| The Judgment of Paris Stainer and Bell
Solo voices, choir, orchestra SKU: ST.MB42 Composed by Thomas Augustine A...(+)
Solo voices, choir,
orchestra SKU:
ST.MB42 Composed by
Thomas Augustine Arne.
Edited by Ian Spink.
Library Volumes. Edited
by Ian Spink. First
published in 1978. Pages:
108. Format: Paperback.
Dimensions (mm): 330 x
254 x 14. Opera. Full
score. Stainer & Bell
Ltd. #MB42. Published by
Stainer & Bell Ltd.
(ST.MB42). ISBN
9790220200175. Comp
osed in 1740, this is a
fascinating late example
of the English masque
tradition, and a
relatively early work by
a composer who began to
occupy a central role in
the life of London's
musical theatre at about
the time when Handel was
abandoning Italian opera
in favour of
oratorio. The
performing material is
available for rental. $143.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Rule Britannia Novello & Co Ltd.
By Thomas Augustine Arne (1710-1778). For Unison Choir (UNIS). Music Sales Ameri...(+)
By Thomas Augustine Arne
(1710-1778). For Unison
Choir (UNIS). Music Sales
America. Classical. 4
pages. Novello & Co Ltd.
#NOV451332. Published by
Novello & Co Ltd.
$3.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rule Britannia Orchestre d'harmonie [Conducteur] G and M Brand Music Publishers
By Thomas Augustine Arne (1710-1778) and Michael Brand. Concert Band. Band Music...(+)
By Thomas Augustine Arne
(1710-1778) and Michael
Brand. Concert Band. Band
Music. Score
$12.50 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Magnificat in C, D 486 Chorale SATB Carus Verlag
SATB/SATB choir, 2 violins, 2 violas, 3 trumpets, drums, basso continuo SKU: ...(+)
SATB/SATB choir, 2
violins, 2 violas, 3
trumpets, drums, basso
continuo SKU:
CA.3501249
Arranged by Johann
Sebastian Bach.
Composed by Pietro Torri.
Edited by Arne
Thielemann. Arranged by
Johann Sebastian Bach.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Organ. Sacred
vocal music, Advent,
Feasts of the Blessed
Virgin Mary, Hymns in
praise of the Virgin
Mary. Single Part, Organ.
16 pages. Duration 20
minutes. Carus Verlag #CV
35.012/49. Published by
Carus Verlag
(CA.3501249). ISBN
9790007213039. Text
language:
Latin. Mention the
key words Johann
Sebastian and Magnificat,
and one thinks
involuntarily of his
well-known Magnificat in
D major BWV 243 or in E
flat major BWV 243a.
However, during the time
of his tenure as St.
Thomas Kantor, several
times Bach also referred
back to older settings of
the Magnificat text and
arranged these for his
own purposes. Thus, for
the first time it can be
documented that in its
original version the
double choir Magnificat
in C major BWV Anh. 30
contained in Bach's music
library, which was
originally handed down
anonymously, was composed
by Pietro Torri. Torri
was the Music Director at
the Court of the Bavarian
House of Wittelsbach. For
performance purposes in
Leipzig in ca. 1742 Bach
retained the substance of
the work but composed
additional parts for a
3rd trumpet and timpani.
For the first time ever
this splendid work
appears at Carus in a
printed edition. Score
and part available
separately - see item
CA.3501200. $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Twelve Songs for High Voice - Book 1 Voix haute, Piano Stainer and Bell
| | |
| Short Duets - Book 2 Schott
Soprano Recorder; Treble Recorder SKU: HL.49002559 Composed by Thomas Aug...(+)
Soprano Recorder; Treble
Recorder SKU:
HL.49002559 Composed
by Thomas Augustine Arne.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Playing score.
11 pages. Schott Music
#ED10880. Published by
Schott Music
(HL.49002559). ISBN
9790220105654. UPC:
073999983265.
5.75x8.25x0.042
inches. Descant and
treble recorders. $10.99 - Voir plus => Acheter | | |
| Under The Greenwoodsop/rec/pf*pop* [Conducteur et Parties séparées] Schott
By Thomas Augustine Arne (1710-1778). Schott. Score and Parts. 16 pages. Schott ...(+)
By Thomas Augustine Arne
(1710-1778). Schott.
Score and Parts. 16
pages. Schott Music
#ED11756. Published by
Schott Music . Score and
Parts.
