| Williamsburg Variations - Débutant Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 1.5
SKU: CF.FAS83
Composed by David Hinds.
First-Plus String
Orchestra (FAS). Set of
Score and Parts. With
Standard notation.
5+5+8+2+8+3+5+8 pages.
Duration 2 minutes, 47
seconds. Carl Fischer
Music #FAS83. Published
by Carl Fischer Music
(CF.FAS83). ISBN
9780825894572. UPC:
798408094577. 9 x 12
inches. Key: D
major. Williamsburg
Variations takes an
original theme
reminiscent of songs from
early nineteenth-century
America, and develops it
over several variations
into a variety of styles.
A great introduction to
the idea of theme and
variations, this will
make your developing
orchestra sound great at
any festival. This
composition was inspired
by a visit to Colonial
Williamsburg, Virginia.
The opening theme is
reminiscent of a hymn of
the eighteenth century
with a hint of Chester in
mm. 5 and 15. The
variations are indicative
of the hustle and bustle
of colonial life that
required a strong work
ethic to survive, and the
fife and drums variation
shows a glimpse of Yankee
Doodle in mm. 34-44. The
theme should be played as
a legato chorale. The
variations are to be
played with energy and
the D Major Key will
enhance that style. In
mm. 34-44 the viola,
cello and bass quarter
notes should be short and
accented to imitate field
drums.The unison violins
are the fifes in this
fife-and-drum section.
The final variation at m.
52 is a combination of
three prior melodies so
all lines are equally
important.The melodic and
moving parts create
interest in all the
instruments and should
provide for an excellent
festival or contest
piece. I hope your
students enjoy playing
this music. $53.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Clarinet Duets Volume 3 2 Clarinettes (duo) Chester
2 Clarinets (Clarinet) SKU: HL.14018928 Composed by Leon Lester. Music Sa...(+)
2 Clarinets (Clarinet)
SKU: HL.14018928
Composed by Leon Lester.
Music Sales America.
Classical. Book
[Softcover]. Composed
2005. 32 pages. Chester
Music #CH55210. Published
by Chester Music
(HL.14018928).
8.25x11.75x0.227
inches. These duets
selected from the works
of Viotti, Kalliwoda and
Pleyel, three great
composers of violin
music, lend themselves
admirably to the
clarinet. Transcribed by
Leon Lester. Suitable for
intermediate players. $9.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Introduction and Theme and Variations on All Creatures of Our God and King Orgue [Partition] Fred Bock Music Company
Organ Solo. Arranged by Diane Bish. Fred Bock Publications. Softcover. Size 9x12...(+)
Organ Solo. Arranged by
Diane Bish. Fred Bock
Publications. Softcover.
Size 9x12 inches. 35
pages. Published by Fred
Bock Music Company.
$14.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Bate: Introduction And Variations On An Old French Carol Orgue Music Sales
Organ SKU: HL.14016175 Composed by Jennifer Bate. Music Sales America. Cl...(+)
Organ SKU:
HL.14016175 Composed
by Jennifer Bate. Music
Sales America. Classical.
Book [Softcover]. 20
pages. Music Sales
#NOV010176. Published by
Music Sales
(HL.14016175).
8.25x11.75x0.102
inches. Based on
the well-known theme
'Picardy', each movement
explores different
textures of the
instrument. $9.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Fantasia sopra motivi dell'opera Norma Clarinette et Piano Potenza Music
By Luigi Corrado. Arranged by Diane Barger. For Clarinet and Piano. Chamber musi...(+)
By Luigi Corrado.
Arranged by Diane Barger.
For Clarinet and Piano.
Chamber music. Published
by Potenza Music
$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Andalusia Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Hugh Stuart. Music by Hugh Stuart. For Concert Band. Concert Band. Alfred Con...(+)
By Hugh Stuart. Music by
Hugh Stuart. For Concert
Band. Concert Band.
Alfred Concert Band.
