| Classics For Trombone Quartet - Full Score Quatuor de cuivres: 4 trombones - Intermédiaire/avancé Kendor Music Inc.
Quartet 4 Trombones or 3 Baritones & Bass Trombone/Tuba - Grade 4 SKU: KN.176...(+)
Quartet 4 Trombones or 3
Baritones & Bass
Trombone/Tuba - Grade 4
SKU: KN.17691
Composed by Various.
Arranged by Mike Forbes.
Ensemble. Trombone
Quartet. Kendor Music Inc
#17691. Published by
Kendor Music Inc
(KN.17691). UPC:
822795176919. This
collection of 16
well-known works from the
classical repertoire for
trombone quartet are
presented here for grade
3-5 groups. This
collection was
specifically arranged to
allow for flexible low
brass instrumentation.
The 4th part may be
played on bass trombone
or tuba, and the upper
three trombone parts can
easily be exchanged for
baritones (b.c.) to the
extent that these could
be played solely by a
baritone-tuba
quartet.
Contents:
Swing Low, Sweet
Chariot; Londonderry Air;
Drink To Me Only With
Thine Eyes; Rule,
Britannia (Arne);
Greensleeves; All Through
The Night; New World
Symphony (Dvorak); Minuet
(Bach); Arioso (Bach);
Deep River; Lo, How A
Rose E'er Blooming; Air
On The G String (Bach);
Eine Kleine Nachtmusik
(Mozart); Sheep May
Safely Graze (Bach);
Hornpipe (Handel); and
Tango (Albeniz). $13.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Classics For Trombone Quartet - 3rd Trombone (opt. Baritone B.C.) Quatuor de cuivres: 4 trombones - Intermédiaire/avancé Kendor Music Inc.
Quartet 4 Trombones or 3 Baritones & Bass Trombone/Tuba - Grade 4 SKU: KN.176...(+)
Quartet 4 Trombones or 3
Baritones & Bass
Trombone/Tuba - Grade 4
SKU: KN.17694
Composed by Various.
Arranged by Mike Forbes.
Ensemble. Trombone
Quartet. Kendor Music Inc
#17694. Published by
Kendor Music Inc
(KN.17694). UPC:
822795176940. This
collection of 16
well-known works from the
classical repertoire for
trombone quartet are
persented here for grade
3-5 groups. This
collection was
specifically arranged to
allow for flexible low
brass instrumentation.
The 4th part may be
played on bass trombone
or tuba, and the upper
three trombone parts can
easily be exchanged for
baritones (b.c.) to the
extent that these could
be played solely by a
baritone-tuba
quartet.
Contents:
Swing Low, Sweet
Chariot; Londonderry Air;
Drink To Me Only With
Thine Eyes; Rule,
Britannia (Arne);
Greensleeves; All Through
The Night; New World
Symphony (Dvorak); Minuet
(Bach); Arioso (Bach);
Deep River; Lo, How A
Rose E'er Blooming; Air
On The G String (Bach);
Eine Kleine Nachtmusik
(Mozart); Sheep May
Safely Graze (Bach);
Hornpipe (Handel); and
Tango (Albeniz). $7.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Classics For Trombone Quartet - 1st Trombone (opt. Baritone B.C.) Quatuor de cuivres: 4 trombones - Intermédiaire/avancé Kendor Music Inc.
Quartet 4 Trombones or 3 Baritones & Bass Trombone/Tuba - Grade 4 SKU: KN.176...(+)
Quartet 4 Trombones or 3
Baritones & Bass
Trombone/Tuba - Grade 4
SKU: KN.17692
Composed by Various.
Arranged by Mike Forbes.
Ensemble. Trombone
Quartet. Kendor Music Inc
#17692. Published by
Kendor Music Inc
(KN.17692). UPC:
822795176926. This
collection of 16
well-known works from the
classical repertoire for
trombone quartet are
persented here for grade
3-5 groups. This
collection was
specifically arranged to
allow for flexible low
brass instrumentation.