$10.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Masque of Comus Overture Soli, choeur mixte et accompagnement Lucks Music Library
(1.0.2.1/0.2.0.0,str) SKU: TM.01745SC Composed by Thomas Augustine Arne. ...(+)
(1.0.2.1/0.2.0.0,str)
SKU: TM.01745SC
Composed by Thomas
Augustine Arne. Score.
Lucks Music Library
#A1209. Published by
Lucks Music Library
(TM.01745SC).
Typeset.
Solo/pf. $15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Bläserklasse GLOBUS - Altsaxophon Orchestre d'harmonie De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1135380-401 Kleine...(+)
Concert Band/Harmonie -
very easy, easy SKU:
BT.DHP-1135380-401
Kleine Werke aus aller
Welt. Composed by
Eric J. Hovi, Jan de
Haan, Robert van
Beringen, and Thomas
Augustine Arne. Arranged
by Jan de Haan. Yamaha
Bläser Klasse. Book
Only. Composed 2013. 24
pages. De Haske
Publications #DHP
1135380-401. Published by
De Haske Publications
(BT.DHP-1135380-401).
ISBN 9789043140690.
9x12 inches.
German. BLÄSERK
LASSE GLOBUS
führt junge Musiker
vom Proberaum in die
weite Welt: Durch alle
fünf Kontinente geht
es von Amerika über
Europa nach Japan und
nach Afrika und
schließlich zu den
Kängurus nach
Australien. Als Souvenirs
nehmen die Reisenden
Eindrücke von den
Klangwelten in den
verschiedenen Regionen
mit. Vertraute
Anhaltspunkte sind
bekannte Melodien, die
hier und da durchklingen,
wie zum Beispiel das
bekannte Lied von der
Brücke in Avignon.
Ebenfalls werden, unter
anderem mit einem
Variationensatz, einer
Suite und einem Medley,
diverse Gattungen
gestreift. Die Stücke
bringen nicht nur viel
Abwechslung ins Spiel,
sondern sie sind auch
soarrangiert, dass sie
genau auf die
Lernfortschritte in Band
1 und 2 von Essential
Elements, der
kompletten Methode für
den Musikunterricht in
Schulen und
Blasorchestern, Bezug
nehmen. Die
entsprechenden Kapitel in
Essential Elements
sind im
Inhaltsverzeichnis der
Partitur angegeben. Aber
auch unabhängig von
Essential Elements
bieten die im
ansteigenden
Schwierigkeitsgrad
angeordneten Arrangements
abwechslungsreiches
Spielmaterial für
Bläserklassen und
Jugendblasorchester. Sind
die Stücke im
Unterricht erst einmal
einstudiert, kann ein
buntes, szenisch
ausgestaltetes Konzert
unter dem Motto
Weltreise“
vorbereitet werden. So
gehen Spielspaß,
Lernerfolg,
Erfolgserlebnis und
daraus resultierende
Motivation Hand in Hand!
Sehr nützlich für
das Kennenlernen und
Einstudieren der
Arrangements in
BLÄSERKLASSE
GLOBUS ist die
separat erhältliche CD
mit vollständigen
Orchesteraufnahmen aller
Stücke (Bestellnummer
DHR 13-860-3). $10.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Where the bee sucks (D - G) Stainer and Bell
By Thomas Augustine Arne. For Voice and Piano. Songs. Published by Stainer & Bel...(+)
By Thomas Augustine Arne.
For Voice and Piano.
Songs. Published by
Stainer & Bell Ltd. (U.K.
Import).
$4.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Last Rose of Summer Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1064045-140 Composed by Tra...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-1064045-140
Composed by Traditional.
Arranged by Wil van der
Beek. Your Favorite
Classics. Classical.
Score Only. Composed
2006. 16 pages. De Haske
Publications #DHP
1064045-140. Published by
De Haske Publications
(BT.DHP-1064045-140).
9x12 inches.
English-German-French-Dut
ch. The Last Rose
of Summer is a popular
Irish folksong. The
original text was written
by Thomas Moore
(1779-1852) and the
melody is a traditional
air titled The Groves of
Blarney. The German
composer Friedrich von
Flotow (1812-1883)
cleverly used this song
in his opera Martha, a
light-hearted, successful
work that is still
regularly performed. The
melancholy character of
The Last Rose of Summer
still appeals to many
people in the present day
and this arrangement by
Wil van der Beek
certainly does justice to
the beauty of the melody.