Level: Level 4 (grade 4).
Conductor Score & Parts.
2 pages. Published by
Alfred Publishing.
(1)$70.00 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Variations on Simple Gifts Orgue - Intermédiaire MorningStar Music Publishers
By David Evan Thomas. For organ. Medium. Published by MorningStar Music Publishe...(+)
By David Evan Thomas. For
organ. Medium. Published
by MorningStar Music
Publishers
$13.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concertino Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Baton Music
(for Clarinet). By Carl Maria von Weber (1786-1826). Arranged by Marco Tamanini....(+)
(for Clarinet). By Carl
Maria von Weber
(1786-1826). Arranged by
Marco Tamanini. For
Clarinet and Concert
Band. Grade 4. Full score
and set of parts.
Duration 9:00
$189.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Themes and Variations GIA Publications
SKU: GI.G-10148 Music and Imagination. Composed by Don Saliers. Sa...(+)
SKU: GI.G-10148
Music and
Imagination. Composed
by Don Saliers. Sacred.
Book. 282 pages. GIA
Publications #10148.
Published by GIA
Publications
(GI.G-10148). ISBN
9781622774906. English.
Text Source: Essays from
THE AMERICAN ORGANIST
Magazine â€
More than any other
human activity, music has
the power to reveal who
we are and how and what
we love in this
world.â€Â  â
“ Don Saliers (from
the Introduction) Â
Originally written as a
series of columns
for The American
Organist magazine,Â
Themes and
Variations is a
collection of reflections
for music-lovers as well
as music-makers. Â
With each essay,
theologian and musician
Don Saliers embraces the
connection between
musical passages and life
passages, exploring
“the powerful way
in which music explores a
double journey into the
depths of humanity and
the mystery of the
divine.â€Â Â
These seventy-plus
reflections, filled with
personal stories and
thoughtful insights, make
an excellent basis for
conversations about music
in churches, classrooms,
or among friends. Â
 . $22.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Adagio, Tema con Variazioni e Finale sopra motivi il tema nell'opera Il Pirata del Bellini Clarinette et Piano Potenza Music
Clarinet and piano SKU: P2.30073 Composed by Pietro Tonassi. Arranged by ...(+)
Clarinet and piano
SKU: P2.30073
Composed by Pietro
Tonassi. Arranged by
Diane Barger. Chamber
music. Published by
Potenza Music (P2.30073).
Pietro Tonassi
borrows two melodies from
Act 2, Scene 9 of
Vincenzo Bellini's opera
Il Pirata to create his
multi-thematic fantasy
for clarinet and piano.
For the majority of the
work, the clarinet
depicts the role of
Gualtiero while the piano
provides the orchestral
accompaniment as heard in
Bellini's opera semiseria
of 1827. The two arias
are manipulated in
creative and challenging
ways throughout the
introduction, Adagio
cavatina, cadenza, theme
and variations, finale
and coda sections. $19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Introduction and Variations on a Theme by Mozart Op. 104 Clarinette Breitkopf & Härtel
Clarinet and piano (original scoring: clar,orch) SKU: BR.MR-2259 Piano...(+)
Clarinet and piano
(original scoring:
clar,orch) SKU:
BR.MR-2259 Piano
reduction. Composed
by Andreas Spaeth. Edited
by John P. Newhill. Solo
instruments; stapled.
Musica Rara. In spite of
his more than 200 works,
Andreas Spath remains a
minor figure in Romantic
music. But this is of
little concern to today's
clarinetists, who can now
enjoy his idiomatic
Variations on a Theme by
Mozart op. 104.
Variations; Solo
concerto; Romantic. Piano
reduction. 24 pages.
Breitkopf and Haertel #MR
2259. Published by
Breitkopf and Haertel
(BR.MR-2259). ISBN
9790004488058. 9 x 12
inches. In spite of
his more than 200 works,
Andreas Spath remains a
minor figure in Romantic
music. But this is of
little concern to
today’s
clarinetists, who can now
enjoy his idiomatic
"Variations on a
Theme by Mozart" op.
