Eine
Musicaloper in zwei
Akten. Composed by
Peter Schindler. Carus
book series: More music
books. Double bass.
Musicals for children,
Songs for children,
Secular choral music.
Single Part, Double Bass.
36 pages. Duration 90
minutes. Carus Verlag #CV
12.820/15. Published by
Carus Verlag
(CA.1282015).
Language: German.
Text: Schindler, Peter /
Dieterich, Babette. Text:
Peter Schindler, Babette
Dieterich.
Courage,
tolerance and
conciliation - this is
the message of a sweet
and sharp, thrilling love
story. Based loosely on
Shakespeare and his
famous tragedy Romeo and
Juliet, a prince, smitten
with love, and a
courageous baroness bring
foreign cultures and two
hostile families together
in a dramatic happy end.
Musically, Konig Keks
thrives on contrasts:
Whereas the music of
Krokantia borrows from
the world of operetta,
the music of the Chili
islands is fiery and
rhythmic. On the one
hand, a small salon
orchestra, and on the
other a band produce a
diversified sound. An
experienced pianst can
accompany a performance
of the piece alone. Konig
Keks offers ample musical
as well as scenic
performance possibilities
for people of all ages.
Score and part available
separately - see item
CA.1282000.
Eine
Musicaloper in zwei
Akten. Composed by
Peter Schindler. Carus
book series: More music
books. Violin 2. Musicals
for children, Songs for
children, Secular choral
music. Single Part,
Violin 2. 28 pages.
Duration 90 minutes.
Carus Verlag #CV
12.820/12. Published by
Carus Verlag
(CA.1282012).
Language: German.
Text: Schindler, Peter /
Dieterich, Babette. Text:
Peter Schindler, Babette
Dieterich.
Courage,
tolerance and
conciliation - this is
the message of a sweet
and sharp, thrilling love
story. Based loosely on
Shakespeare and his
famous tragedy Romeo and
Juliet, a prince, smitten
with love, and a
courageous baroness bring
foreign cultures and two
hostile families together
in a dramatic happy end.
Musically, Konig Keks
thrives on contrasts:
Whereas the music of
Krokantia borrows from
the world of operetta,
the music of the Chili
islands is fiery and
rhythmic. On the one
hand, a small salon
orchestra, and on the
other a band produce a
diversified sound. An
experienced pianst can
accompany a performance
of the piece alone. Konig
Keks offers ample musical
as well as scenic
performance possibilities
for people of all ages.
Score and part available
separately - see item
CA.1282000.
102 Selections from Symphonies, Ballets, Operas, and Piano Literature for Piano ...(+)
102 Selections from
Symphonies, Ballets,
Operas, and Piano
Literature for Piano
Solo. By Various. World's
Greatest Classical Music.
Size 9x12 inches. 256
pages. Published by Hal
Leonard.
Eine
Musicaloper in zwei
Akten. Composed by
Peter Schindler. Carus
book series: More music
books. Also piano
version. Musicals for
children, Songs for
children, Secular choral
music. Vocal score. 96
pages. Duration 90
minutes. Carus Verlag #CV
12.820/03. Published by
Carus Verlag
(CA.1282003).
ISBN
9790007092757. Language:
German. Text: Schindler,
Peter / Dieterich,
Babette. Text: Peter
Schindler, Babette
Dieterich.
Courage,
tolerance and
conciliation - this is
the message of a sweet
and sharp, thrilling love
story. Based loosely on
Shakespeare and his
famous tragedy Romeo and
Juliet, a prince, smitten
with love, and a
courageous baroness bring
foreign cultures and two
hostile families together
in a dramatic happy end.
Musically, Konig Keks
thrives on contrasts:
Whereas the music of
Krokantia borrows from
the world of operetta,
the music of the Chili
islands is fiery and
rhythmic. On the one
hand, a small salon
orchestra, and on the
other a band produce a
diversified sound. An
experienced pianst can
accompany a performance
of the piece alone. Konig
Keks offers ample musical
as well as scenic
performance possibilities
for people of all ages.
Score available
separately - see item
CA.1282000.
Eine
Musicaloper in zwei
Akten. Composed by
Peter Schindler. Carus
book series: More music
books. Musicals for
children, Songs for
children, Secular choral
music. Choral Score. 40
pages. Duration 90
minutes. Carus Verlag #CV
12.820/05. Published by
Carus Verlag
(CA.1282005).
ISBN
9790007128654. Language:
German. Text: Schindler,
Peter / Dieterich,
Babette. Text: Peter
Schindler, Babette
Dieterich.
Courage,
tolerance and
conciliation - this is
the message of a sweet
and sharp, thrilling love
story. Based loosely on
Shakespeare and his
famous tragedy Romeo and
Juliet, a prince, smitten
with love, and a
courageous baroness bring
foreign cultures and two
hostile families together
in a dramatic happy end.
Musically, Konig Keks
thrives on contrasts:
Whereas the music of
Krokantia borrows from
the world of operetta,
the music of the Chili
islands is fiery and
rhythmic. On the one
hand, a small salon
orchestra, and on the
other a band produce a
diversified sound. An
experienced pianst can
accompany a performance
of the piece alone. Konig
Keks offers ample musical
as well as scenic
performance possibilities
for people of all ages.
Score available
separately - see item
CA.1282000.
Eine
Musicaloper in zwei
Akten. Composed by
Peter Schindler. Carus
book series: More music
books. Violin 3/viola.
Musicals for children,
Songs for children,
Secular choral music.
Single Part, Violin
3/Viola. 56 pages.
Duration 90 minutes.
Carus Verlag #CV
12.820/13. Published by
Carus Verlag
(CA.1282013).
Language: German.
Text: Schindler, Peter /
Dieterich, Babette. Text:
Peter Schindler, Babette
Dieterich.
Courage,
tolerance and
conciliation - this is
the message of a sweet
and sharp, thrilling love
story. Based loosely on
Shakespeare and his
famous tragedy Romeo and
Juliet, a prince, smitten
with love, and a
courageous baroness bring
foreign cultures and two
hostile families together
in a dramatic happy end.
Musically, Konig Keks
thrives on contrasts:
Whereas the music of
Krokantia borrows from
the world of operetta,
the music of the Chili
islands is fiery and
rhythmic. On the one
hand, a small salon
orchestra, and on the
other a band produce a
diversified sound. An
experienced pianst can
accompany a performance
of the piece alone. Konig
Keks offers ample musical
as well as scenic
performance possibilities
for people of all ages.
Score and part available
separately - see item
CA.1282000.
Eine
Musicaloper in zwei
Akten. Composed by
Peter Schindler. Carus
book series: More music
books. Separate
instruments. Musicals for
children, Songs for
children, Secular choral
music. Set of Orchestra
Parts. 164 pages.
Duration 90 minutes.
Carus Verlag #CV
12.820/09. Published by
Carus Verlag
(CA.1282009).
Language: German.
Text: Schindler, Peter /
Dieterich, Babette. Text:
Peter Schindler, Babette
Dieterich.
Courage,
tolerance and
conciliation - this is
the message of a sweet
and sharp, thrilling love
story. Based loosely on
Shakespeare and his
famous tragedy Romeo and
Juliet, a prince, smitten
with love, and a
courageous baroness bring
foreign cultures and two
hostile families together
in a dramatic happy end.
Musically, Konig Keks
thrives on contrasts:
Whereas the music of
Krokantia borrows from
the world of operetta,
the music of the Chili
islands is fiery and
rhythmic. On the one
hand, a small salon
orchestra, and on the
other a band produce a
diversified sound. An
experienced pianst can
accompany a performance
of the piece alone. Konig
Keks offers ample musical
as well as scenic
performance possibilities
for people of all ages.
Score and parts available
separately - see item
CA.1282000.
Eine
Musicaloper in zwei
Akten. Composed by
Peter Schindler. Carus
book series: More music
books. German title:
Konig Keks. Musicals for
children, Songs for
children, Secular choral
music. Full score. 204
pages. Duration 90
minutes. Carus Verlag #CV
12.820/00. Published by
Carus Verlag
(CA.1282000).
ISBN
9790007059842. Language:
German. Text: Schindler,
Peter / Dieterich,
Babette. Text: Peter
Schindler, Babette
Dieterich.