The 4th part may be
played on bass trombone
or tuba, and the upper
three trombone parts can
easily be exchanged for
baritones (b.c.) to the
extent that these could
be played solely by a
baritone-tuba
quartet.
Contents:
Swing Low, Sweet
Chariot; Londonderry Air;
Drink To Me Only With
Thine Eyes; Rule,
Britannia (Arne);
Greensleeves; All Through
The Night; New World
Symphony (Dvorak); Minuet
(Bach); Arioso (Bach);
Deep River; Lo, How A
Rose E'er Blooming; Air
On The G String (Bach);
Eine Kleine Nachtmusik
(Mozart); Sheep May
Safely Graze (Bach);
Hornpipe (Handel); and
Tango (Albeniz). $7.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Classics For Trombone Quartet - 2nd Trombone (opt. Baritone B.C.) Quatuor de cuivres: 4 trombones - Intermédiaire/avancé Kendor Music Inc.
Quartet 4 Trombones or 3 Baritones & Bass Trombone/Tuba - Grade 4 SKU: KN.176...(+)
Quartet 4 Trombones or 3
Baritones & Bass
Trombone/Tuba - Grade 4
SKU: KN.17693
Composed by Various.
Arranged by Mike Forbes.
Ensemble. Trombone
Quartet. Kendor Music Inc
#17693. Published by
Kendor Music Inc
(KN.17693). UPC:
822795176933. This
collection of 16
well-known works from the
classical repertoire for
trombone quartet are
persented here for grade
3-5 groups. This
collection was
specifically arranged to
allow for flexible low
brass instrumentation.
The 4th part may be
played on bass trombone
or tuba, and the upper
three trombone parts can
easily be exchanged for
baritones (b.c.) to the
extent that these could
be played solely by a
baritone-tuba
quartet.
Contents:
Swing Low, Sweet
Chariot; Londonderry Air;
Drink To Me Only With
Thine Eyes; Rule,
Britannia (Arne);
Greensleeves; All Through
The Night; New World
Symphony (Dvorak); Minuet
(Bach); Arioso (Bach);
Deep River; Lo, How A
Rose E'er Blooming; Air
On The G String (Bach);
Eine Kleine Nachtmusik
(Mozart); Sheep May
Safely Graze (Bach);
Hornpipe (Handel); and
Tango (Albeniz). $7.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Classics For Trombone Quartet - 4th Trombone (opt. Bass Trombone or Tuba) Quatuor de cuivres: 4 trombones - Intermédiaire/avancé Kendor Music Inc.
Quartet 4 Trombones or 3 Baritones & Bass Trombone/Tuba - Grade 4 SKU: KN.176...(+)
Quartet 4 Trombones or 3
Baritones & Bass
Trombone/Tuba - Grade 4
SKU: KN.17695
Composed by Various.
Arranged by Mike Forbes.
Ensemble. Trombone
Quartet. Kendor Music Inc
#17695. Published by
Kendor Music Inc
(KN.17695). UPC:
822795176957. This
collection of 16
well-known works from the
classical repertoire for
trombone quartet are
persented here for grade
3-5 groups. This
collection was
specifically arranged to
allow for flexible low
brass instrumentation.
The 4th part may be
played on bass trombone
or tuba, and the upper
three trombone parts can
easily be exchanged for
baritones (b.c.) to the
extent that these could
be played solely by a
baritone-tuba
quartet.
Contents:
Swing Low, Sweet
Chariot; Londonderry Air;
Drink To Me Only With
Thine Eyes; Rule,
Britannia (Arne);
Greensleeves; All Through
The Night; New World
Symphony (Dvorak); Minuet
(Bach); Arioso (Bach);
Deep River; Lo, How A
Rose E'er Blooming; Air
On The G String (Bach);
Eine Kleine Nachtmusik
(Mozart); Sheep May
Safely Graze (Bach);
Hornpipe (Handel); and
Tango (Albeniz). $7.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Last Dance. String Quartet. Sc & Pts Quatuor à cordes: 2 violons, alto, violoncelle Stainer and Bell
String Quartet SKU: ST.Y262 Composed by Rhian Samuel. String music. Score...(+)
String Quartet SKU:
ST.Y262 Composed by
Rhian Samuel. String
music. Score and Parts.