A wonderful item to
change the mood of any
performance.
Th
e Last Rose of Summer
is een geliefd Iers
volkslied. De originele
tekst is van Thomas Moore
(1779-1852) en de melodie
is een traditionele air
met de titel The
Groves of Blarney. De
Duitse componist
Friedrich von
Flotow(1812-1883)
gebruikte dit lied op
handige wijze in zijn
opera Martha, een
lichtvoetig, succesvol
werk, dat tot op heden
repertoire gehouden
heeft. Het melancholische
karakter van The Last
Rose of Summer
spreekt ook vandaagde dag
nog veel mensen aan. Dit
arrangement van Wil van
der Beek doet beslist
recht aan de schoonheid
van de
melodie.
The
Last Rose of Summer
ist ein beliebtes
irisches Volkslied. Der
ursprüngliche Text
stammt von Thomas Moore,
die Melodie ist ein
überliefertes Air mit
dem Titel The Groves
of Blarney. Der
deutsche Komponist
Friedrich von Flotow
verarbeitete das Lied
geschickt in seiner Oper
Martha, ein
heiteres, erfolgreiches
Werk, das heute noch
aufgeführt wird. Der
melancholische Charakter
dieses Liedes hat auch in
der Gegenwart nichts von
seinem Reiz verloren.
Diese Bearbeitung von Wil
van der Beek wird
Schönheit der Melodie
absolut
gerecht.
The
Last Rose of Summer
est un des plus
célèbres chants
traditionnels irlandais.
En 1847, le compositeur
allemand Friedrich von
Flotow (1812-1883)
intègre cette
mélodie dans son
opéra Martha.
Le succès est
immédiat et
l’opéra jouit
encore de nos jours
d’une immense
notoriété.
L’arrangement de
Wil van der Beek conserve
la beauté de la
mélodie originale.
The Last Rose
of Summer è uno
dei più celebri canti
tradizionali irlandesi.
Nel 1847, il compositore
tedesco Friedrich von
Flotow (1812-1883)
include questa melodia
nell’opera Martha.
Il successo è
immediato e gode ancora
oggi di immensa notoriet
. L’arrangiamento
di Wil van der Beek
conserva la bellezza
della melodia
originale. $17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Last Rose of Summer Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1064045-010 Composed by Tra...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-1064045-010
Composed by Traditional.
Arranged by Wil van der
Beek. Your Favorite
Classics. Classical. Set
(Score & Parts). Composed
2006. De Haske
Publications #DHP
1064045-010. Published by
De Haske Publications
(BT.DHP-1064045-010).
9x12 inches.
English-German-French-Dut
ch. The Last Rose
of Summer is a popular
Irish folksong. The
original text was written
by Thomas Moore
(1779-1852) and the
melody is a traditional
air titled The Groves of
Blarney. The German
composer Friedrich von
Flotow (1812-1883)
cleverly used this song
in his opera Martha, a
light-hearted, successful
work that is still
regularly performed. The
melancholy character of
The Last Rose of Summer
still appeals to many
people in the present day
and this arrangement by
Wil van der Beek
certainly does justice to
the beauty of the melody.
A wonderful item to
change the mood of any
performance.
Th
e Last Rose of Summer
is een geliefd Iers
volkslied. De originele
tekst is van Thomas Moore
(1779-1852) en de melodie
is een traditionele air
met de titel The
Groves of Blarney. De
Duitse componist
Friedrich von
Flotow(1812-1883)
gebruikte dit lied op
handige wijze in zijn
opera Martha, een
lichtvoetig, succesvol
werk, dat tot op heden
repertoire gehouden
heeft. Het melancholische
karakter van The Last
Rose of Summer
spreekt ook vandaagde dag
nog veel mensen aan. Dit
arrangement van Wil van
der Beek doet beslist
recht aan de schoonheid
van de
melodie.
The
Last Rose of Summer
ist ein beliebtes
irisches Volkslied. Der
ursprüngliche Text
stammt von Thomas Moore,
die Melodie ist ein
überliefertes Air mit
dem Titel The Groves
of Blarney. Der
deutsche Komponist
Friedrich von Flotow
verarbeitete das Lied
geschickt in seiner Oper
Martha, ein
heiteres, erfolgreiches
Werk, das heute noch
aufgeführt wird. Der
melancholische Charakter
dieses Liedes hat auch in
der Gegenwart nichts von
seinem Reiz verloren.