Courage,
tolerance and
conciliation - this is
the message of a sweet
and sharp, thrilling love
story. Based loosely on
Shakespeare and his
famous tragedy Romeo and
Juliet, a prince, smitten
with love, and a
courageous baroness bring
foreign cultures and two
hostile families together
in a dramatic happy end.
Musically, Konig Keks
thrives on contrasts:
Whereas the music of
Krokantia borrows from
the world of operetta,
the music of the Chili
islands is fiery and
rhythmic. On the one
hand, a small salon
orchestra, and on the
other a band produce a
diversified sound. An
experienced pianst can
accompany a performance
of the piece alone. Konig
Keks offers ample musical
as well as scenic
performance possibilities
for people of all
ages.
(Book 2). By Rachel Beatty Kahl. Arranged by Rachel Beatty Kahl. For Piano Accom...(+)
(Book 2). By Rachel
Beatty Kahl. Arranged by
Rachel Beatty Kahl. For
Piano Accompaniment.
Music Sales America.
Sacred. 40 pages. Music
Sales #BMC12131.
Published by Music Sales
The Manchester Carols. (A Re-Telling of the Christmas Story). By Carol Ann Duffy...(+)
The Manchester Carols. (A
Re-Telling of the
Christmas Story). By
Carol Ann Duffy and Sasha
Johnson Manning. For
Orchestra / Piano. Choral
Extended Work. Faber
Edition. Christmas;
Sacred; Winter. Published
by Faber Music
By Lloyd Larson. Arranged by Victor C Johnson. For orchestration (2 flutes, oboe...(+)
By Lloyd Larson. Arranged
by Victor C Johnson. For
orchestration (2 flutes,
oboe, 2 clarinets,
bassoon, 2 horns, 3
trumpets, 2 trombones,
tuba, 2 percussion, harp,
piano, 2 violins, viola,
cello, bass). Cantatas.
Christmas, Sacred. Full
score, set of part
Grade 5 - Score
Only. Composed by
James Curnow. Arranged by
James Curnow. Curnow
Music Concert Band. 45
pages. Curnow Music
#91605140. Published by
Curnow Music
(HL.44005260).
UPC:
073999338157. 8.5x11
inches.
Using a
symphonic variant style
(like that of Hindemith's
Symphonic
Metamorphosis), James
Curnow has written a
magnificent compositional
exploration of themes
based on the shape-note
tune
“Resignation.&rdquo
; Advanced groups love to
play music at this level
of challenge and
substance, and directors
will appreciate the
developmental techniques
woven into its fabric.
Add a history unit on
The Sacred Harp
for some cross-curricular
work.
Dramma per musica in tre atti. By Georg Friedrich Handel. Edited by Jones, Andre...(+)
Dramma per musica in tre
atti. By Georg Friedrich
Handel. Edited by Jones,
Andrew V. Arranged by Rot
Michael. For Recorder 1,
Recorder 2, Flute, Oboe
1, Oboe 2, Horn 1, Horn
2, Violin 1, Violin 2,
Violin 3, Viola,
Violoncello, Contrabass,
Bassoon, Lute,
Harpsichord. Piano
Reduction/Vocal Score;
Urtext Edition
(paperbound). HWV 19.
Published by
Baerenreiter-Ausgaben
(German import).
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,” 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”
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).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 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.”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…” 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.”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 ...
Comedy in one act in
verses, with ariettes and
vaudevilles. Composed
by Adolphe Benoît Blaise
and
Marie-Justine-Benoîte
Favart. Edited by Andreas
Münzmay and Janine
Droese. This edition:
Edition of selected
works, Urtext edition.
Linen. Spectrum of
European Music Theatre in
Separate Editions 2.
Edition of selected
works, Score, Critical
commentary, USB flash
drive. Baerenreiter
Verlag #BA08812_01.
Published by Baerenreiter
Verlag (BA.BA08812-01).
ISBN 9790006543182.
33.1 x 26.5 cm inches.
Text Language: French.
Preface: Münzmay,
Andreas. Text: nach
Jean-Francois
Marmontel.
Annette
et Lubin
Justine
Favart and Adolphe
Blaise'sAnnette et
Lubinwas premiered on 15
February 1762 at the
Paris Opera-Comique - the
first new production at
that theater following
its merger with the
Comedie-Italien. It was a
resounding success: by
the time the season came
to an end, on 3 April, it
had been almost
continuously on the
program with no decline
in interest from the
public, and it remained
in the repertoire for
more than thirty years.
