| Bmmg Vol. 35telemann/frankfurt Schott
(TEXT) SKU: HL.49008251 Bericht uber das Symposium Frankfurt am Main a...(+)
(TEXT) SKU:
HL.49008251
Bericht uber das
Symposium Frankfurt am
Main am 26./27. April
1996. Composed by
CAHN. Edited by Peter
Cahn. This edition:
Hardback/Hard Cover.
Book. Edition Schott. Ein
reprasentativer Uberblick
uber den aktuellen Stand
der Telemann-Forschung
mit
Erstveroffentlichungen
neuer Quellen. Classical.
284 pages. Schott Music
#ED 8992. Published by
Schott Music
(HL.49008251). ISBN
9783795713379.
7.0x9.75x0.743 inches.
German. Georg
Philipp Telemanns Wirken
als stadtischer
Musikdirektor in
Frankfurt/Main
(1712-1721) hat im
Musikleben der Stadt
bleibende Spuren
hinterlassen. Im Zentrum
dieser Veroffentlichung
steht sein umfangreiches
Kantatenwerk, dessen
Gliederung nach
Jahrgangen anhand neuer
Quellenfunde nunmehr
ermoglicht wird. In
Beitragen namhafter
Telemann-Forscher werden
ausserdem sein
Konzertschaffen, die
Brockes-Passion (1716),
Festmusiken und Opern,
die Kammermusik und die
Asthetik Telemanns
behandelt. Als bisher
unbekanntes Dokument
enthalt der Band
Telemanns
Bewerbungsschreiben
(1712), ferner den
Abdruck zweier Arien aus
den verlorenen
'Davidischen Oratorien'
(1718), die aus einer
Parodie des Frankfurter
Patriziers Johann
Friedrich Armand von
Uffenbach rekonstruiert
werden konnten. $51.00 - Voir plus => Acheter | | |
| Alles Gute zum Klavierspielen! Piano seul - Facile Music Distribution Services
Piano - easy to intermediate SKU: M7.ART-42145 Klaviernoten zur Klassi...(+)
Piano - easy to
intermediate SKU:
M7.ART-42145
Klaviernoten zur
Klassik & Romantik mal
einfacher ....
Composed by Tatjana
Davidoff. Arranged by
Tatjana Davidoff. Score
with online audio files.
Performance book. 48
pages. MDS (Music
Distribution Services)
#ART 42145. Published by
MDS (Music Distribution
Services) (M7.ART-42145).
ISBN
9783866421455. In
'Alles Gute zum
Klavierspielen!' finden
Sie sowohl Kompositionen
von Tatjana Davidoff als
auch ihre neu gesetzten
Bearbeitungen schöner
und beliebter
Klavierliteratur aus der
Zeit des Barock über
die Klassik bis hin zur
Romantik. Eine
ausgesprochen schöne
Sammlung ausgewählter
Stücke von Johann
Sebastian Bach, Ludwig
van Beethoven, Georg
Friedrich Händel,
Johann Christoph
Friedrich Bach, Edvard
Grieg, Johann Pachelbel,
Franz Joseph Haydn, Pjotr
Iljitsch Tschaikowsky,
Léo Delibes und
Jacques Offenbach. Diese
neuen Klavierarrangements
sind leicht bis
mittelleicht arrangiert
und gut spielbar. Sie
ermöglichen einen
Zugang zu Werken, deren
Originalfassung die
technischen
Möglichkeiten des
Klavierspielers
zunächst noch
überfordern könnte.
Die Neufassung der hier
ausgewählten Stücke
soll Ihnen vor allem viel
Freude bei Ihrem
Klavierspiel
bereiten. $26.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Burgmüller : Collected Studies for Piano Piano seul [Partition] Schirmer
(Op. 100, 105, 109 Schirmer's Library of Musical Classics, Vol. 2088). By Johann...(+)
(Op. 100, 105, 109
Schirmer's Library of
Musical Classics, Vol.
2088). By Johann
Friedrich BurgmÌ_ller.
Edited by Louis Oesterle.
Piano Collection.
Softcover. 108 pages. G.
Schirmer #2088. Published
by G. Schirmer
$27.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Weltliche Madrigale Chorale SATB - Intermédiaire Barenreiter
SATB Choir (Mixed choir (SATB)) - Level 3 SKU: BA.BA06361 Chormusik de...(+)
SATB Choir (Mixed choir
(SATB)) - Level 3 SKU:
BA.BA06361
Chormusik des 16. und
17. Jahrhunderts. 21
Sätze für Chor,
drei- bis
fünfstimmig.
Edited by Ulrich Zimmer.
Stapled. Choral score,
anthology. 32 pages.
Baerenreiter Verlag
#BA06361_00. Published by
Baerenreiter Verlag
(BA.BA06361). ISBN
9790006478620. 27 x 19 cm
inches. $14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Meditation Fanfare [Conducteur] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1125174-120 Dear Lord and Father of...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1125174-120
Dear Lord and Father
of Mankind. Composed
by Jan de Haan. Musica
Sacra. Festive and Solemn
Music. Score Only.
Composed 2012. 20 pages.
De Haske Publications
#DHP 1125174-120.
Published by De Haske
Publications
(BT.DHP-1125174-120).
9x12 inches.
English-German-French-Dut
ch. Meditation
I> is based on Dear
Lord and Father of
Mankind (1887) by the
English composer and
organist Frederick
Charles Maker
(1844-1927). This is a
calm, introverted work
that however has an
intense effect. In the
first section, the solo
euphonium is given an
important role, leading
to one of the loveliest
of all English hymn
melodies.
Meditation,
gebaseerd Dear Lord and
Father of mankind (1887)
van de Engelse
componist/organist
Frederick Charles Maker
(1844-1927) is een werk
met een verstild en
ingetogen karakter. Er is
een belangrijke rol
weggelegd voor de
Euphoniumsolist die ons
in het eerste deel van
deze meditatie leidt naar
één van de mooiste
Engelse hymn tunes
ooit.
Meditatio
n basiert auf Dear
Lord and Father of
Mankind aus dem Jahre
1887 vom englischen
Komponisten und
Organisten Frederick
Charles Maker
(1844-1927). Es ist ein
ruhiges, introvertiertes
Werk von dennoch
intensiver Wirkung. Eine
bedeutende Rolle fällt
hier dem
Euphoniumsolisten zu, der
im ersten Teil dieser
musikalischen Meditation
zu einer der schönsten
englischen
Kirchenliedmelodien
hinführt.
Dear Lord and
Father of Mankind
(Seigneur et Père de
l’Humanité) est
un hymne composé par
l'organiste anglais
Frederick Charles Maker
(1844-1927),
d’après un
poème de John
Greenleaf Whittier. Jan
de Haan nous offre une
adaptation calme et
cependant intense de cet
air méditatif.
L’euphonium joue
un rôle important dans
la première partie de
la pièce, conduisant
l’une des plus
belles mélodies de
tous les hymnes anglais.
Meditation
si basa su Dear Lord
and Father of Mankind
(1887) del compositore e
organista Frederick
Charles Maker
(1844-1927). Un brano
calmo e introverso, ma di
sicuro effetto. Nella
prima sezione
l’assolo di
eufonio riveste un ruolo
importante e accompagna
il brano verso una delle
più belle melodie
inglesi del repertorio
ecclesiastico. $30.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Meditation Ensemble de cuivres [Conducteur et Parties séparées] - Facile De Haske Publications
Brass Band - Grade 3 SKU: BT.DHP-1125174-030 Dear Lord and Father of M...(+)
Brass Band - Grade 3
SKU:
BT.DHP-1125174-030
Dear Lord and Father
of Mankind. Composed
by Jan de Haan. Musica
Sacra. Festive and Solemn
Music. Set (Score &
Parts). Composed 2013. De
Haske Publications #DHP
1125174-030. Published by
De Haske Publications
(BT.DHP-1125174-030).
9x12 inches.
English-German-French-Dut
ch. Meditation
I> is based on Dear
Lord and Father of
Mankind (1887) by the
English composer and
organist Frederick
Charles Maker
(1844-1927). This is a
calm, introverted work
that however has an
intense effect. In the
first section, the solo
euphonium is given an
important role, leading
to one of the loveliest
of all English hymn
melodies.
Meditation
, gebaseerd Dear Lord
and Father of Mankind
(1887) van de Engelse
componist/organist
Frederick Charles Maker
(1844-1927) is een werk
met een verstild en
ingetogen karakter. Er is
een belangrijke rol
weggelegd voor de
Euphonium solist die ons
in het eerste deel van
deze meditatie leidt naar
één van de mooiste
Engelse hymn tunes ooit.
Meditation
basiert auf Dear Lord
and Father of Mankind
aus dem Jahre 1887 vom
englischen Komponisten
und Organisten Frederick
Charles Maker
(1844-1927). Es ist ein
ruhiges, introvertiertes
Werk von dennoch
intensiver Wirkung. Eine
bedeutende Rolle fällt
hier dem
Euphoniumsolisten zu, der
im ersten Teil dieser
musikalischen Meditation
zu einer der schönsten
englischen
Kirchenliedmelodien
hinführt.
Dear Lord and
Father of Mankind
(Seigneur et Père de
l’Humanité) est
un hymne composé par
l'organiste anglais
Frederick Charles Maker
(1844-1927),
d’après un
poème de John
Greenleaf Whittier. Jan
de Haan nous offre une
adaptation calme et
cependant intense de cet
air méditatif.
L’euphonium joue
un rôle important dans
la première partie de
la pièce, conduisant
l’une des plus
belles mélodies de
tous les hymnes anglais.
Meditation
si basa su Dear Lord
and Father of Mankind
(1887) del compositore e
organista Frederick
Charles Maker
(1844-1927). Un brano
calmo e introverso, ma di
sicuro effetto. Nella
prima sezione
l’assolo di
eufonio riveste un ruolo
importante e accompagna
il brano verso una delle
più belle melodie
inglesi del repertorio
ecclesiastico. $90.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Meditation Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1125174-140 Dear Lord and ...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1125174-140
Dear Lord and Father
of Mankind. Composed
by Jan de Haan. Musica
Sacra. Hymns & Chorals.
Score Only. Composed
2012. 20 pages. De Haske
Publications #DHP
1125174-140. Published by
De Haske Publications
(BT.DHP-1125174-140).
9x12 inches.
English-German-French-Dut
ch. Meditation
I> is based on Dear
Lord and Father of
Mankind (1887) by the
English composer and
organist Frederick
Charles Maker
(1844-1927). This is a
calm, introverted work
that however has an
intense effect. In the
first section, the solo
euphonium is given an
important role, leading
to one of the loveliest
of all English hymn
melodies.
Meditation
, gebaseerd Dear Lord
and Father of Mankind
(1887) van de Engelse
componist/organist
Frederick Charles Maker
(1844-1927) is een werk
met een verstild en
ingetogen karakter. Er is
een belangrijke rol
weggelegdvoor de
Euphonium solist die ons
in het eerste deel van
deze meditatie leidt naar
één van de mooiste
Engelse hymn tunes
ooit.
Meditatio
n basiert auf Dear
Lord and Father of
Mankind aus dem Jahre
1887 vom englischen
Komponisten und
Organisten Frederick
Charles Maker
(1844-1927). Es ist ein
ruhiges, introvertiertes
Werk von dennoch
intensiver Wirkung. Eine
bedeutende Rolle fällt
hier dem
Euphoniumsolisten zu, der
im ersten Teil dieser
musikalischen Meditation
zu einer der schönsten
englischen
Kirchenliedmelodien
hinführt.
Dear Lord and
Father of Mankind
(Seigneur et Père de
l’Humanité) est
un hymne composé par
l'organiste anglais
Frederick Charles Maker
(1844-1927),
d’après un
poème de John
Greenleaf Whittier. Jan
de Haan nous offre une
adaptation calme et
cependant intense de cet
air méditatif.
L’euphonium joue
un rôle important dans
la première partie de
la pièce, conduisant
l’une des plus
belles mélodies de
tous les hymnes anglais.
Meditation
si basa su Dear Lord
and Father of Mankind
(1887) del compositore e
organista Frederick
Charles Maker
(1844-1927). Un brano
calmo e introverso, ma di
sicuro effetto. Nella
prima sezione
l’assolo di
eufonio riveste un ruolo
importante e accompagna
il brano verso una delle
più belle melodie
inglesi del repertorio
ecclesiastico. $30.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Meditation Fanfare [Conducteur et Parties séparées] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1125174-020 Dear Lord and Father of...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1125174-020
Dear Lord and Father
of Mankind. Composed
by Jan de Haan. Musica
Sacra. Festive and Solemn
Music. Set (Score &
Parts). Composed 2012. De
Haske Publications #DHP
1125174-020. Published by
De Haske Publications
(BT.DHP-1125174-020).
9x12 inches.
English-German-French-Dut
ch. Meditation
I> is based on Dear
Lord and Father of
Mankind (1887) by the
English composer and
organist Frederick
Charles Maker
(1844-1927). This is a
calm, introverted work
that however has an
intense effect. In the
first section, the solo
euphonium is given an
important role, leading
to one of the loveliest
of all English hymn
melodies.
Meditation,
gebaseerd Dear Lord and
Father of mankind (1887)
van de Engelse
componist/organist
Frederick Charles Maker
(1844-1927) is een werk
met een verstild en
ingetogen karakter. Er is
een belangrijke rol
weggelegd voor de
Euphoniumsolist die ons
in het eerste deel van
deze meditatie leidt naar
één van de mooiste
Engelse hymn tunes
ooit.
Meditatio
n basiert auf Dear
Lord and Father of
Mankind aus dem Jahre
1887 vom englischen
Komponisten und
Organisten Frederick
Charles Maker
(1844-1927). Es ist ein
ruhiges, introvertiertes
Werk von dennoch
intensiver Wirkung. Eine
bedeutende Rolle fällt
hier dem
Euphoniumsolisten zu, der
im ersten Teil dieser
musikalischen Meditation
zu einer der schönsten
englischen
Kirchenliedmelodien
hinführt.
Dear Lord and
Father of Mankind
(Seigneur et Père de
l’Humanité) est
un hymne composé par
l'organiste anglais
Frederick Charles Maker
(1844-1927),
d’après un
poème de John
Greenleaf Whittier. Jan
de Haan nous offre une
adaptation calme et
cependant intense de cet
air méditatif.
L’euphonium joue
un rôle important dans
la première partie de
la pièce, conduisant
l’une des plus
belles mélodies de
tous les hymnes anglais.
Meditation
si basa su Dear Lord
and Father of Mankind
(1887) del compositore e
organista Frederick
Charles Maker
(1844-1927). Un brano
calmo e introverso, ma di
sicuro effetto. Nella
prima sezione
l’assolo di
eufonio riveste un ruolo
importante e accompagna
il brano verso una delle
più belle melodie
inglesi del repertorio
ecclesiastico. $135.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Meditation Ensemble de cuivres [Conducteur] - Facile De Haske Publications
Brass Band - Grade 3 SKU: BT.DHP-1125174-130 Dear Lord and Father of M...(+)
Brass Band - Grade 3
SKU:
BT.DHP-1125174-130
Dear Lord and Father
of Mankind. Composed
by Jan de Haan. Musica
Sacra. Festive and Solemn
Music. Score Only.
Composed 2013. 16 pages.
De Haske Publications
#DHP 1125174-130.
Published by De Haske
Publications
(BT.DHP-1125174-130).
9x12 inches.
English-German-French-Dut
ch. Meditation
I> is based on Dear
Lord and Father of
Mankind (1887) by the
English composer and
organist Frederick
Charles Maker
(1844-1927). This is a
calm, introverted work
that however has an
intense effect. In the
first section, the solo
euphonium is given an
important role, leading
to one of the loveliest
of all English hymn
melodies.
Meditation
, gebaseerd Dear Lord
and Father of Mankind
(1887) van de Engelse
componist/organist
Frederick Charles Maker
(1844-1927) is een werk
met een verstild en
ingetogen karakter. Er is
een belangrijke rol
weggelegd voor de
Euphonium solist die ons
in het eerste deel van
deze meditatie leidt naar
één van de mooiste
Engelse hymn tunes ooit.
Meditation
basiert auf Dear Lord
and Father of Mankind
aus dem Jahre 1887 vom
englischen Komponisten
und Organisten Frederick
Charles Maker
(1844-1927). Es ist ein
ruhiges, introvertiertes
Werk von dennoch
intensiver Wirkung. Eine
bedeutende Rolle fällt
hier dem
Euphoniumsolisten zu, der
im ersten Teil dieser
musikalischen Meditation
zu einer der schönsten
englischen
Kirchenliedmelodien
hinführt.
Dear Lord and
Father of Mankind
(Seigneur et Père de
l’Humanité) est
un hymne composé par
l'organiste anglais
Frederick Charles Maker
(1844-1927),
d’après un
poème de John
Greenleaf Whittier. Jan
de Haan nous offre une
adaptation calme et
cependant intense de cet
air méditatif.
L’euphonium joue
un rôle important dans
la première partie de
la pièce, conduisant
l’une des plus
belles mélodies de
tous les hymnes anglais.
Meditation
si basa su Dear Lord
and Father of Mankind
(1887) del compositore e
organista Frederick
Charles Maker
(1844-1927). Un brano
calmo e introverso, ma di
sicuro effetto. Nella
prima sezione
l’assolo di
eufonio riveste un ruolo
importante e accompagna
il brano verso una delle
più belle melodie
inglesi del repertorio
ecclesiastico. $23.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Meditation Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1125174-010 Dear Lord and ...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1125174-010
Dear Lord and Father
of Mankind. Composed
by Jan de Haan. Musica
Sacra. Hymns & Chorals.
Set (Score & Parts).
Composed 2012. De Haske
Publications #DHP
1125174-010. Published by
De Haske Publications
(BT.DHP-1125174-010).
9x12 inches.
English-German-French-Dut
ch. Meditation
I> is based on Dear
Lord and Father of
Mankind (1887) by the
English composer and
organist Frederick
Charles Maker
(1844-1927). This is a
calm, introverted work
that however has an
intense effect. In the
first section, the solo
euphonium is given an
important role, leading
to one of the loveliest
of all English hymn
melodies.
Meditation
, gebaseerd Dear Lord
and Father of Mankind
(1887) van de Engelse
componist/organist
Frederick Charles Maker
(1844-1927) is een werk
met een verstild en
ingetogen karakter. Er is
een belangrijke rol
weggelegdvoor de
Euphonium solist die ons
in het eerste deel van
deze meditatie leidt naar
één van de mooiste
Engelse hymn tunes
ooit.
Meditatio
n basiert auf Dear
Lord and Father of
Mankind aus dem Jahre
1887 vom englischen
Komponisten und
Organisten Frederick
Charles Maker
(1844-1927). Es ist ein
ruhiges, introvertiertes
Werk von dennoch
intensiver Wirkung. Eine
bedeutende Rolle fällt
hier dem
Euphoniumsolisten zu, der
im ersten Teil dieser
musikalischen Meditation
zu einer der schönsten
englischen
Kirchenliedmelodien
hinführt.
Dear Lord and
Father of Mankind
(Seigneur et Père de
l’Humanité) est
un hymne composé par
l'organiste anglais
Frederick Charles Maker
(1844-1927),
d’après un
poème de John
Greenleaf Whittier. Jan
de Haan nous offre une
adaptation calme et
cependant intense de cet
air méditatif.
L’euphonium joue
un rôle important dans
la première partie de
la pièce, conduisant
l’une des plus
belles mélodies de
tous les hymnes anglais.
Meditation
si basa su Dear Lord
and Father of Mankind
(1887) del compositore e
organista Frederick
Charles Maker
(1844-1927). Un brano
calmo e introverso, ma di
sicuro effetto. Nella
prima sezione
l’assolo di
eufonio riveste un ruolo
importante e accompagna
il brano verso una delle
più belle melodie
inglesi del repertorio
ecclesiastico. $135.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Wir kampfen fur das Leben Hofmeister Musikverlag
XXXX SKU: HF.FH-3364 5 Lieder. Composed by Kurt Schwaen. Sheet mus...(+)
XXXX SKU:
HF.FH-3364 5
Lieder. Composed by
Kurt Schwaen. Sheet
music. Friedrich
Hofmeister Musikverlag
#FH 3364. Published by
Friedrich Hofmeister
Musikverlag (HF.FH-3364).
ISBN 9790203433644.
8.3 x 11.7
inches. 1. Zehn
Freunde (P. Eluard); 2.
Die Verkaufer der
Nachsicht (P. Eluard); 3.
Schwestern der Hoffnung
(P. Eluard); 4. Bericht
einer Zehnjahrigen (R.
Gilbert); 5. Fur die
Zukunft (R. Gilbert). $21.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Notebook for Johann Christian Bach Piano seul - Intermédiaire Peters
Piano SKU: PE.EP11503 Composed by Johann Sebastian Bach. Masterworks; Pia...(+)
Piano SKU:
PE.EP11503 Composed
by Johann Sebastian Bach.
Masterworks; Piano -
Intermediate / Advanced
Collection; Piano
Resources. Baroque;
Classical; Masterwork.
Book. 112 pages. Edition
Peters #98-EP11503.
Published by Edition
Peters (PE.EP11503).
ISBN
9790014127084. The
Notebook for Johann
Christian Bach completes
the collection of
surviving instructional
works from within the
Bach family, following
the highly praised
Notebooks for Anna
Magdalena and Wilhelm
Friedemann Bach.
Together, Bach's
Notebooks provide a
fascinating glimpse into
the domestic music
academy of the Bach
family home. They contain
original compositions,
exercises, and model
examples by other
composers, all collected
with a view to providing
a rounded musical
education to family
members. Presented as a
luxury linen-bound
edition with
gold-embossed cover
lettering, illustrations
and critical commentary,
this volume includes
pieces not featured in
previous
collections.
This
first Urtext edition
Notebook for Bach's son
Johann Christian has been
reconstructed by renowned
Bach scholar Christoph
Wolff from copies from
the estate of C.P.E.
Bach. It includes pieces
for keyboard by J.S.
Bach, Johann Christian's
initial attempts at
composition (minuets and
polonaises), and pieces
by the older brothers
Carl Philipp Emanuel and
Johann Christoph
Friedrich and son-in-law
Johann Christoph
Altnickol. The collection
is completed by two sets
of short preludes and
fughettas from Bach's
early Leipzig teaching
practice, which may have
come from other lost
notebooks for his family,
possibly the one for
C.P.E.
Bach.
Clavier-BÃ
chlein für Johann
Christian
Bach
Nach den
hochgelobten Ausgaben der
Clavier-Büchlein
für Anna Magdalena
Bach und Wilhelm
Friedemann Bach
vervollständigt das
Clavier-Büchlein
für Johann Christian
Bach die Sammlung an
überlieferten
Unterrichtswerken
innerhalb der
Bachfamilie. In ihrer
Gesamtheit bieten Bachs
Clavier-Büchlein einen
faszinierenden Einblick
in das häusliche
Musizieren der Familie
Bach. Sie enthalten
Originalkompositionen,
Übungen für den
Unterricht sowie
beispielhafte Werke
anderer Komponisten, die
alle gesammelt wurden, um
den Familienmitgliedern
Literatur für eine
umfassende musikalische
Ausbildung
bereitzustellen. In
e. $90.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Schifferlied Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1094593-010 Es löscht...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-1094593-010
Es löscht das Meer
die Sonne aus.
Arranged by John Blanken.
Musica Sacra. Classical.
Set (Score & Parts).
Composed 2008. De Haske
Publications #DHP
1094593-010. Published by
De Haske Publications
(BT.DHP-1094593-010).
9x12 inches.
English-German-French-Dut
ch. De melodie van
het Schifferlied
(schipperslied) van
Friedrich Silcher
(1789-1860) is
oorspronkelijk een
barcarolle uit de
Provence. Silcher
arrangeerde het en nam
het met een eigen tekst
op in een van zijn
bundels met
volksliederen.Het is
daarom ook bekend onder
de titel Es löscht
das Meer die Sonne
aus - de eerste regel
van de tekst. Silchers
versie van het
Schifferlied kenmerkt
zich door helderheid en
eenvoud, in navolging van
de Weense klassieken.In
dit arrangement voor
blaasorkest werd deze
benadering gerespecteerd
en is dezelfde stijl
gehandhaafd. Het werk kan
ook met mannenkoor (TB)
uitgevoerd
worden.
Die
Melodie des
Schifferliedes von
Friedrich Silcher ist
ursprünglich eine
Barcarolle aus der
französischen
Provence, auch bekannt
als Es löscht das
Meer die Sonne aus,
nach der ersten Textzeile
des Liedes von Silcher.
Silchers Version ist
gekennzeichnet von
Klarheit und Einfachheit,
im Stile der Wiener
Klassiker. In dieser
Bearbeitung für
Blasorchester wurde
dieser Stil beibehalten.
Das Werk kann auch mit
einem Männerchor
aufgeführt werden
(TB).
C’est
Venise que naquirent les
barcarolles, chants des
gondoliers au rythme
toujours ternaire (6/8,
9/8 ou 12/8), qui
suggère, par la
répétition
constante d'un même
rythme de basse, le
balancement régulier
des embarcations sur la
lagune. La mélodie du
chant Schifferlied
(Chant du batelier) de
Friedrich Silcher
(1789-1860) dérive non
pas d’une
barcarolle vénitienne
mais d’une
barcarolle de
Provence.Après avoir
arrangé la barcarolle
provençale, Friedrich
Silcher écrit un texte
et publie le chant sous
le titre Es löscht
das Meer die Sonne
aus (premier vers du
texte) dans un recueil
d’airs et de
chants
traditionnels.Schiffer
lied développe une
ligne simple,fluide et
limpide l’instar
des mélodies
viennoises.
L’arrangement pour
Orchestre
d’Harmonie est
fidèle cette approche.
Il peut être
accompagné par un
Chœur
d’Hommes (TB -
texte en langue allemande
-Set vendu
séparément - DHP
1094593-050). $118.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Schifferlied [Conducteur et Parties séparées] - Facile De Haske Publications
TB - Grade 2.5 SKU: BT.DHP-1094593-050 Es löscht das Meer die Sonne...(+)
TB - Grade 2.5 SKU:
BT.DHP-1094593-050
Es löscht das Meer
die Sonne aus.
Arranged by John Blanken.
Musica Sacra. Classical.
Set (Score & Parts).
Composed 2008. De Haske
Publications #DHP
1094593-050. Published by
De Haske Publications
(BT.DHP-1094593-050).
9x12 inches.
English-German-French-Dut
ch. De melodie van
het Schifferlied
(schipperslied) van
Friedrich Silcher
(1789-1860) is
oorspronkelijk een
barcarolle uit de
Provence. Silcher
arrangeerde het en nam
het met een eigen tekst
op in een van zijn
bundels met
volksliederen.Het is
daarom ook bekend onder
de titel Es löscht
das Meer die Sonne
aus - de eerste regel
van de tekst. Silchers
versie van het
Schifferlied kenmerkt
zich door helderheid en
eenvoud, in navolging van
de Weense klassieken.In
dit arrangement voor
blaasorkest werd deze
benadering gerespecteerd
en is dezelfde stijl
gehandhaafd. Het werk kan
ook met mannenkoor (TB)
uitgevoerd
worden.
Die
Melodie des
Schifferliedes von
Friedrich Silcher ist
ursprünglich eine
Barcarolle aus der
französischen
Provence, auch bekannt
als Es löscht das
Meer die Sonne aus,
nach der ersten Textzeile
des Liedes von Silcher.
Silchers Version ist
gekennzeichnet von
Klarheit und Einfachheit,
im Stile der Wiener
Klassiker. In dieser
Bearbeitung für
Blasorchester wurde
dieser Stil beibehalten.
Das Werk kann auch mit
einem Männerchor
aufgeführt werden
(TB).
Partitions
pour Chœur
d’Hommes (TB -
texte en langue allemande
-25 ex.).C’est
Venise que naquirent les
barcarolles, chants des
gondoliers au rythme
toujours ternaire (6/8,
9/8 ou 12/8), qui
suggère, par la
répétition
constante d'un même
rythme de basse, le
balancement régulier
des embarcations sur la
lagune. La mélodie du
chant Schifferlied
(Chant du batelier) de
Friedrich Silcher
(1789-1860) dérive non
pas d’une
barcarolle vénitienne
mais d’une
barcarolle de Provence.
Après avoir arrangé
la barcarolle
provençale, Friedrich
Silcher écrit un texte
et publie le chant sous
le titre Es löscht
das Meer die Sonne
aus (premier vers du
texte) dans un
recueild’airs et
de chants traditionnels.
Schifferlied
développe une ligne
simple, fluide et limpide
l’instar des
mélodies
viennoises. $31.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Schifferlied Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1094593-140 Es löscht...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-1094593-140
Es löscht das Meer
die Sonne aus.
Arranged by John Blanken.
Musica Sacra. Classical.
Score Only. Composed
2008. 24 pages. De Haske
Publications #DHP
1094593-140. Published by
De Haske Publications
(BT.DHP-1094593-140).
9x12 inches.
English-German-French-Dut
ch. De melodie van
het Schifferlied
(schipperslied) van
Friedrich Silcher
(1789-1860) is
oorspronkelijk een
barcarolle uit de
Provence. Silcher
arrangeerde het en nam
het met een eigen tekst
op in een van zijn
bundels met
volksliederen.Het is
daarom ook bekend onder
de titel Es löscht
das Meer die Sonne
aus - de eerste regel
van de tekst. Silchers
versie van het
Schifferlied kenmerkt
zich door helderheid en
eenvoud, in navolging van
de Weense klassieken.In
dit arrangement voor
blaasorkest werd deze
benadering gerespecteerd
en is dezelfde stijl
gehandhaafd. Het werk kan
ook met mannenkoor (TB)
uitgevoerd
worden.
Die
Melodie des
Schifferliedes von
Friedrich Silcher ist
ursprünglich eine
Barcarolle aus der
französischen
Provence, auch bekannt
als Es löscht das
Meer die Sonne aus,
nach der ersten Textzeile
des Liedes von Silcher.
Silchers Version ist
gekennzeichnet von
Klarheit und Einfachheit,
im Stile der Wiener
Klassiker. In dieser
Bearbeitung für
Blasorchester wurde
dieser Stil beibehalten.
Das Werk kann auch mit
einem Männerchor
aufgeführt werden
(TB).
C’est
Venise que naquirent les
barcarolles, chants des
gondoliers au rythme
toujours ternaire (6/8,
9/8 ou 12/8), qui
suggère, par la
répétition
constante d'un même
rythme de basse, le
balancement régulier
des embarcations sur la
lagune. La mélodie du
chant Schifferlied
(Chant du batelier) de
Friedrich Silcher
(1789-1860) dérive non
pas d’une
barcarolle vénitienne
mais d’une
barcarolle de
Provence.Après avoir
arrangé la barcarolle
provençale, Friedrich
Silcher écrit un texte
et publie le chant sous
le titre Es löscht
das Meer die Sonne
aus (premier vers du
texte) dans un recueil
d’airs et de
chants
traditionnels.Schiffer
lied développe une
ligne simple,fluide et
limpide l’instar
des mélodies
viennoises.
L’arrangement pour
Orchestre
d’Harmonie est
fidèle cette approche.
Il peut être
accompagné par un
Chœur
d’Hommes (TB -
texte en langue allemande
-Set vendu
séparément - DHP
1094593-050). $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Best of Irish Music Piano, Voix et Guitare Creative Concepts
By Various. Creative Concepts Publishing. Size 9x12 inches. 192 pages. Published...(+)
By Various. Creative
Concepts Publishing. Size
9x12 inches. 192 pages.
Published by Creative
Concepts.
$17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Advancing Music Education through Assessment: Honoring Culture, Diversity, and Practice GIA Publications
SKU: GI.G-10242 Selected Papers from the Seventh International Symposi...(+)
SKU: GI.G-10242
Selected Papers from
the Seventh International
Symposium on Assessment
in Music Education.
Composed by Marshall
Haning and Timothy S.
Brophy. Music Education.
534 pages. GIA
Publications #10242.
Published by GIA
Publications
(GI.G-10242). ISBN
9781622774463. Cont
ributors: Michael L.
Alexander, Myriam I.
Athanas, Leonardo Borne,
Frederick Burrack,
Isabelle Adna Lopes da
Hora, Paul F. Doerksen,
Sergio Figueiredo,
Christina Haaf, Barry
Hartz, Johannes
Hasselhorn, Jason A.
Hawkins, Michele L.
Henry, Jasmine Hines,
Kelly Hollingsworth,
Gabriel Imthurn, Amanda
Kastner, Anita Kumar,
Andreas C. Lehmann,
Andreas Lehmann-Wermser,
Florian Lill, Melissa A.
Lloyd, Brandon C.
McDaniel, Adam P. Miller,
David W. Montgomery,
Dorothy J. Musselwhite,
Patty K. Nelson, Glenn E.
Nierman, Douglas C.
Orzolek, Kelly A. Parkes,
Phillip Payne, Seth
Pendergast, Leigh M.
Powell, Jared R.
Rawlings, Patricia E.
Riley, Joanne Rutkowski,
Elizabeth S. Schultz,
Sydney C. Seed, Megan M.
Sheridan, Dayvison Sousa
Silva, David A.
Stringham, Justine
Swainson, Jack Walton,
Dennis Ping-Cheng Wang,
Jeffrey Ward, Brian C.
Wesolowski The Seventh
International Symposium
on Assessment in Music
Education was hosted by
the University of
Florida. The symposium
brought together 112
participants from 12
nations across six
continents and 24 U.S.
states to learn of each
other’s work,
establish collaborations
and professional
networks, and shape new
directions for research
in this important area of
music education at the
University of Florida in
Gainesville from March
19–22, 2019. The
two keynote addresses and
31 papers published in
this volume document
music assessment practice
and the measurement and
evaluation of music
learning across the world
in local, state, and
national contexts at all
levels. The attendees
also attended special
work sessions to begin
developing a set of
assessment literacy
standards for music
teachers based on the
International Principles
for Assessment in Music
Education (developed and
introduced by the
co-chairs at ISAME6 in
2017), and their
discussions are
summarized in this
collection. As music
educators across the
world come to terms with
increased expectations
for accountability of
learning in music, the
scholars and
practitioners who have
contributed to this
volume provide insight to
guide their work. About
the Editors: Timothy S.
Brophy is Professor of
Music Education and
Director of Institutional
Assessment at the
University of Florida in
Gainesville. Marshall
Haning is Assistant
Professor of Music
Education at the
University of Florida in
Gainesville. $47.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Zum Uben und Vorspielen, Heft 1 - Facile Hofmeister Musikverlag
Horn, piano - Level 2 SKU: HF.FH-2093 Kleine Stucke alter Meister....(+)
Horn, piano - Level 2
SKU: HF.FH-2093
Kleine Stucke alter
Meister. Arranged by
Philipp. Sheet music.
Friedrich Hofmeister
Musikverlag #FH 2093.
Published by Friedrich
Hofmeister Musikverlag
(HF.FH-2093). ISBN
9790203420934. 9 x 12
inches. Lento
(C.Czerny), Andante
cantabile (A.Diabell),
Springtanz, Allegro
(C.Czerny), Lied
(J.Haydn), Allegro
(A.Diabelli), Menuett
(H.Purcell), Kleine Suite
(J.N.Hummel), Allegretto
comodo (J.P.Kirnberger),
Allegro, Moderato
(A.Diabelli), Air Italien
(G.H.Stolzel), Fuga
(J.Pachelbel), Der kleine
Tambour (F.Hunten), Tempo
di Marcia (R.Schumann),
Erster Verlust
(R.Schumann), Gavotte
(J.Pachelbel), Menuett
(W.A.Mozart), Marsch
(C.Ph.E.Bach), Menuett
(G.H.Stolzel), Bourree
(J.A.Hasse),
Soldatenmarsch
(R.Schumann), Bourree
(J.Ch.Graupner). $20.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Die Post im Walde Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie and Trumpet Solo - Grade 3 SKU: BT.DHP-1073971-010 ...(+)
Concert Band/Harmonie and
Trumpet Solo - Grade 3
SKU:
BT.DHP-1073971-010
For Trumpet and
Band. Composed by
Heinrich Schäffer.
Arranged by Wil van der
Beek. Solo Spectrum.
Transcription. Set (Score
& Parts). Composed 2007.
De Haske Publications
#DHP 1073971-010.
Published by De Haske
Publications
(BT.DHP-1073971-010).
9x12 inches.
English-German-French-Dut
ch. During his
lifetime, Heinrich
Schaffer (1808-1874) was
a famous singerand
singing teacher. With his
compositions for
male-voice choir, hewas
very influential in
northern Germany.
Nowadays, little is left
ofthis man?s fame. Only
his song Die Post im
Walde is regularly
performedwith much
enjoyment by many men?s
choirs. This beautiful
song is nowavailable for
trumpet and concert band.
Heinrich
Schäffer (1808-1874)
was een befaamd zanger en
zangpedagoog. Met zijn
composities voor
mannenkoor was hij in
Noord-Duitsland zeer
invloedrijk, maar van
zijn beroemdheid is nog
maar weinig over. Alleen
zijn lied Die Postim
Walde is
onsterfelijk, met name in
de mannenkoorwereld. De
charme van het lied ligt
in het verhalende
karakter ervan. Het beeld
van een postiljon, bij
nacht rijdend door een
bos, nu en dan signalen
spelend, denkend aan
zijngeliefde… het
wordt moeiteloos
verklankt in Die Post
im Walde.
Mit
seinen Kompositionen,
vornehmlich für
Männerchor
geschrieben, hatte der
Sänger und
Gesangslehrer Heinrich
Schäffer großen
Einfluss im norddeutschen
Raum. Sein Lied Die
Post im Walde wurde
auch über die Grenzen
dieser Region hinaus
berühmt und wird heute
noch gerne gesungen. Wil
van der Beek machte das
schöne Lied nun auch
dem Blasorchester
zugänglich.
Chanteur et
pédagogue
émérite, Heinrich
Schäffer (1808-1874) a
acquis une reconnaissance
et une notoriété de
son vivant. Il fut
également chef de
chœur du Hamburger
Liedertafel, un
chœur
d’hommes
hambourgeois. Ses
œuvres pour voix
d’hommes ont fait
de lui un homme très
influent en Allemagne du
Nord. Aujourd’hui,
il ne reste que très
peu de traces de sa
notoriété. Seule la
chanson Die Post im
Walde (Le Postillon
dans les bois),
composée sur un texte
d’Otto Friedrich
Gruppe - est parvenue
résister aux
vicissitudes du temps.
Nombreux sont les
chœurs
d’hommes qui la
chantent
encore.L’attrait
de cette chanson
réside dans son
caractère narratif.
