| 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 | | |
| Pieces De Clavecin D'orgue Et De Forte Piano (lp52) Orgue Heugel
Organ (Organ) SKU: HL.48188306 Composed by Claude-Bénigne Balbastre. L...(+)
Organ (Organ) SKU:
HL.48188306 Composed
by Claude-Bénigne
Balbastre. Leduc.
Classical. Softcover. 93
pages. Heugel & Cie
#HE32387. Published by
Heugel & Cie
(HL.48188306). UPC:
888680855970.
9.0x12.0x0.379 inches.
French. “Harp
sichord, Organ and Piano
pieces - LP. 52 by C.B
Ballastreis a selection
of twenty-three pieces
chosen by Alan Curtis
that can be played by a
Harpsichordist, an
Organist or a Pianist
with upper-intermediate
to advanced skills but
seem better suited for a
Pianist. The twenty-three
pieces are: - Fugue - La
de Caze - La
d?Héricourt - La
Ségur - La Monmartel
ou La Brunoy - La
Boullongne - La
Castelmore - La
Courteille - La Bellaud -
La Lamarck - La Berville
- La Lugeac - La Suzanne
- La Genty - La
Malesherbe - La Berryer
ou La Lamoignon - La
Laporte - La Morisseau -
Prélude - Fugue -
Sonate en Quatuor, IV:
Allegro / Andante
Pastoralle / Allegro - La
d?Esclignac - Marche des
Marseillois et l?Air
Ça ira C. B.
Balbastre (1724-1799) is
one of the most famous
musicians of his era. He
was a great composer who
could play the
Harpsichord, the Piano
and the
Organ.â€. $25.80 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Finlandia, Valse Triste and Other Works for Solo Piano Piano seul Dover Publications
Piano SKU: AP.6-411621 Composed by Jean Sibelius. Piano Collection. Dover...(+)
Piano SKU:
AP.6-411621 Composed
by Jean Sibelius. Piano
Collection. Dover
Edition. 20th Century;
Masterwork; Romantic.
Book. Dover Publications
#06-411621. Published by
Dover Publications
(AP.6-411621). ISBN
9780486411620.
English. This
unique compilation of the
best of Sibelius's piano
music features a
carefully chosen
selection of unjustly
neglected compositions
for piano, including
Sonata in F, Op. 12;
Three Sonatinas, Op. 67;
Kyllikki (Three Lyric
Pieces), Op. 41; Two
Rondinos, Op. 68; Five
Flower Pieces, Op. 88;
Romance in D-flat; and
many more. 160 pgs. $16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cello Concerto Violoncelle, Orchestre [Conducteur d'étude / Miniature] Oxford University Press
Composed by William Walton (1902-1983). Edited by David Lloyd-Jones. For cello a...(+)
Composed by William
Walton (1902-1983).
Edited by David
Lloyd-Jones. For cello
and orchestra (solo
cello, 2 flutes, oboe,
english horn, 2 clarinets
in A, 2 bassoons, 4
horns, 2 trumpets in C, 3
trombones, tuba, timpani,
percussion, celeste,
harp, strings). William
Walton Edition. Pieces
and Studies. Level D
(difficult). Study score.
136 pages. Duration 27'.
Published by Oxford
University Press
$32.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Der beleidigte Papagei Piano seul [Partition + CD] Breitkopf & Härtel
11 Miniaturen. Composed by Claus Kuhnl. Edition Breitkopf. In these eleven s...(+)
11 Miniaturen. Composed
by
Claus Kuhnl. Edition
Breitkopf.
In these eleven short
piano
pieces, the composer
follows
the cue of such
modern-day
masters as Olivier
Messiaen,
Karlheinz Stockhausen,
Helmut
Lachenmann and Nicolaus
A.
Huber.
Pedagogical. Breitkopf
and
Haertel #EB-9175.
Published
by Breitkopf and Haertel
$28.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| 13 Simple and Progressive Menuets from the "Notebook for Anna Magdalena Bach" for Harp Ut Orpheus
Harp; Methods and Music for Children SKU: UT.MAG-268 Composed by Johann S...(+)
Harp; