harpsichord.
Composed in a Baroque
style, the whole series
features 133 pieces for
advanced players. Louis
Couperin (1626-1661) was
a French composer and
performer, who created
many pieces for Organ and
for Harpsichord who later
became musician at the
court. He invented the
genre of Unmeasured
Prelude for which he
created a form of
notation where the
harpsichordist can choose
how long each note lasts.
Francois Couperin, Louis?
nephew, is also a very
famous musician who
played the
Harpsichord.. $25.80 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Art of Gospel Guitar Guitare notes et tablatures Guitare acoustique - Intermédiaire/avancé Mel Bay
Composed by El McMeen. Perfect binding, DADGAD and other Open Tunings. DADGAD ...(+)
Composed by El McMeen.
Perfect binding, DADGAD
and
other Open Tunings.
DADGAD
and other Open Tunings;
Gospel and Sacred. Book.
80
pages. Published by Mel
Bay
Publications, Inc
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Grande Valse A-flat Major Op. 42 Piano seul G. Henle
Edition with Fingering. Composed by Frederic Chopin (1810-1849). Edited b...(+)
Edition with
Fingering. Composed
by Frederic Chopin
(1810-1849). Edited by
Ewald Zimmermann. Henle
Music Folios. Classical.
Softcover. 12 pages. G.
Henle #HN1322. Published
by G. Henle
(HL.51481322).
$8.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Nutcracker Suite Big band Lush Life
By Les Brown. Edited by Jon Harpin. Arranged by Frank Comstock. For big band. Ad...(+)
By Les Brown. Edited by
Jon Harpin. Arranged by
Frank Comstock. For big
band. Advanced. Published
by Lush Life
$95.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Paragon Rag Cloches - Intermédiaire Laurendale Associates
Handbell choir (5-6 octaves) - Level 3 SKU: JF.MLAHB1127 Composed by Scot...(+)
Handbell choir (5-6
octaves) - Level 3
SKU: JF.MLAHB1127
Composed by Scott Joplin.
Arranged by Jim Dahlgram
/ Cathy Rohrig. Published
by Laurendale Associates
(JF.MLAHB1127). UPC:
765844005511. Scott
Joplin wrote the orignal
rag upon which this
arrangement is based. An
excellent choice to
sharpen the precision and
rhythmic skills of
intermediate to advanced
choirs, it is perfect for
a concert! $3.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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