DiePost im Walde
raconte l’histoire
d’un postillon
(cocher) qui la nuit,
traverse la forêt au
galop, sonne du cor et
pense ceux qu’il
aime. $110.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Die Post im Walde Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie and Trumpet Solo - Grade 3 SKU: BT.DHP-1073971-140 ...(+)
Concert Band/Harmonie and
Trumpet Solo - Grade 3
SKU:
BT.DHP-1073971-140
For Trumpet and
Band. Composed by
Heinrich Schäffer.
Arranged by Wil van der
Beek. Solo Spectrum.
Transcription. Score
Only. Composed 2007. 12
pages. De Haske
Publications #DHP
1073971-140. Published by
De Haske Publications
(BT.DHP-1073971-140).
9x12 inches.
English-German-French-Dut
ch. During his
lifetime, Heinrich
Schaffer (1808-1874) was
a famous singerand
singing teacher. With his
compositions for
male-voice choir, hewas
very influential in
northern Germany.
Nowadays, little is left
ofthis man?s fame. Only
his song Die Post im
Walde is regularly
performedwith much
enjoyment by many men?s
choirs. This beautiful
song is nowavailable for
trumpet and concert band.
Heinrich
Schäffer (1808-1874)
was een befaamd zanger en
zangpedagoog. Met zijn
composities voor
mannenkoor was hij in
Noord-Duitsland zeer
invloedrijk, maar van
zijn beroemdheid is nog
maar weinig over. Alleen
zijn lied Die Postim
Walde is
onsterfelijk, met name in
de mannenkoorwereld. De
charme van het lied ligt
in het verhalende
karakter ervan. Het beeld
van een postiljon, bij
nacht rijdend door een
bos, nu en dan signalen
spelend, denkend aan
zijngeliefde… het
wordt moeiteloos
verklankt in Die Post
im Walde.
Mit
seinen Kompositionen,
vornehmlich für
Männerchor
geschrieben, hatte der
Sänger und
Gesangslehrer Heinrich
Schäffer großen
Einfluss im norddeutschen
Raum. Sein Lied Die
Post im Walde wurde
auch über die Grenzen
dieser Region hinaus
berühmt und wird heute
noch gerne gesungen. Wil
van der Beek machte das
schöne Lied nun auch
dem Blasorchester
zugänglich.
Chanteur et
pédagogue
émérite, Heinrich
Schäffer (1808-1874) a
acquis une reconnaissance
et une notoriété de
son vivant. Il fut
également chef de
chœur du Hamburger
Liedertafel, un
chœur
d’hommes
hambourgeois. Ses
œuvres pour voix
d’hommes ont fait
de lui un homme très
influent en Allemagne du
Nord. Aujourd’hui,
il ne reste que très
peu de traces de sa
notoriété. Seule la
chanson Die Post im
Walde (Le Postillon
dans les bois),
composée sur un texte
d’Otto Friedrich
Gruppe - est parvenue
résister aux
vicissitudes du temps.
Nombreux sont les
chœurs
d’hommes qui la
chantent
encore.L’attrait
de cette chanson
réside dans son
caractère narratif.
DiePost im Walde
raconte l’histoire
d’un postillon
(cocher) qui la nuit,
traverse la forêt au
galop, sonne du cor et
pense ceux qu’il
aime. $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Juliska Fanfare [Conducteur et Parties séparées] - Facile De Haske Publications
Fanfare Band - Grade 2.5 SKU: BT.DHP-1084451-020 'Juliska aus Budapest...(+)
Fanfare Band - Grade 2.5
SKU:
BT.DHP-1084451-020
'Juliska aus Budapest'
from Maske in Blau.
Composed by Fred Raymond
and Gunther Schwenn.
Arranged by Henk
Hogestein. Great
Classics. Set (Score &
Parts). Composed 2008. De
Haske Publications #DHP
1084451-020. Published by
De Haske Publications
(BT.DHP-1084451-020).
9x12 inches.
English-German-French-Dut
ch. De componist
Fred Raymond (eigenlijk
Raimund Friedrich
Vesely), werd in 1900 in
Wenen (Oostenrijk)
geboren, hij overleed in
1954 in Ãœberlingen
(Duitsland). Aanvankelijk
was hij werkzaam in de
handel, maar de wereld
van de muziek lokte.Toen
hij 24 was, begon hij
zijn muzikale carrière
als cabaretpianist.
Raymond schreef
aansprekende liederen,
die in de jaren twintig
en dertig heuse schlagers
waren, en later
verschillende operettes,
waaronder de nog
altijdpopulaire Maske
in Blau: Die Juliska aus
Budapest (1937). Deze
vlotte, vrolijke operette
heeft zelfs iets weg van
een musical. De muziek
zal zowel muzikanten als
luisteraars veel plezier
bezorgen.
Fred
Raymond, geboren als Fred
Vesely im Jahre 1900 in
Wien, war Spross einer
böhmischen
Musikantenfamilie. Seine
musikalische Karriere
begann er als
Kabarettpianist, bald
schrieb er auch selbst
Chansons und Operetten.
Eines seiner
berühmtesten Lieder
ist Ich hab mein Herz
in Heidelberg
verloren. Seine
Operetten brachten
zahlreiche
Hitparaden-Schlager
hervor, wie
Juliska aus Die
Maske in Blau, das
von einem Mädchen aus
Budapest handelt, das
allen Männern den Kopf
verdreht. Diese
Bearbeitung des leichten,
beschwingten Liedes ist
ein vergnügliches
Stück für
viele
Gelegenheiten.
Fre
d Raymond (de son vrai
nom Raimund Friedrich
Vesely) est né Vienne
en 1900. Il débute sa
carrière musicale en
1924 en tant que pianiste
de cabaret. cette
époque, il compose de
nombreuses chansons et
opérettes. Maske in
Blau dont est extrait
l’air Die
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| 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 | | |
| Juliska Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1084451-140 Juliska aus ...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-1084451-140
Juliska aus Budapest
from Maske in Blau.
Composed by Fred Raymond
and Gunther Schwenn.
Arranged by Henk
Hogestein. Great
Classics. Opera or
Operetta. Score Only.
Composed 2008. 12 pages.
De Haske Publications
#DHP 1084451-140.
Published by De Haske
Publications
(BT.DHP-1084451-140).
9x12 inches.
English-German-French-Dut
ch. De componist
Fred Raymond (eigenlijk
Raimund Friedrich
Vesely), werd in 1900 in
Wenen (Oostenrijk)
geboren, hij overleed in
1954 in Ãœberlingen
(Duitsland). Aanvankelijk
was hij werkzaam in de
handel, maar de wereld
van de muziek lokte.Toen
hij 24 was, begon hij
zijn muzikale carrière
als cabaretpianist.