Diese Bearbeitung von Wil
van der Beek wird
Schönheit der Melodie
absolut
gerecht.
The
Last Rose of Summer
est un des plus
célèbres chants
traditionnels irlandais.
En 1847, le compositeur
allemand Friedrich von
Flotow (1812-1883)
intègre cette
mélodie dans son
opéra Martha.
Le succès est
immédiat et
l’opéra jouit
encore de nos jours
d’une immense
notoriété.
L’arrangement de
Wil van der Beek conserve
la beauté de la
mélodie originale.
The Last Rose
of Summer è uno
dei più celebri canti
tradizionali irlandesi.
Nel 1847, il compositore
tedesco Friedrich von
Flotow (1812-1883)
include questa melodia
nell’opera Martha.
Il successo è
immediato e gode ancora
oggi di immensa notoriet
. L’arrangiamento
di Wil van der Beek
conserva la bellezza
della melodia
originale. $110.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Carolan: The Life Times And Music Of An Irish Harper Harpe [Partition] Ossian Publications
By Turlough O Carolan ; Donal O'sullivan. For Harp. Irish, Folk, Celtic. 380 pag...(+)
By Turlough O Carolan ;
Donal O'sullivan. For
Harp. Irish, Folk,
Celtic. 380 pages.
Published by Ossian
Publications.
$49.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Motion, Emotion, and Love GIA Publications
SKU: GI.G-8250 The Nature of Artistic Performance. Composed by Tho...(+)
SKU: GI.G-8250
The Nature of Artistic
Performance. Composed
by Thomas Mark. Music
Education. Book. 254
pages. GIA Publications
#8250. Published by GIA
Publications (GI.G-8250).
ISBN 9781579999018.
English. What is
the secret language
between a performing
artist and an audience?
How does a performing
artist’s product
differ from the product
of nonperformance art?
How is a
performer’s
artwork shaped, changed,
and elevated by
captivated observers?
Motion, Emotion, and Love
is a book that will
transform the experience
of performers and
audiences alike, by
infusing performance art
with a new vocabulary.
For performers, the book
is a practical guide to
building intentional and
inspirational practice
time, bringing true
artistry to every element
of a performance, and
developing strong
personal communication
with the audience. For
audiences, the book
explains the vital role
of the audience in a
performance, revealing to
them a new level of
involvement and
collaboration with the
performer and with other
members of the audience.
Performers, whether
musicians, actors, or
dancers, communicate
emotion by means of
bodily movement. But it
is love that unites
performers with the
audience and with each
other. Motion, Emotion
and Love helps performing
artists return to the
soul of their craft, and
imbues their physical
mastery with human
vulnerability. Musician,
teacher, and author
Thomas Mark’s
profound, yet clear and
practical exploration is
eye-opening in its
connections, a compelling
blueprint for deeper
understanding and
appreciation of artistic
performance. Â
Decorated with 24
etchings, Balli di
Sfessania, by Jacques
Callot
(1592–1635). Â
Thomas Carson Mark
studied piano in New York
with David Bar-Illan and
Jeannette Haien, and
philosophy at Columbia
University, where he
earned his PhD. He
taught philosophy for
several years at various
colleges and
universities, then
returned to the piano.
From 1992 to 2001 he
organized and performed
in the Newport Coffee
Concerts, a chamber music
series in Newport,
Oregon. He is the
author of What Every
Pianist Needs to Know
about the Body, some
philosophical articles on
performance, and a book
and several papers on the
philosophy of Spinoza.
Thomas Mark writes and
teaches in Portland,
Oregon. $25.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Praise, My Soul, the King of Heaven Hope Publishing Company
Choral (Violin) SKU: HP.C6191 Composed by Thomas J. Williams. Arranged by...(+)
Choral (Violin) SKU:
HP.C6191 Composed by
Thomas J. Williams.
Arranged by Marty Parks.
Piano with optional
Violin (Included).
Hymntune, Hymn
Arrangements, Psalms,
Scripture-Based,
Thanksgiving, General
Worship, Adoration, Faith
& Faithfulness, God -
Father, God's Love,
Praise of God, Praise to
Christ, Worship. Octavo.
16 pages. Hope Publishing
Company #C6191. Published
by Hope Publishing
Company (HP.C6191).
UPC: 763628161910.
Words by Henry Lyte;
Music by Thomas Williams.