Score and parts. Stainer
& Bell Ltd. #Y262.
Published by Stainer &
Bell Ltd. (ST.Y262).
ISBN
9790220222665. Writ
ten in 2009 for an event
to celebrate the
Bicentenary of the birth
of Charles Darwin,
The Last Dance is a
musical reflection on
contemporary questions
about the survival of our
planet. It begins with
energetic, even frenetic,
material exchanged
between the instruments.
This is interspersed with
moments of respose that
are gradually extended,
until the piece concludes
with a quiet final
section with solo first
violin playing high above
the other instruments, an
ending open to many
different
interpretations. $29.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Dark Night of the Soul [Conducteur et Parties séparées] - Intermédiaire/avancé Walton Music
By Ola Gjeilo. SCORE/PARTS FOR STRINGS. Walton Choral. Walton Music #WW1463A. Pu...(+)
By Ola Gjeilo.
SCORE/PARTS FOR STRINGS.
Walton Choral. Walton
Music #WW1463A. Published
by Walton Music
$70.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114406980 Vista...(+)
Chamber Music Cello,
Viola, Violin 1, Violin 2
SKU: PR.114406980
Vistas. Composed
by Shulamit Ran. Set of
Score and Parts. With
Standard notation. 42 +
112 pages. Duration 25
minutes. Theodore Presser
Company #114-40698.
Published by Theodore
Presser Company
(PR.114406980). UPC:
680160010806. Shula
mit Ran’s second
string quartet, subtitled
“Vistas,â€
occupies a large canvas
that is cast in a
traditional fourmovement
mold, where the outer
movements present,
explore, and later return
to the work’s
principal musical
materials, surrounding a
slow movement and
scherzo-type third
movement with a trio. In
addition to tempo-based
titles, the individual
movements have subtitles
that are evocative of
each movement’s
character, as follows: I.
Concentric: from the
inside out II. Stasis
III. Flashes IV.
Vistas. My second
string quartet,
“Vistasâ€, is
a work cast in a
traditional four-movement
formal mold, with the
outer movements,
presenting and later
returning to the
work’s principal
musical materials,
surrounding a slow
movement and a
scherzo-type third
movement.While the four
movements’
“properâ€
names -- Maestoso con
forza, Lento, Scherzo
impetuoso, and
Introduzione; Maestoso e
grande – give some
indication of the general
character of the
individual movements, I
have also subtitled, less
formally, each movement
as follows:Â 1)
Concentric:Â from the
inside out 2)Â
Stasis 3) FlashesÂ
4) Vista. The images
evoked by these titles
tell one, I think, a bit
more about the inner
workings of the
quartet.In the first
movement, a prominently
presented opening pitch
(E) reveals itself, as
the movement unfolds, to
be a center of gravity
from which ever-growing
cycles of activity
gradually evolve.Â
While various important
themes come into being as
the movement progresses,
their impact on the
listener has, I believe,
a great deal to do with
their juxtaposition and
relationship to the
initial central point of
gravity.Stasis is, as the
name implies, a movement
where activity seems, at
times, almost
suspended. Being
also, as Webster’s
Dictionary reminds us,
“a state of static
balance and equilibrium
among opposing tendencies
or forces,†it
develops various
materials, including ones
from the first movement,
without bringing them to
points of
resolution.Flashes is
short and very fast,
evoking in my mind the
quick shimmer of
fireflies, a
“sudden burst of
lightâ€, but also a
“brief
timeâ€. Perhaps,
even, a
“smile�Final
ly, the last movement,
Vista, is not only
“a view or
outlookâ€, but also
“a comprehensive
mental view of a series
of remembered or
anticipated
events.â€Â After
a brief recall of the
opening of the second
movement, this movement
brings back all the
important themes of the
first movement in their
original order. But
just as going back can
never really mean going
back in time, the
movement is much more
than recapitulatory.Â
By cutting through
previously transitory
passages and presenting
the main ideas in a
fashion more direct yet
more evolved, it also
sheds new light on
earlier events, offering
a retrospective, synoptic
view of the first
movement as it brings to
culmination the work as a
whole. “Vistasâ
€ was commissioned by
C. Geraldine Freund for
the Taneyev String
Quartet of what was then
Leningrad. It was the
first commission given in
this country to a Soviet
chamber ensemble since
the 1985 cultural
exchange accord between
the Soviet Union and the
United States. $285.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Wash Rag for String Quartet Quatuor à cordes: 2 violons, alto, violoncelle - Intermédiaire LudwigMasters Publications
String Quartet - Grade 3 SKU: AP.36-52703617 Composed by Alan Shulman. Th...(+)
String Quartet - Grade 3
SKU:
AP.36-52703617
Composed by Alan Shulman.