104. Just as Beethoven
before him and many other
composers of his own time
and later, Spath chooses
the duet "Bei
Mannern, welche Liebe
fuhlen," a popular
theme from the then still
very successful Magic
Flute, and leads it
knowledgeably through all
of the clarinet’s
registers. The new
edition is based on the
first print, published
during Spath’s
lifetime. $22.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Introduction and Variations on a Theme by Rossin Flûte traversière et Piano Universal Edition
(Op. 88, for Flute and Piano). By Jean-Louis Tulou (1786-1865). For Flute solo a...(+)
(Op. 88, for Flute and
Piano). By Jean-Louis
Tulou (1786-1865). For
Flute solo and piano
accompaniment. Standard
notation
$19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Souvenir de Russie Op. 63 2 Guitares (duo) Universal Edition
Chamber Music 2 Guitars SKU: PR.UE034493 Fur Zwei Gitarren. Compos...(+)
Chamber Music 2 Guitars
SKU: PR.UE034493
Fur Zwei Gitarren.
Composed by Fernando Sor.
New Karl Scheit Guitar
Edition. Set of Score and
Parts. With Standard
notation. Universal
Edition #UE034493.
Published by Universal
Edition (PR.UE034493).
ISBN 9783702472160.
UPC:
803452069270. Havin
g previously issued Sor's
L'Encouragement for two
guitars (PR.UE034491),
the New Karl Scheit
Edition now tackles
another challenging
guitar duo, the famous
Souvenir de Russie.
Composed of an
introduction, theme and
variations, and an
allegretto finale, the
Souvenir de Russie is
justly a favorite of
better guitar duos. For
advanced performers. $23.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cantata No. 144, Nimm, was dein iste Lucks Music Library
(OB D'AMORE STR CEM SATB chorus SAT SOLI) SKU: TM.01792SET Composed by Jo...(+)
(OB D'AMORE STR CEM SATB
chorus SAT SOLI) SKU:
TM.01792SET Composed
by Johann Sebastian Bach.
Set Type: A. Set of
parts. Lucks Music
Library #A2532. Published
by Lucks Music Library
(TM.01792SET).
Revised by A.
Cerasa; Several Editions
Available Check the
Soloist's Edition;
Transposed: Cl solo, Hn
1+2; solo in set. See
#13610 for Introduction,
Theme, and Variations for
Clarinet and Orchestra
(14 min). $18.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Cantata No. 144, Nimm, was dein iste [Conducteur] Lucks Music Library
(OB D'AMORE STR CEM SATB chorus SAT SOLI) SKU: TM.01792SC Composed by Joh...(+)
(OB D'AMORE STR CEM SATB
chorus SAT SOLI) SKU:
TM.01792SC Composed
by Johann Sebastian Bach.
Score. Lucks Music
Library #A2532. Published
by Lucks Music Library
(TM.01792SC).
Revised by A.
Cerasa; Several Editions
Available Check the
Soloist's Edition;
Transposed: Cl solo, Hn
1+2; solo in set. See
#13610 for Introduction,
Theme, and Variations for
Clarinet and Orchestra
(14 min). $10.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Cantata No. 137, Lobe den Herren Lucks Music Library
SKU: TM.01791VS Composed by Johann Sebastian Bach. Vocal Score. Lucks Mus...(+)
SKU: TM.01791VS
Composed by Johann
Sebastian Bach. Vocal
Score. Lucks Music
Library #A2529. Published
by Lucks Music Library
(TM.01791VS).
Revised by A.