Psalm 103. Classic
hymn with by Henry
Lyte and music by
Thomas Williams Set
to the sturdy tune
EBENEZER, this dynamic
choral setting expresses
the spirit of Psalm 103.
Expressing God's grace to
his children as ransomed,
healed, restored, and
forgiven, this is set in
a vibrant Celtic style in
6/8 meter with the violin
included and choral parts
that are quickly learned.
This is an energetic,
engaging, and powerful
anthem of praise. $3.25 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| The Future of the Wind Band Orchestre d'harmonie GIA Publications
SKU: GI.G-10580 Philosopher and Practitioner in Dialogue. Composed...(+)
SKU: GI.G-10580
Philosopher and
Practitioner in
Dialogue. Composed by
William Perrine. Music
Education. 430 pages. GIA
Publications #10580.
Published by GIA
Publications
(GI.G-10580). ISBN
9781622776375. Cont
ributors: Travis J. Cross
(University of
California–Los
Angeles) • David J.
Elliott (New York
University) •
Marissa Silverman
(Montclair State
University) • Jacob
Wallace (South Dakota
State University) •
Randall Everett Allsup
(Teachers College,
Columbia University)
• Cynthia Johnston
Turner (Wilfrid Laurier
University) •
Carolyn Barber
(University of
Nebraska-Lincoln) •
John Kratus (Independent
Scholar) • Vincent
C. Bates (Weber State
University) •
Thomas G. Warner, Jr.
(North Carolina
Agricultural and
Technical State
University) • Ben
Hawkins (Transylvania
University) •
Thomas A. Regelski (SUNY
Fredonia School of Music,
Helsinki University of
Finland) • Paul
Woodford (Western
University) •
Charles Peltz (New
England Conservatory of
Music) In the wind band
profession—as in
every great
discipline—it is
critical to take stock in
the big questions about
where we are heading, and
why, as we move through
the twenty-first century.
This thought-provoking
book contains seven
high-level exchanges
between a leading wind
band practitioner and a
music education
philosopher. Each section
of The Future of the Wind
Band grapples with the
most profound issues
facing the music
education profession and
the path of instrumental
music education in our
schools: Relevance: What
relevance, if any, does
the wind band have both
to today’s
students and to culture
more broadly in the
twenty-first century?
What relevance does the
band experience hold for
students’ everyday
life? Repertoire: What is
the relationship between
the repertoire performed
by wind ensembles and the
larger musical world?
Pedagogy: What
constitutes best practice
in terms of musical
pedagogy and rehearsal
technique within the
large-ensemble
experience? Creativity:
Can the wind band
function as a vehicle for
enhancing the individual
creativity of its
members? Economic
Justice: How do issues of
social class and the
distribution of wealth
relate to broader
questions of social
justice within the
context of instrumental
music education?
Professional Ethics: What
are the primary ethical
responsibilities of the
wind band conductor?
Democratic Citizenship:
What relationship, if
any, can be drawn between
membership in the wind
band and citizen
participation in
democracy? Such exchanges
can only strengthen our
profession and pay rich
dividends in our musical
and educational work with
the students we serve.
Editor of this book,
William (Bill) M. Perrine
is Associate Professor of
Music and Director of
Instrumental Activities
at Concordia University
in Ann Arbor, Michigan,
where he directs the wind
ensemble, marching band,
and community
orchestra. $42.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Chicken Dance Fanfare [Conducteur et Parties séparées] - Facile Alfred Publishing
By Terry Rendall And Werner Thomas. Arranged by George Vincent. Words and music ...(+)
By Terry Rendall And
Werner Thomas. Arranged
by George Vincent. Words
and music by Terry
Rendall and Werner Thomas
/ arr. George Vincent.
For Marching Band.
Marching Band. Warner
Bros. Marching Band.
Level: 2.5 (Medium Easy)
(grade 2.5). Conductor
Score and Parts. 110
pages. Published by
Alfred Publishing.
(1)$58.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Three Romances Flûte traversière et Piano Notevole Music Publishing
Flute & Piano SKU: SU.97023310 For Flute & Piano. Composed by Will...(+)
Flute & Piano SKU:
SU.97023310 For
Flute & Piano.
Composed by William
Thomas McKinley.
Woodwinds, Flute/Piccolo.
Accompanied by piano.
Score & Parts. Notevole
Music Publishing
#97023310. Published by
Notevole Music Publishing
(SU.97023310).