This edition: Latham
Music. Quartet; Solo
Small Ensembles; String -
Quartet. LudwigMasters -
Latham Music. Book.
LudwigMasters
Publications
#36-52703617. Published
by LudwigMasters
Publications
(AP.36-52703617). UPC:
735816385521.
English. This
humorous little vignette
for string quartet was
composed in 1979 and was
originally intended to be
published by Piedmont
Music, the ASCAP division
of EB Marks Classical.
For reasons unknown,
however, it remained in
manuscript form until
2021, when a copy of the
composer's autograph
parts was discovered in
the archives of a
completely different Alan
Shulman piece. This newly
engraved Latham Music
edition therefore
represents the first
publication of Shulman's
delightful work, as well
as the first full score.
As the title suggests,
this is a medium-slow
rag, or cakewalk in a
loose AABA form. The
bluesy and graceful main
melody is introduced by
the first violin in a
call and response
exchange with the rest of
the ensemble. The
restatement of the
primary theme is led by
the second violin, with
the entire ensemble
playing pizzicato, having
the effect of playful
mockery. In the B
section, the first violin
earnestly reasserts the
stately grace from the
opening however, the
cello is clearly becoming
restless and decides to
take over the lead just
before the final reprise.
The lighthearted ending
again has the first
violin doing its best to
bring the tune to a
refined conclusion, but
the rest of the group
still has mischief in
mind. After a couple
moments of seeming
confusion, the ensemble
regroups at last and
plays the final riff with
resolute emphasis. If
you're looking to add a
light moment to a recital
program, or looking for a
short, medium level
contest piece that
players and audiences
alike will enjoy, this
little miniature is an
ideal choice!
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. $8.95 - Voir plus => Acheter | | |
| Dark Night of the Soul Chorale SATB SATB, Cordes [Conducteur] Walton Music
By Ola Gjeilo. For Cello, Choral, Viola, Violin 1, Violin 2 (FULL SCORE ONLY). W...(+)
By Ola Gjeilo. For Cello,
Choral, Viola, Violin 1,
Violin 2 (FULL SCORE
ONLY). Walton Choral.
Walton Music #WW1463B.
Published by Walton Music
$35.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gustave Vogt's Musical Album of Autographs Cor anglais, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe SKU:
CF.WF229 15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229). ISBN
9781491153789. UPC:
680160911288. Intro
duction Gustave Vogt's
Musical Paris Gustave
Vogt (1781-1870) was born
into the Age of
Enlightenment, at the
apex of the
Enlightenment's outreach.
During his lifetime he
would observe its effect
on the world. Over the
course of his life he
lived through many
changes in musical style.
When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the grandfather of the
modern oboe and the
premier oboist of Europe.
Through his eighty-nine
years, Vogt would live
through what was perhaps
the most turbulent period
of French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
System Six Triebert oboe
(the instrument adopted
by Conservatoire
professor, Georges
Gillet, in 1882) was only
five years from being
developed. Vogt was born
March 18, 1781 in the
ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school's first
oboe professor,
Alexandre-Antoine
Sallantin (1775-1830).
Vogt's relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed repetiteur,
which involved teaching
the younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school's history. During
his tenure, he became the
most influential oboist
in France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799-1839), Apollon
Marie-Rose Barret
(1804-1879), Charles
Triebert (1810-1867),
Stanislas Verroust
(1814-1863), and Charles
Colin (1832-1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854-1920), and then to
Marcel Tabuteau
(1887-1966), the oboist
Americans lovingly
describe as the father of
American oboe playing.
Opera was an important
part of Vogt's life. His
first performing position
was with the
Theatre-Montansier while
he was still studying at
the Conservatoire.
Shortly after, he moved
to the Ambigu-Comique
and, in 1801 was
appointed as first oboist
with the Theatre-Italien
in Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opera-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opera, the
top orchestra in Paris at
the time. He played with
the Paris Opera until
1834, all the while
bringing in his current
and past students to fill
out the section. In this
position, he began to
make a name for himself;
so much so that specific
performances were
immortalized in memoirs
and letters. One comes
from a young Hector
Berlioz (1803-1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opera's performance of
Mehul's Stratonice and
Persuis' ballet Nina. It
was in response to the
song Quand le bien-amie
reviendra that Berlioz
wrote: I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt's instrument...
Shortly after this,
Berlioz gave up studying
medicine and focused on
music. Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini's (1760-1842)
Ave Maria, with soprano
Anna (Nanette) Schechner
(1806-1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opera. He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artot (1815-1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having lost none of his
superiority over the
oboe.... It's always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to Vogt's oboe.
Vogt was also active
performing in Paris as a
chamber and orchestral
musician. He was one of
the founding members of
the Societe des Concerts
du Conservatoire, a group
established in 1828 by
violinist and conductor
Francois-Antoine Habeneck
(1781-1849). The group
featured faculty and
students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770-1836). After his
retirement from the Opera
in 1834 and from the
Societe des Concerts du
Conservatoire in 1842,
Vogt began to slow down.
His final known
performance was of
Cherubini's Ave Maria on
English horn with tenor
Alexis Dupont (1796-1874)
in 1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of Autographs.
Autograph Albums Vogt's
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death. As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492-1550), a collection
of 212 Latin emblem
poems. In 1558, the first
book conceived for the
purpose of the album
amicorum was published by
Lyon de Tournes
(1504-1564) called the
Thesaurus Amicorum. These
books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans. The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbucher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music. This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his grand tour through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his most valuable
contribution came from
Beethoven in 1815.
Spohr's Notenstammbuch,
comprised only of musical
entries, is
groundbreaking because it
was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbucher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later. Vogt's Musical
Album of Autographs
Vogt's Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod's (1818-1893)
Faust, which premiered in
1859, was submitted.
Within this album we find
sixty-two entries from
musicians whom he must
have known very well
because they were
colleagues at the
Conservatoire, or
composers of opera whose
works he was performing
with the Paris Opera.
Other entries came from
performers with whom he
had performed and some
who were simply passing
through Paris, such as
Joseph Joachim
(1831-1907). Of the
sixty-three total
entries, some are
original, unpublished
works, while others came
from well-known existing
works. Nineteen of these
works are for solo piano,
sixteen utilize the oboe
or English horn, thirteen
feature the voice (in
many different
combinations, including
vocal solos with piano,
and small choral settings
up to one with double
choir), two feature
violin as a solo
instrument, and one even
features the now obscure
ophicleide. The
connections among the
sixty-two contributors to
Vogt's album are
virtually never-ending.
All were acquainted with
Vogt in some capacity,
from long-time
friendships to
relationships that were
created when Vogt
requested their entry.