Countless new editions,
translations, and
parodies of the play bear
witness to its impact far
beyond the borders of
Paris. Like all of
Favart's works, it deals
with the subject of
natural love,
unencumbered by
considerations of money
or social status
endangering it from the
outside through powerful
aristocratic or wealthy
rivals. The plot is based
on a literary model, the
like-named tale by
Jean-Francois Marmontel,
which is in turn based on
a contemporary
occurrence.
Annette and her
cousin Lubin are sharply
reprimanded for their
love by an estate
administrator (Le Bailli)
who himself has designs
on Annette. He takes
advantage of Annette's
illegitimate pregnancy to
extort her: only by
marrying him can she
escape condemnation by
society and the church.
But Annette and her lover
are able to gain the
protection of the local
squire (Le Seigneur), and
the story ends happily
with a conciliatory
gesture from the lord of
the manor.
The
second volume in our
series OPERA, Annette et
Lubin, consists of a
cloth-bound book and an
Edirom file stored on a
USB card in credit-card
format. The number of
simultaneous users of the
edition's digital
component is
unlimited. Further
information on the work
and the OPERA series can
be found at http://www.
opera-edition.com/en/anne
tteetlubin_en.htm.
OPERA: Spectrum
of European Music Theatre
in Separate Editions is
dedicated to critical
editions of outstanding
works of European music
theatre from the 17th to
the 20th centuries.
Compositions of
French, Italian, German,
English, Scandinavian and
Slavic origin are being
edited. These include
specific genres which
have seldom been given
attention in editorial
undertakings until now
and which present their
own editorial problems,
such as ballet, theatre
music, melodrama or
operetta.
A new
feature is the form of
the presentation in
so-called hybrid
editions. While the
scores appear in
traditional cloth-bound
volumes, the musical and
textual sources, the
editions of the dramatic
texts, as well as the
critical commentaries are
prepared and presented on
an electronic platform
(Edirom). Thanks to
this ability to access
the underlying sources,
the editorial decisions
are completely
transparent to the
user.
This
special editorial access
being implemented by
OPERA's editions uses the
software Edirom, which
was developed in a
project of the Deutsche
Forschungsgemeinschaft
(German Research
Foundation) based at the
University of Paderborn.
All components of the
electronic part are
encoded according to the
modern standard of XML.
The text components
follow the standard of
the Text Encoding
Initiative (TEI).
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Band concert band - Grade 4.5 SKU: CF.SPS71 Composed by Carl Strommen. Se...(+)
Band concert band - Grade
4.5
SKU: CF.SPS71
Composed by Carl
Strommen. Set of Score
and Parts. With Standard
notation.
2+16+4+8+8+8+4+4+2+4+4+4+
4+6+6+6+4+4+4+4+6+6+6+6+4
+8+3+2+12+2+4+28 pages.
Duration 6 minutes, 26
seconds. Carl Fischer
Music #SPS71. Published
by Carl Fischer Music
(CF.SPS71).
ISBN
9781491143544. UPC:
680160901043. Key: G
minor.
Nordanvind
is a tour de force
symphonic rhapsody that
is built on three
Scandinavian folk songs.
Composer Carl Strommen
has composed these
Viking-influenced
melodies into a concert
setting that brings out
all of the history of the
Scandinavian people. The
piece is at times bold
and aggressive, at other
times beautiful. Carl
employs all of the
instrumental colors of
the concert band to
create a new work for
more advanced
ensembles. Modern
Scandinavians are
descendants of the
Vikings, an adventuresome
people who were known for
their love of the sea,
their naval prowess, and
as fierce fighters . The
Scandinavian Vikings were
warriors from Denmark,
Norway, and Sweden who
traded, raided and
settled in various parts
of Europe, Russia, the
North Atlantic islands,
and the northeastern
coast of North America
.Starting around 1850,
over one million Swedes
left their homeland for
the United States in
search of religious
freedom and open farm
land . Augustana College
was founded in 1860 by
graduates of Swedish
universities and is
located on the
Mississippi River in Rock
Island, Illinois . Home
of the “Vikings,”
Augustana College is the
oldest Swedish- American
institution of higher
learning in the United
States . This powerful
and lively piece takes
inspiration from Swedish
history and from Swedish
folk songs and hymns
.Havsdrake (Dragon of the
Sea)The Nordanvind or
“North Wind” blows a
cold wind during a
journey of a group of
courageous Viking rowers
. The “Dragon-ship”
or long ships designed
for raiding and war was a
sophisticated, fast ship
able to navigate in very
shallow water . To
musically portray these
magnificent seafaring
vessels, the director is
encouraged to use an
Ocean Drum (or a rain
stick) during the
introduction . Wind
players may consider
blowing air through their
instruments to suggest
the North wind . Adding
men’s voices to
accompany the haunting
low brass and percussive
“rower” sounds can be
helpful in creating the
dark and ominous
portrayal of Viking
adventurers .Slangpolska
efter Byss - KalleIn
Sweden, a “polska” is
a partner dance where the
dancers spin each other
(släng in Swedish “to
sling or toss”) .
Slangpolska efter Byss -
Kalle is attributed to
Byss-Kalle, who was a
notable Swedish folk
musician, specifically a
nyckelharpa player .
Slangpolska efter Byss -
Kalle is a traditional
“polska” dance song
most often played on the
Nyckelharpa or keyed
fiddle and is commonly
heard in pubs and at
festive events throughout
Sweden . Approximately
10,000 nyckelharpa
players live in Sweden
today, and the Swedish
and the American
Nyckelharpa Associations
are dedicated to this
Swedish National
instrument . The director
is encouraged to share
video and audio examples
of the nyckelharpa
playing the original
Slangpolska efter Byss -
Kalle .Tryggare Kan Ingen
Vara (Children of the
Heavenly Father)Tryggare
Kan Ingen Vara Is a
traditional Swedish
melody, possibly of
German roots, and was
believed to be arranged
as a hymn by the Swedish
hymn writer, Karolina
Wilhelmina Sandell-Berg
(1832–1903) . As a
daughter of a Swedish
Lutheran minister, she
began writing poems as a
teenager and is said to
have written over 1,700
different texts . There
are two different
accounts as to the
inspiration for this hymn
. The first story is that
Lina (as she was called)
wrote the hymn to honor
her father and to say
thank you to him for
raising her and
protecting her . A second
belief is of her
witnessing the tragic
death of her father . She
and her father were on a
boat, when a wave threw
her father overboard . It
was said that the
profound effect of
watching her father drown
is what caused Lina to
write the text to this
hymn . Although this is a
treasured song to people
of Swedish descent
everywhere, it speaks to
all people about a father
tending and nourishing
his children, and
protecting them from evil
.SPS71FThe Augustana
College Concert
BandFounded in 1874, the
Augustana Band program is
one of the oldest
continuously active
collegiate band programs
in the country . The
Concert Band is one of
two bands on campus and
was formed more than
thirty years ago . The
Concert Band attracts
students of every skill
level and from a wide
variety of majors .
Students in the ensemble
play a large part in
choosing their music for
performance, which
include works from the
standard repertoire,
orchestral
transcriptions, and the
latest compositions from
leading composers .Rick
Jaeschke began his
musical career as a
clarinet player in the
1st US Army Band . He
received a Bachelor of
Music degree from
Susquehanna University, a
Masters of Music from
James Madison University,
and a doctorate from
Columbia University in
New York . He was also
fortunate to study
conducting with Donald
Hunsburger and with
Frederick Fennell .Dr .
Jaeschke taught band and
choir at Great Mills High
School in Southern
Maryland, and for fifteen
years, he was the
district Music Supervisor
in Armonk, New York,
where he taught high
school concert and jazz
bands, beginning band,
and music technology .
During that time, the
music program flourished,
and the high school band
consistently received
Gold Medals in the New
York State Festivals, as
well as in national, and
international festivals .
As a clarinet and
saxophone player, Dr .
Jaeschke performed in the
New York metropolitan
area with the Rockland
Symphony Orchestra, the
Putnam Symphony
Orchestra, Fine Arts
Symphony Orchestra, and
served as the concert
master for the Hudson
Valley Wind Symphony .For
several years, Dr .
Jaeschke served as the
Fine Arts Coordinator for
the District 204 schools
in Naperville, IL, a
district selected as One
of the Best 100 Schools
in America for Music .
Currently, Dr . Jaeschke
is an Associate Professor
at Augustana College
where he teaches music
and music education
courses, and directs the
Concert Band . He has
served on various
educational boards, is a
National edTPA scorer,
and has presented at
state, national and
international music
conferences . He lives
with his family in
Bettendorf Iowa, and
enjoys any opportunity to
explore the open water in
his sea kayak .
Arranged by Ludwig Minkus
and ed./arr. by William
McDermott/ Libretto by
Sergei Khudekov. Full
Orchestra, Conductor
Score. Kalmus Ballet
Library. Score.
LudwigMasters
Publications #36-A888801.
Published by
LudwigMasters
Publications
(AP.36-A888801).
ISBN
9798888529911. UPC:
659359989490.
English.
The ballet
La Bayadère (The Temple
Dancer or The Temple
Maiden) was created in
1877 for famed French
choreographer Marius
Petipa to music by Ludwig
Minkus (1826-1917). In
four act and seven
tableaux, the ballet
tells the story of the
bayadère Nikiya and the
warrior Solor, lovers who
are beset by jealous
rivals, arranged
marriages beyond their
control, murder, an
opium-fueled
hallucination of the
afterlife, and a vengeful
god that destroys the
temple and everybody in
it as revenge for
Nikiya's murder. It was
first performed on
February 4, 1877, by the
Imperial Ballet in St.
Petersburg, Russia. It
was hailed as a success
and masterpiece
immediately after the
premiere, particularly
The Kingdom of the Shades
scene in Act II, an
excerpt which remains a
major standalone work for
the ballet repertoire.
Modern performances of La
Bayadère are almost
always derived from a
1941 version sated for
the Kirov/Mariinsky
Ballet by Vladimir
Ponomarev and Vakhtang
Chabukiani, which
incorporates additional
music by Minkus, Drigo,
and Pugni. Act II takes
place after Nikiya is
killed by a concealed
venomous snake. A
depressed Solor smokes
opium, resulting in a
vision of Nikiya's spirit
dwelling in the Kingdom
of the Shades, a nirvana
in the Himalayas. The two
lovers reconcile among
the shades of other
bayadères in a Pas de
deux, then Solor is
awakened just in time for
his arranged marriage to
another woman. This
orchestration of Act II
has been completed by
William McDermott.
Instrumentation: 2.2.2.2:
4.2.3.0: Timp.Perc(2):
Harp: Str (4-4-3-3-3 in
set).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
High Voice and Orchestra SKU: HL.14020965 Composed by Sir Peter Maxwell D...(+)
High Voice and Orchestra
SKU: HL.14020965
Composed by Sir Peter
Maxwell Davies. Music
Sales America. 20th
Century. Score. Composed
1999. 92 pages. Chester
Music #CH60950. Published
by Chester Music
(HL.14020965).
ISBN
9780711936959.
The
story centres on the
English princess Caroline
Mathilde (1751-1775),
sister of George III, who
at the age of 15 was sent
to Denmark to marry the
17-year-old eccentric and
schizophrenic Danish
King, Christian VII. The
ballet portrays her
unhappy marriage, the
King's growing madness
and her fatal love-affair
with Struensee, the
King's influential
physician, which leads to
their arrest, his
execution and her exile,
at the age of 20,
separated from her two
young children. This
suite begins with the
act's opening number: a
boisterous, stamping
dance to which the people
rudely mock Queen
Caroline Mathilde and her
lover Struensee. After
this comes a dark Adagio,
The Conspiracy, in which
the theme passes like
persuasion from mouth to
mouth, its variations
suggesting the different
attitudes of the
conspirators, firmly
controlled by the
brass-driven gestures of
the Queen Dowager. The
conspiracy then works
itself out at a court
masked ball, from which
the suite includes two
dances: a gavotte, and a
slow, lubricious
passacaglia that is a pas
de deux for Caroline
Mathilde and Struensee.
The Arrest comes with a
gathering rush of music
that envelops the King,
the Queen and Struensee,
leading to a vociferous
climax in which they are
held apart. In The
Execution, slow white
music for wordless female
voices, harp and low
strings is interrupted by
pathetic, alienated
outbursts from the King.