Inspired by the
French Romantic and
Impressionist traditions,
my romances for fute and
piano, composed during
late July and early
August 1984, was
carefully conceived for
the marvelous lyrical and
technical gifts of Robert
Stallman and Richard
Goode, to whom the work
is warmly dedicated. All
three Romances, although
brief in duration, unfold
with a sense of large
gesture and design. The
first Romance is in 3/4
time and flows generally
in the manner of a
lyrical waltz with
occasional turbulent
interruptions. The second
Romance is in 4/4 time,
unfolding in a stately
Baroque-like manner, and
the third Romance is in
2/4 time, melodically
expansive and often
tempestuous. All three
Romances strive to honor
the goals of traditional
performance practice
while, at the same time,
they create an energy and
drama of modernity and
contemporary richness.
And for these goals I am
indebted to so many of
the most outstanding
performers and conductors
of our time with whom I
have worked and from whom
I have learned
much– those who
have demonstrated the
importance of preserving
in addition to further
developing those
significant natural
attributes of musical
expression and
traditional performance
practice which are so
often ignored in
contemporary
compositional values.
— William Thomas
McKinleyFlute & Piano
Duration: 14' Composed:
1984 Published by:
Notevole Music
Publishing. $41.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Touch That Soothes and Heals Chorale 3 parties SAB, Piano - Facile Augsburg Fortress
SAB choir, piano - Easy SKU: AU.9781506492490 Composed by Thomas Keesecke...(+)
SAB choir, piano - Easy
SKU:
AU.9781506492490
Composed by Thomas
Keesecker. Augsburg
Choral Hymn Series.
Christian. Octavo.
Augsburg Fortress
#9781506492490. Published
by Augsburg Fortress
(AU.9781506492490).
ISBN 9781506492490.
7x10.25 inches. An
Easter hymn from All
Creation Sings is set by
Thomas Keesecker in this
easily learned SAB anthem
useful throughout the
Easter Season and
particularly on Easter 2.
The rich text by Mary
Louise Bringle speaks not
only of seeing Jesus'
wounded hands and feet
but of being his hands
and feet in the world
today, showing love and
serving others. $2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| I Hear Music in the Air Clavier GIA Publications
Keyboard SKU: GI.G-001226 Gospel Style Piano Technique. Composed b...(+)
Keyboard SKU:
GI.G-001226 Gospel
Style Piano
Technique. Composed
by Thomas W. Jefferson.
Sacred. 96 pages. GIA
Publications #001226.
Published by GIA
Publications
(GI.G-001226).
Use this
comprehensive method
book, written by master
pianist Thomas W.
Jefferson, to learn
gospel-style piano
playing techniques that
will elevate you to a
whole new level of
musical skill and style.
The basics of
gospel-style piano are
presented in 100
authentic and practical
examples and exercises
that will help you to
understand and implement
that extra flare into
your playing technique.
Several full-length
pieces are also included
for you to apply the new
methods you have
learned. . $18.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Praise, My Soul, the King of Heaven CD Chorale Hope Publishing Company
SATB chorus Performance/Accompaniment CD SKU: HP.C6191C Performance/Ac...(+)
SATB chorus
Performance/Accompaniment
CD SKU: HP.C6191C
Performance/Accompanim
ent CD. Composed by
John Wimber. Arranged by
Thomas Fettke. Piano with
optional Violin
(Included). Church.
Choral
Performance/Accompaniment
CDs. Hope Publishing
Company #C6191C.
Published by Hope
Publishing Company
(HP.C6191C). UPC:
763628961916. John
Wimber. Psalm 28:2, Psalm
63:4, Psalm 103:5, Psalm
107:9, Psalm 147:14,
Matthew 3:16, Matthew
11:28-30, Mark 1:10, Luke
3:22, John 1:32, John
4:7-15, John 6:37-51,
John 7:37-39, John
10:1-10, Acts
2. Classic hymn
with by Henry Lyte
and music by Thomas
Williams Set to the
sturdy tune EBENEZER,
this dynamic choral
setting expresses the
spirit of Psalm 103.
Expressing God's grace to
his children as ransomed,
healed, restored, and
forgiven, this is set in
a vibrant Celtic style in
6/8 meter with the violin
included and choral parts
that are quickly learned.