Thus, while Vogt is the
person who is central to
each of these musicians,
the web can be greatly
expanded. In general, the
connections are centered
around the Conservatoire,
teacher lineages, the
Opera, and performing
circles. The
relationships between all
the contributors in the
album parallel the
current musical world, as
many of these kinds of
relationships still
exist, and permit us to
fantasize who might be
found in an album created
today by a musician of
the same standing. Also
important, is what sort
of entries the
contributors chose to
pen. The sixty-three
entries are varied, but
can be divided into
published and unpublished
works. Within the
published works, we find
opera excerpts, symphony
excerpts, mass excerpts,
and canons, while the
unpublished works include
music for solo piano,
oboe or English horn,
string instruments
(violin and cello), and
voice (voice with piano
and choral). The music
for oboe and English horn
works largely belong in
the unpublished works of
the album. These entries
were most likely written
to honor Vogt. Seven are
for oboe and piano and
were contributed by
Joseph Joachim, Pauline
Garcia Viardot
(1821-1910), Joseph
Artot, Anton Bohrer
(1783-1852), Georges
Onslow (1784-1853),
Desire Beaulieu
(1791-1863), and Narcisse
Girard (1797-1860). The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work, which he even
included in his
signature. Two composers
contributed pieces for
English horn and piano,
and like the previous
oboe entries, are simple
and repetitive. These
were written by Michele
Carafa (1787-1872) and
Louis Clapisson
(1808-1866). There are
two other entries that
were unpublished works
and are chamber music.
One is an oboe trio by
Jacques Halevy
(1799-1862) and the other
is for oboe and strings
(string trio) by J. B.
Cramer (1771-1858). There
are five published works
in the album for oboe and
English horn. There are
three from operas and the
other two from symphonic
works. Ambroise Thomas
(1811-1896) contributed
an excerpt from the
Entr'acte of his opera La
Guerillero, and was
likely chosen because the
oboe was featured at this
moment. Hippolyte Chelard
(1789-1861) also chose to
honor Vogt by writing for
English horn. His entry,
for English horn and
piano, is taken from his
biggest success, Macbeth.
The English horn part was
actually taken from Lady
Macbeth's solo in the
sleepwalking scene.
Vogt's own entry also
falls into this category,
as he entered an excerpt
from Donizetti's Maria di
Rohan. The excerpt he
chose is a duet between
soprano and English horn.
There are two entries
featuring oboe that are
excerpted from symphonic
repertoire. One is a
familiar oboe melody from
Beethoven's Pastoral
Symphony entered by his
first biographer, Anton
Schindler (1796-1864).
The other is an excerpt
from Berlioz's choral
symphony, Romeo et
Juliette. He entered an
oboe solo from the Grand
Fete section of the
piece. Pedagogical
benefit All of these
works are lovely, and fit
within the album
wonderfully, but these
works also are great oboe
and English horn music
for young students. The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work in the piano. This
repetitive structure is
beneficial for young
students for searching
for a short solo to
present at a studio
recital, or simply to
learn. They also work
many technical issues a
young player may
encounter, such as
mastering the rolling
finger to uncover and
recover the half hole.
This is true of Bealieu's
Pensee as well as
Onslow's Andantino.
Berlioz's entry from
Romeo et Juliette
features very long
phrases, which helps with
endurance and helps keep
the air spinning through
the oboe. Some of the
pieces also use various
levels of ornamentation,
from trills to grace
notes, and short
cadenzas. This allows the
student to learn
appropriate ways to
phrase with these added
notes. The chamber music
is a valuable way to
start younger students
with chamber music,
especially the short
quartet by Cramer for
oboe and string trio. All
of these pieces will not
tax the student to learn
a work that is more
advanced, as well as give
them a full piece that
they can work on from
beginning to end in a
couple weeks, instead of
months. Editorial Policy
The works found in this
edition are based on the
manuscript housed at the
Morgan Library in New
York City (call number
Cary 348, V886. A3). When
possible, published
scores were consulted and
compared to clarify pitch
and text. The general
difficulties in creating
an edition of these works
stem from entries that
appear to be hastily
written, and thus omit
complete articulations
and dynamic indications
for all passages and
parts. The manuscript has
been modernized into a
performance edition. The
score order from the
manuscript has been
retained. If an entry
also exists in a
published work, and this
was not indicated on the
manuscript, appropriate
titles and subtitles have
been added tacitly. For
entries that were
untitled, the beginning
tempo marking or
expressive directive has
been added as its title
tacitly. Part names have
been changed from the
original language to
English. If no part name
was present, it was added
tacitly. All scores are
transposing where
applicable. Measure
numbers have been added
at the beginning of every
system. Written
directives have been
retained in the original
language and are placed
relative to where they
appear in the manuscript.