The suite ends, as does
the ballet, with a quiet
adagio lament for
clarinets and alto flute
as the Queen goes into
exile. Score. Duration c.
33mins.
Books and Journals SKU: UT.QC-4 Edited by Roberto Illiano and Rohan H. St...(+)
Books and Journals
SKU: UT.QC-4
Edited by Roberto Illiano
and Rohan H.
Stewart-MacDonald.
Paperback (Soft Cover).
Quaderni Clementiani.
Essays by Jean-Pierre
Bartoli, Alan Davison,
Therese Ellsworth, Erik
Entwistle, Jeremy
Eskenazy, Michaela
Freemanova, Stephan D.
Lindeman, Rudolf Rasch,
Renato Ricco, Jeanne
Roudet, David Rowland,
Massimiliano Sala, Laure
Schnapper, Rohan H.
Stewart-MacDo. Classical.
Books and Journals. 568
pages. Ut Orpheus #QC 4.
Published by Ut Orpheus
(UT.QC-4).
ISBN
9788881094783. 6.5 x 9.5
inches.
Saggi di
Jean-Pierre Bartoli, Alan
Davison, Therese
Ellsworth, Erik
Entwistle, Jeremy
Eskenazy, Michaela
Freemanová, Stephan D.
Lindeman, Rudolf Rasch,
Renato Ricco, Jeanne
Roudet, David Rowland,
Massimiliano Sala, Laure
Schnapper, Rohan H.
Stewart-MacDonald, Marie
Sumner
Lott
The
career of Jan Ladislav
Dussek (1760-1812) was
notable for its
peripateticism. Starting
out in his native Bohemia
Dussek spent periods of
time in Germany and the
Netherlands, settling in
London for about ten
years in the 1790s,
progressing to Hamburg
and ending his days in
Paris. Although his
activities centred on the
piano, like so many
musicians of his day
Dussek branched out from
performing and composing
to encompass teaching,
publishing and instrument
retail, with varying
success. A plethora of
reviews and biographical
accounts attest to
Dussek’s renown
throughout Europe as a
pianist and composer,
particularly when it came
to sensitive and
cantabile playing; and he
interacted with some of
the most eminent
musicians, artists and
political figures of his
time. Dussek’s
reputation declined
sharply in the nineteenth
century, however, and
with the exception of
isolated revivals of his
work, for instance in
London in the
mid-nineteenth century,
he has remained on the
verge of obscurity in the
minds of many musicians
and music-lovers until
the present day: even his
well-known innovation of
placing the piano
sideways-on to the
audience to display his
striking profile is often
mistakenly attributed to
Franz Liszt. Although
Dussek has provided the
subject of a number of
student dissertations
over the years, in the
published literature he
has largely been
restricted to cameo
appearances or brief
entries in historical
surveys. The
bicentennial anniversary
of Dussek’s death
provides a fitting
occasion for bringing
together scholars from
all parts of the world to
produce the first
multi-author,
multi-lingual study of
the composer. Several
chapters deal with
aspects of Dussek’s
biography and iconography
that receive only sparse
treatment elsewhere;
others survey the
different branches of his
output, including the
piano sonatas, the piano
concertos, the chamber
music with and without
harp and the three String
Quartets, Op. 60, which
are currently enjoying a
revival via recordings
and a new edition.
This book has two
fundamental aims. One is
to stimulate renewed
interest in, and debate
about, a less than
celebrated – one might
say unjustly neglected
– figure. The other aim
is to approach Dussek’s
multi-facetted,
geographically diverse
career as an interface
between ourselves and the
music business at the
beginning of the
nineteenth century, whose
complexity and
vicissitudes emanated
from the sociological
dynamics and political
events with which Dussek
was, to an almost unique
degree, inextricably
associated. The highs and
lows of Dussek’s
career, the surviving
contemporary accounts of
Dussek the performer and
composer, and the letters
he exchanged with
colleagues in several
nations vividly portray
the struggles of a
worldly, ambitious,
versatile and extremely
perspicacious musician
striving to carve out a
place of eminence and
material security for
himself. This meant
negotiating the complex
progression, underway at
this point in history,
from the patronage system
to the emergence of the
artist as a socially and
financially autonomous
entity.