Cerasa; Several Editions
Available Check the
Soloist's Edition;
Transposed: Cl solo, Hn
1+2; solo in set. See
#13610 for Introduction,
Theme, and Variations for
Clarinet and Orchestra
(14 min). $4.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Introduction and Variations Op. 9 Flûte traversière et Piano Zimmermann
Flute, piano SKU: PR.ZM27460 On a theme from Der Freischütz. Co...(+)
Flute, piano SKU:
PR.ZM27460 On a
theme from Der
Freischütz.
Composed by Theobald
Boehm. With Standard
notation. 30 pages.
Zimmermann #ZM27460.
Published by Zimmermann
(PR.ZM27460). UPC:
680160652754. $17.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Quartet No. 6 - Full Score Lauren Keiser Music Publishing
SKU: HL.173710 Composed by Steven R. Gerber. LKM Music. Softcover. Lauren...(+)
SKU: HL.173710
Composed by Steven R.
Gerber. LKM Music.
Softcover. Lauren Keiser
Music Publishing
#X054069. Published by
Lauren Keiser Music
Publishing (HL.173710).
UPC: 888680630089.
9x12
inches. Composed
for the Amernet String
Quartet in memory of the
composer's longtime
companion, Dr. Norma
Hynes. Movement titles:
1. AllegroMaestoso, 2.
Intermezzo, 3.
Introduction; Theme and
Variations. Duration ca.
12'. $19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Symphonic Variations Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-0960790-010 Composed by Jacob...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.DHP-0960790-010
Composed by Jacob De
Haan. Concert and Contest
Collection CBHA. Concert
Piece. Set (Score &
Parts). Composed 1996. De
Haske Publications #DHP
0960790-010. Published by
De Haske Publications
(BT.DHP-0960790-010).
This
composition is based on a
passacaglia theme, in
which artistic
perfection, symphonic
drama and oriental melody
lines play a role. The
passacaglia is originally
a dance made up of a
series of variations
above a bass line
constantly present as an
ostinato. It is not in
this sense that the
Symphonic Variations are
in the passacaglia form
but in the sense of the
open form of the
variations. Jacob de
Haan, himself originally
an organist, took his
inspiration for this
piece from the famous
passacaglia for organ in
C-minor by J.S. Bach.
Following the
introduction of the
passacaglia theme (in the
bass) the entry by the
trumpets and trombones
forms the majestic start
to amusical adventure, in
which this theme (often
fragmentary) returns in
variations. Then there
follow two faster
movements with dramatic
contrasts and virtuose
passages. Particularly
striking here is the use
of two characteristic
intervals from the
beginning of the theme
namely the minor second
and the augmented fourth.
An apause in the
composition comes in the
slow bridge where a
syncopated bourdon
(perfect fifth) is
constantly repeated. The
tension grows in dynamics
and harmony, and the
oriental-flavour becomes
obvious in the melody. We
arrive at a faster
movement via an
accelerando, in which a
perpetuum mobile based on
the passacaglia theme is
central. Finally the
whole flows into a
martial theme, in which
the ostinato
accompaniment n the
descant derives from the
passacaglia theme. $203.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Festive Variations on Lasst uns Erfreuen Orchestre d'harmonie [Conducteur] - Intermédiaire Kjos Music Company
Band concert band - Grade 5 SKU: KJ.GB893F Composed by Thomas Root. Conse...(+)
Band concert band - Grade
5 SKU: KJ.GB893F
Composed by Thomas Root.
Conservatory Editions.
Score. Neil A. Kjos Music
Company #GB893F.
Published by Neil A. Kjos
Music Company
(KJ.GB893F).
Festive
Variations on Lasst uns
Erfreuen, is based freely
on the German chorale
melody more commonly
known as All Creatures of
Our God and King. In five
variations, this work
begins with an Allegro
introduction in 6/8,
followed by a serene
statement of the theme.