This is an energetic,
engaging, and powerful
anthem of praise. $29.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| English Organ Sonatas - Vol. 1 Orgue Ut Orpheus
Edited by Iain Quinn. Saddle stitching. Classical. Ut Orpheus #HS 299. Publish...(+)
Edited by Iain Quinn.
Saddle
stitching. Classical. Ut
Orpheus #HS 299.
Published by
Ut Orpheus
$22.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Selected Songs Forsyth Publications
Voice, recorder, piano and guitar - Moderate to Intermediate SKU: FP.FPT02(+)
Voice, recorder, piano
and guitar - Moderate to
Intermediate SKU:
FP.FPT02 Composed by
Thomas Pitfield.
Published by Forsyths
Publications (FP.FPT02).
ISBN
979-0-57050-253-0.
Selected songs spanning
50 years demonstrating
Pitfield's distinctive
voice, to be cherished
for its precision of
technique and delicacy of
effect. John McCabe
writes if Pitfield had
written only the first
song in the book, Cuckoo
and Chestnut Time, he
would have earned our
gratitude for that
perfect little gem alone!
Also contains the
composer's own
illustrations. Thomas
Pitfield had the gift for
memorable tunes, often
couched in somewhat
French-sounding harmonic
and decorative idiom. He
admired Vaughan Williams,
Grainger and Delius and
their influence can be
felt in his works. $18.95 - Voir plus => AcheterDélais: 4 to 6 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 | | |
| Seven Hymns by African American Holiness-Pentecostal Bishops Chorale SATB SATB, Piano - Facile GIA Publications
SATB choir, piano reduction - Early intermediate SKU: GI.G-10202 Composed...(+)
SATB choir, piano
reduction - Early
intermediate SKU:
GI.G-10202 Composed
by Charles P. Jones,
Garfield Thomas Haywood,
and Robert C Lawson.
Edited by James
Abbington. Good Friday.
African American Church
Music Series. Sacred.
Octavo. 12 pages. GIA
Publications #10202.
Published by GIA
Publications
(GI.G-10202). UPC:
785147020219.
English. Contains:
His Name Should Be
Praised, Worthy Is the
Lamb, Great Is God in My
Soul, Jesus, the Son of
God, Thank God for the
Blood, Precious Savior
and Have You Learned
the Precious
Secret Contains: His
Name Should Be Praised,
Worthy Is the Lamb, Great
Is God in My Soul, Jesus,
the Son of God, Thank God
for the Blood, Precious
Savior and Have You
Learned the Precious
Secret. $2.60 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Breakthrough - The Companion Journal GIA Publications
SKU: GI.G-9710C A Journey from Desperation to Hope. Composed by Ro...(+)
SKU: GI.G-9710C
A Journey from
Desperation to Hope.
Composed by Rob Galea.
Sacred. 96 pages. GIA
Publications #9710C.
Published by GIA
Publications
(GI.G-9710C). ISBN
9781594717444. InÂ
Breakthrough: The
Companion Journal, Fr.
Rob Galea’s
reflections on faith and
the lessons he learned
and shared in the
bestselling Breakthrou
gh are highlighted and
paired with questions
such as these to assist
you in applying these
lessons to your own
faith. The journal takes
you chapter by chapter
through Breakthrough,
guiding you as you
consider your faith, your
relationship with God and
others, your past, and
your future.
Breakthrough shares
Galea’s journey
from desperation to
hope—from a lonely
and angry teenager to a
passionate
priest—while Br
eakthrough: The Companion
Journalinvites you to
consider your own life
and faith in light of the
experiences Galea shares
and the lessons he
learned from his troubled
past. This full-color,
visually appealing
journal also includes
inspirational quotes from
the book to contemplate
as you write and
full-page quotes that you
can pull out of the book
and post as a daily
reminder. Whether you are
reading Galea’s
book for the first time
or the
fifth, Breakthrough:
The Companion
Journal will help you
more deeply understand
his journey to hope and
apply its lessons to your
own life. Contemporary
culture compels
approaches to
evangelization that are
new in ardor, method, and
expression. Fr. Rob
Galea's efforts to reach
young people with the
saving power of
the Gospel exemplify
all three, and in his new
book, he reveals
precisely where his zeal
for the mission
originates—in a
personal relationship
with Jesus Christ, who is
living, present, and
accessible to all people
in his Church.