Tempo markings from the
manuscript have been
retained, even if they
were abbreviated, i.e.,
Andte. The barlines,
braces, brackets, and
clefs are modernized. The
beaming and stem
direction has been
modernized. Key
signatures have been
modernized as some of the
flats/sharps do not
appear on the correct
lines or spaces. Time
signatures have been
modernized. In a few
cases, when a time
signature was missing in
the manuscript, it has
been added tacitly.
Triplet and rhythmic
groupings have been
modernized. Slurs, ties,
and articulations
(staccato and accent)
have been modernized.
Slurs, ties, and
articulations have been
added to parallel
passages tacitly.
Courtesy accidentals
found in the manuscript
have been removed, unless
it appeared to be helpful
to the performer. Dynamic
indications from the
manuscript have been
retained, except where
noted. --Kristin
Leitterman. Introducti
onGustave Vogt’s
Musical ParisGustave Vogt
(1781–1870) was
born into the “Age
of Enlightenment,â€
at the apex of the
Enlightenment’s
outreach. During his
lifetime he would observe
its effect on the world.
Over the course of his
life he lived through
many changes in musical
style. When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the “grandfather
of the modern oboeâ€
and the “premier
oboist of
Europe.â€Through his
eighty-nine years, Vogt
would live through what
was perhaps the most
turbulent period of
French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
“System Sixâ€
Triébert oboe (the
instrument adopted by
Conservatoire professor,
Georges Gillet, in 1882)
was only five years from
being developed.Vogt was
born March 18, 1781 in
the ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school’s
first oboe professor,
Alexandre-Antoine
Sallantin
(1775–1830).Vogtâ
€™s relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed
répétiteur, which
involved teaching the
younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school’s history.
During his tenure, he
became the most
influential oboist in
France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799–1839),
Apollon Marie-Rose Barret
(1804–1879),
Charles Triebert
(1810–1867),
Stanislas Verroust
(1814–1863), and
Charles Colin
(1832–1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854–1920), and
then to Marcel Tabuteau
(1887–1966), the
oboist Americans lovingly
describe as the
“father of American
oboe playing.â€Opera
was an important part of
Vogt’s life. His
first performing position
was with the
Théâtre-Montansier
while he was still
studying at the
Conservatoire. Shortly
after, he moved to the
Ambigu-Comique and, in
1801 was appointed as
first oboist with the
Théâtre-Italien in
Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opéra-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opéra,
the top orchestra in
Paris at the time. He
played with the Paris
Opéra until 1834, all
the while bringing in his
current and past students
to fill out the section.
In this position, he
began to make a name for
himself; so much so that
specific performances
were immortalized in
memoirs and letters. One
comes from a young Hector
Berlioz
(1803–1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opéra’s
performance of
Mehul’s Stratonice
and Persuis’
ballet Nina. It was in
response to the song
Quand le bien-amié
reviendra that Berlioz
wrote: “I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt’s
instrument…â€
Shortly after this,
Berlioz gave up studying
medicine and focused on
music.Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini’s
(1760–1842) Ave
Maria, with soprano Anna
(Nanette) Schechner
(1806–1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opéra.He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artôt
(1815–1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having “lost none
of his superiority over
the oboe….