The first variation
reflects the 6/8 optimism
of the introduction. The
second has a more
majestic texture in 3/4
time, featuring brass and
percussion. The third
variation is a scherzo,
fairly fragmentary and
more disjunct than the
others. This is the most
academic of the
variations. The fourth is
a gentle ballad freely
based on the first four
notes of the melody. The
fifth variation returns
to the complete melody,
found in a fugato with
variations within. Before
the work concludes, the
original introduction and
theme are restated in
their first form,
followed by a coda based
on the introductory
motive. $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Juan Serrano: Flamenco Classical Guitar Tradition, Volume 1 Guitare notes et tablatures Guitare classique [Partition] Mel Bay
(A Technical Guitar Method and Introduction to Music). By Juan Serrano and Corey...(+)
(A Technical Guitar
Method and Introduction
to Music). By Juan
Serrano and Corey
Whithead. For Guitar
(Classical). Methods.
Flamenco. Multiple
Levels. Book. 176 pages.
Published by Mel Bay
Publications, Inc
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Introduction and Variations on "Dies Irae" Ensemble de cuivres [Conducteur] - Intermédiaire De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-1165730-130 Composed by Jan de Haan. Con...(+)
Brass Band - Grade 4
SKU:
BT.DHP-1165730-130
Composed by Jan de Haan.
Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Score Only. Composed
2016. 64 pages. De Haske
Publications #DHP
1165730-130. Published by
De Haske Publications
(BT.DHP-1165730-130).
English-German-French-
Dutch. After the
introduction, in which
the landscape of
Groningen with its
beautiful wide views is
presented, follows five
variations based on the
13th-century Gregorian
theme Dies Irae
that is attributed to
Thomas van Celano. Each
variation can be seen as
a stage or a scene in the
rich history of the
village of Grijpskerk,
making this work a very
exciting and expressive
piece of music for a
contest or a concert.
Na de inleiding,
waarin het Groninger
landschap met zijn
prachtige vergezichten
wordt voorgesteld, volgen
vijf variaties die zijn
gebaseerd op het
13e-eeuwse gregoriaanse
thema Dies Irae,
dat wordt toegeschreven
aan Thomas van Celano.
Elke variatie is terug te
voeren tot een markante
gebeurtenis uit de rijke
geschiedenis van de
plaats Grijpskerk,
waarmee dit werk een
aantrekkelijk, expressief
stuk muziek is waarmee je
voor de dag kunt komen
bij een wedstrijd of een
concert.
Nach der
Einleitung, in der die
Gegend Groningens mit
ihren schönen weiten
Landschaften vorgestellt
wird, folgen fünf
Variationen über das
gregorianische Thema
Dies Irae aus dem
13. Jahrhundert, das
Thomas von Celano
zugeschrieben wird. Jede
Variation kann als eine
Station oder Szene aus
der bedeutenden
Geschichte dieses Ortes
betrachtet werden. Dieses
spannende und
ausdrucksvolle Werk
eignet sich gut für
Wettbewerbe, aber auch
als
Konzertstück.
L
’introduction, qui
évoque le paysage de
Groningen avec ses
magnifiques vues
étendues, est suivie
de cinq variations
basées sur le thème
grégorien du XIIIe
siècle, Dies
Irae, qui est
attribué Thomas de
Celano. Chaque variation
peut être
considérée comme
une étape ou une
scène de la riche
histoire du village, ce
qui fait que cette
Å“uvre formidable et
expressive se prête
parfaitement un concours
ou un concert. $31.95 - Voir plus => AcheterDélais: 2 to 3 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 | | |
| Peter Ilyich Tchaikovsky: Tchaikovsky Piano seul [Partition] - Intermédiaire/avancé Hal Leonard
Composed by Peter Ilyich Tchaikovsky. For solo piano. Format: piano solo book. R...(+)
Composed by Peter Ilyich
Tchaikovsky. For solo
piano. Format: piano solo
book. Romantic period.
Series: The World's Great
Classical Music. 216
pages. 9x12 inches.
Published by Hal Leonard.