—Most Rev. Robert
Barron, Auxiliary Bishop
of Los Angeles Fr. Rob
Galea's story reveals
what happens when God is
allowed to break through
our little, personal
worlds. It is the story
of a dynamic, young,
comitted Catholic priest,
singer, and performer,
and a testimony to the
Mighty One who continues
to do great things in the
lives of young women and
men today. —Rev.
Thomas Rosica, C.S.B.,
CEO of the Salt and Ligh
Catholic Media Foundation
Fr. Rob bears his heart
and soul in Breakthrough.
His vulnerability and
authenticity are
refreshing, his story is
encouraging, and his love
for the Lord is an
inspiration to anyone who
seeks Jesus and desires
to give thier life to
him. I enjoyed this book
and highly recommend it
to anyone, especially
young people who want to
love the Lord and know
where they fit and how
God can use them.
—Katie Prejean
McGrady, author
of Follow. $10.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Now Is the Month of Maying Chorale TTBB Gehrmans Musikforlag
TTBB choir SKU: GH.CG-5400 Nu ar den ljuva varen. Composed by Thom...(+)
TTBB choir SKU:
GH.CG-5400 Nu ar
den ljuva varen.
Composed by Thomas
Morley. Arranged by N.J.
Barnes. Octavo. With
Language: English,
Swedish. Gehrmans
Musikforlag #CG 5400.
Published by Gehrmans
Musikforlag (GH.CG-5400).
ISBN 9790070022095.
185 x 262 mm
inches. English and
Swedish lyrics. Edited by
E Franklin. $2.85 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Rehearsing the High School Orchestra GIA Publications
SKU: GI.G-10494 Composed by Sandy Goldie. Music Education. 104 pages. GIA...(+)
SKU: GI.G-10494
Composed by Sandy Goldie.
Music Education. 104
pages. GIA Publications
#10494. Published by GIA
Publications
(GI.G-10494). ISBN
9781574635195. This
book contains collective
insights from some of the
most inspirational high
school orchestra
directors in the United
States. They reveal their
ideas on rehearsal
philosophy, rehearsal
preparation, warm-up
strategies, favorite
repertoire, tone/bow
control, intonation,
articulation, expression,
online instruction,
recruiting and building
community. Each of their
stories is as unique as
the individual strategies
and approaches they
share. You will surely be
inspired by their ideas,
approaches, and
strategies presented in
Rehearsing the High
School Orchestra. I know
the most joy in my life
has come from my violin.
(Albert Einstein)
—Gail Barnes,
University of South
Carolina, Columbia, South
Carolina Success is not
final, failure is not
fatal, it is the courage
to continue that counts.
(Winston Churchill)
—David Eccles, The
Lovett School, Atlanta,
Georgia I want every
student who comes through
my door to enjoy and see
the value of music.
—Creston Herron,
Klein High School, Klein,
Texas Without music, life
would be a mistake.
(Friedrich Nietzsche)
—Cathie Hudnall,
Norcross High School,
Norcross, Georgia To make
a resolution and act
accordingly is to live
with hope. There may be
difficulties and
hardships, but not
disappointment or despair
if you follow the path
steadily. Do not rest in
your efforts, without
stopping, without haste,
carefully taking a step
at a time forward will
surely get you there.
(Shinichi Suzuki)
—Scott Laird,
North Carolina School of
Science and Mathematics,
Durham, North Carolina
Orchestra class teaches
so much more than how to
play a stringed
instrument. We learn
valuable life skills in
‘O.R.C.H.E.S.T.R.A
€™â€”Opportunit
y, Responsibility,
Concentration, Honesty,
Effort, Self-Discipline,
Trust, Respect, and
Attitude. —Charles
Laux, Alpharetta High
School, Alpharetta,
Georgia I teach
excellence and the
commitment it takes to be
excellent. Music is the
discipline that I use to
teach this. While music
is a beautiful artform,
the subject matter is
never more important than
the subject itself.
—Kirt Mosier,
Youth Symphony of Kansas
City, Kansas City,
Missouri You are the
music while the music
lasts. (T. S. Eliot)
—Kirk Moss,
University of
Northwestern—St.
Paul, Roseville,
Minnesota The job of
teaching is less about
feeding information to
students, and more about
making them hungry.
—Christopher
Selby, School of the
Arts, Charleston, South
Carolina High achievement
always takes place within
the framework of high
expectations. (Charles
Kettering) —Laura
Mulligan Thomas,
Charlottesville High
School, Charlottesville,
Virginia. $19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
1 ... 91 Page suivante 121 151 181 |