It’s always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to
Vogt’s
oboe.â€Vogt was also
active performing in
Paris as a chamber and
orchestral musician. He
was one of the founding
members of the
Société des
Concerts du
Conservatoire, a group
established in 1828 by
violinist and conductor
François-Antoine
Habeneck
(1781–1849). The
group featured faculty
and students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770–1836).After
his retirement from the
Opéra in 1834 and from
the Société des
Concerts du Conservatoire
in 1842, Vogt began to
slow down. His final
known performance was of
Cherubini’s Ave
Maria on English horn
with tenor Alexis Dupont
(1796–1874) in
1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of
Autographs.Autograph
AlbumsVogt’s
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death.As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492–1550), a
collection of 212 Latin
emblem poems. In 1558,
the first book conceived
for the purpose of the
album amicorum was
published by Lyon de
Tournes
(1504–1564) called
the Thesaurus Amicorum.
These books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans.The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbücher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music.This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his “grand
tour†through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his “most valuable
contribution†came
from Beethoven in 1815.
Spohr’s
Notenstammbuch, comprised
only of musical entries,
is groundbreaking because
it was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbücher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later.Vogt’s
Musical Album of
AutographsVogt’s
Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod’s
(1818–1893) Faust,
which premiered in 1859,
was submitted.Within this
album ... $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jan Ladislav Dussek (1760-1812). A Bohemian Composer ‘en voyage’ through Europe Ut Orpheus
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.
$146.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Modernism Forever Volume One [Double CD] Subito Music
SKU: SU.91409192 Composed by Christopher Fulkerson. CD (Audio). Subito Mu...(+)
SKU: SU.91409192
Composed by Christopher
Fulkerson. CD (Audio).
Subito Music Corporation
#91409192. Published by
Subito Music Corporation
(SU.91409192).
Modernism
Forever Volume One -
Fulkerson, Carter, Davies
Disc 1 1. The Childermass
(Live) Christopher
Fulkerson & The Composers
Chamber Players - 14:16
2. E Io Etterno Duro (And
Eternal I Endure) [Live]
(Dante) for solo male
sextet Christopher
Fulkerson & Chanticleer -
6:48 3. Double Blizzard
First Michelangelo
Fantasy for violin and
bass Christopher
Fulkerson - 7:27 4.
Clothes Another's Hand
(Live) 2nd Michelangelo
Fantasy for string trio
Christopher Fulkerson &
Friends of CF - 9:04 5.
With Its Billowing Hair
(Live) 4th Michelangelo
Fantasy for violin and
string John Casten,
Christopher Fulkerson &
Friends - 13:03 6.
Scritti Di Leonardo
(Live) for tenor, SATB
soli, & five players
Christopher Fulkerson,
Patrick Neve, Ariel & The
SFCMP - 18:23 7. Concerto
for Harpsichord (Live)
and seven instruments
Christopher Fulkerson,
Jonathan Shiff, Eric
Hansen & the Intercampus
Cultural Exchange - 9:04
Disc 2 1. Astraea in the
Field of Stars for guitar
and string quartet
Christopher Fulkerson -
9:01 2. Echoes of Hart
Crane (Live) for vocal
ensemble SSAATTBB
Christopher Fulkerson &
Ariel - 3:03 3. The Sweep
of Their Lyre Echoes of
Our Bards I for
instrument sextet
Christopher Fulkerson -
7:25 4. The Rush of Their
Verse Echoes of Our Bards
II for eleven instruments
Christopher Fulkerson 5.
Mere Magic Music (Live)
Part One of the Magic
Cycle for eight
antiphonal voices
Christopher Fulkerson &
The Virtuose - 6:42 6.
Pour Jean-Louis for solo
harp Christopher
Fulkerson - 0:31 7. Tomb
of Taillevant for alto
flute and guitar
Christopher Fulkerson -
1:41 8. Syringa (Live) by
Elliott Carter for mezzo,
baritone, guitar &
ensemble Christopher
Fulkerson & The Composers
Chamber Players - 19:36
9. Westerlings (Live) by
Peter Maxwell Davies
Christopher Fulkerson &
Ariel. $24.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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