(2)$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Enigma Variations Mark Custom Music
By University of Houston Wind Ensemble. By Various. For band. Mark Masters. Audi...(+)
By University of Houston
Wind Ensemble. By
Various. For band. Mark
Masters. Audio CD.
Duration 56:28. Published
by Mark Custom Music
$14.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Cedar River Celebration Orchestre d'harmonie [Conducteur et Parties séparées] - Facile C.L. Barnhouse
Composed by David Shaffer. Young band. Command Series. Score and parts. Duration...(+)
Composed by David
Shaffer. Young band.
Command Series. Score and
parts. Duration 0:4:23.
Published by C.L.
Barnhouse
(CL.011-4452-00).
$52.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Classic Piano Course, Book 3: Making Music Piano seul [Partition] - Facile Music Sales
By Carol Barratt. For Piano. Classical, Folk, Country. 40 pages. Published by Mu...(+)
By Carol Barratt. For
Piano. Classical, Folk,
Country. 40 pages.
Published by Music Sales
$7.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Gaelic Dance and Ayre - Facile Carl Fischer
Band Bass Clarinet, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euph...(+)
Band Bass Clarinet,
Bassoon, Clarinet 1,
Clarinet 2, Clarinet 3,
Euphonium, Euphonium
T.C., Flute, Horn 1, Horn
2, Oboe, Percussion,
Piccolo, Snare Drum,
Suspended Cymbal,
Tambourine, Timpani,
Triangle, Trombone 1,
Trombone 2, Trombone 3,
Trumpet 1 and more. -
Grade 3 SKU:
CF.CPS235 Composed by
Carl Strommen. Folio.
Cps. Set of Score and
Parts.
16+2+4+4+4+2+2+4+4+2+2+4+
4+4+2+2+3+3+3+3+2+4+4+20
pages. Duration 3:15.
Carl Fischer Music
#CPS235. Published by
Carl Fischer Music
(CF.CPS235). ISBN
9781491158081. UPC:
680160916689. 9 x 12
inches. The adancea
is a bright, lively Gigue
(or Jig, dotted quarter
note = 78), a dance form
derived from the German
Geige. After the
introduction, the opening
theme is stated at m. 9
(winds and trumpet) and
re-appears at m. 25 (low
brass) along with its
variations at m. 33. The
ritardando at m. 41 leads
to the Ayre (Concert Db)
at m. 44, with an opening
alto saxophone solo which
slowly expands to full
ensemble at m. 59. Ayre
presents the conductor
with a great deal of
latitude in regards to
interpretation
(ritardando, rallentando,
etc.). The opening theme
returns at m. 75 and to
its conclusion at m.
94. The dance is a
bright, lively Gigue (or
Jig, dotted quarter note
= 78), a dance form
derived from the German
Geige. After the
introduction, the opening
theme is stated at m. 9
(winds and trumpet) and
re-appears at m. 25 (low
brass) along with its
variations at m. 33. The
ritardando at m. 41 leads
to the Ayre (Concert Db)
at m. 44, with an opening
alto saxophone solo which
slowly expands to full
ensemble at m. 59. Ayre
presents the conductor
with a great deal of
latitude in regards to
interpretation
(ritardando, rallentando,
etc.). The opening theme
returns at m. 75 and to
its conclusion at m.
94. The
“dance†is a
bright, lively Gigue (or
Jig, dotted quarter note
= 78),a dance form
derived from the German
Geige. After the
introduction, the opening
theme is stated at m. 9
(winds and trumpet) and
re-appears at m. 25 (low
brass) along with its
variations at m. 33. The
ritardando at m. 41 leads
to the Ayre (Concert Db)
at m. 44, with an opening
alto saxophone solo which
slowly expands to full
ensemble at m. 59. Ayre
presents the conductor
with a great deal of
latitude in regards to
interpretation
(ritardando, rallentando,
etc.). The opening theme
returns at m. 75 and to
its conclusion at m.
94. $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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