Raymond schreef
aansprekende liederen,
die in de jaren twintig
en dertig heuse schlagers
waren, en later
verschillende operettes,
waaronder de nog
altijdpopulaire Maske
in Blau: Die Juliska aus
Budapest (1937). Deze
vlotte, vrolijke operette
heeft zelfs iets weg van
een musical. De muziek
zal zowel muzikanten als
luisteraars veel plezier
bezorgen.
Fred
Raymond, geboren als Fred
Vesely im Jahre 1900 in
Wien, war Spross einer
böhmischen
Musikantenfamilie. Seine
musikalische Karriere
begann er als
Kabarettpianist, bald
schrieb er auch selbst
Chansons und Operetten.
Eines seiner
berühmtesten Lieder
ist Ich hab mein Herz
in Heidelberg
verloren. Seine
Operetten brachten
zahlreiche
Hitparaden-Schlager
hervor, wie
Juliska aus Die
Maske in Blau, das
von einem Mädchen aus
Budapest handelt, das
allen Männern den Kopf
verdreht. Diese
Bearbeitung des leichten,
beschwingten Liedes ist
ein vergnügliches
Stück für
viele
Gelegenheiten.
Fre
d Raymond (de son vrai
nom Raimund Friedrich
Vesely) est né Vienne
en 1900. Il débute sa
carrière musicale en
1924 en tant que pianiste
de cabaret. cette
époque, il compose de
nombreuses chansons et
opérettes. Maske in
Blau dont est extrait
l’air Die
Juliska, die Juliska aus
Budapest, est un des
chef-d’œuvres
du genre. Cette
opérette virevolvante
et pétillante est
structurée comme une
comédie musicale. La
musique est
rafraîchissante et
pleine
d’allant. $17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Juliska Fanfare [Conducteur] - Facile De Haske Publications
Fanfare Band - Grade 2.5 SKU: BT.DHP-1084451-120 'Juliska aus Budapest...(+)
Fanfare Band - Grade 2.5
SKU:
BT.DHP-1084451-120
'Juliska aus Budapest'
from Maske in Blau.
Composed by Fred Raymond
and Gunther Schwenn.
Arranged by Henk
Hogestein. Great
Classics. Score Only.
Composed 2008. 12 pages.
De Haske Publications
#DHP 1084451-120.
Published by De Haske
Publications
(BT.DHP-1084451-120).
9x12 inches.
English-German-French-Dut
ch. De componist
Fred Raymond (eigenlijk
Raimund Friedrich
Vesely), werd in 1900 in
Wenen (Oostenrijk)
geboren, hij overleed in
1954 in Ãœberlingen
(Duitsland). Aanvankelijk
was hij werkzaam in de
handel, maar de wereld
van de muziek lokte.Toen
hij 24 was, begon hij
zijn muzikale carrière
als cabaretpianist.
Raymond schreef
aansprekende liederen,
die in de jaren twintig
en dertig heuse schlagers
waren, en later
verschillende operettes,
waaronder de nog
altijdpopulaire Maske
in Blau: Die Juliska aus
Budapest (1937). Deze
vlotte, vrolijke operette
heeft zelfs iets weg van
een musical. De muziek
zal zowel muzikanten als
luisteraars veel plezier
bezorgen.
Fred
Raymond, geboren als Fred
Vesely im Jahre 1900 in
Wien, war Spross einer
böhmischen
Musikantenfamilie. Seine
musikalische Karriere
begann er als
Kabarettpianist, bald
schrieb er auch selbst
Chansons und Operetten.
Eines seiner
berühmtesten Lieder
ist Ich hab mein Herz
in Heidelberg
verloren. Seine
Operetten brachten
zahlreiche
Hitparaden-Schlager
hervor, wie
Juliska aus Die
Maske in Blau, das
von einem Mädchen aus
Budapest handelt, das
allen Männern den Kopf
verdreht. Diese
Bearbeitung des leichten,
beschwingten Liedes ist
ein vergnügliches
Stück für
viele
Gelegenheiten.
Fre
d Raymond (de son vrai
nom Raimund Friedrich
Vesely) est né Vienne
en 1900. Il débute sa
carrière musicale en
1924 en tant que pianiste
de cabaret. cette
époque, il compose de
nombreuses chansons et
opérettes. Maske in
Blau dont est extrait
l’air Die
Juliska, die Juliska aus
Budapest, est un des
chef-d’œuvres
du genre. Cette
opérette virevolvante
et pétillante est
structurée comme une
comédie musicale. La
musique est
rafraîchissante et
pleine
d’allant. $17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hallelujah! Chorale 3 parties SAT - Intermédiaire De Haske Publications
SAT - Grade 4 SKU: BT.DHP-1013065-050 Composed by George Frideric Handel....(+)
SAT - Grade 4 SKU:
BT.DHP-1013065-050
Composed by George
Frideric Handel. Arranged
by Takashi Hoshide. New
Sounds for Concert Band.
Set (Score and Parts).
Composed 2001. De Haske
Publications #DHP
1013065-050. Published by
De Haske Publications
(BT.DHP-1013065-050).
English. Hallelu
jah! begins with the
exalted sounds of the
original,
butââ¬Â¦ then it
changes into the lively
arrangement by Naohiro
Iwai - swinging musical
fireworks. The modern
twist to this religious
classic means it now well
suited for use in more
than just than church
services.
Een
verrassende uitvoering
van het bekende
Hallelujah Chorus
uit het beroemde
oratorium Messiah
van Georg Friedrich
Händel. Verras uw
publiek met een moderne
bewerking van deze
klassieker in bigband
stijl.
So haben
sie den bekannten
Hallelujah Chorus
aus Georg Friedrich
Händels
Messiah noch nie
gehört oder
gespielt:
ÃÅberraschen Sie
Ihr Publikum mit einer
modernen Bearbeitung des
Klassikers im
Big-Band-Stil!
Chorstimmen für
gemischten Chor sind
separat
erhältlich.
Alors que tout ce
qu'il entreprenait
semblait voué
l'échec, Haendel
compose dans une
période plus que
difficile, un chef
d'Åuvre de la musique
: Le Messie, un
oratorio dans la plus
pure tradition de la
Passion allemande et de
la cantate sacrée.
Lââ¬â¢AllÃ
©luia est le
mouvement final de la
deuxième partie du
Messie. Takashi
Hoshide reprend cette
célèbre
page musicale dans un
traitement enthousiaste,
dynamique, aux inflexions
de swing. Cet arrangement
peut également
être
interprété
avec un ChÅur Mixte
trois voix (SAT - Set
chÅur vendu
séparément
- DHP 1013065-050). $31.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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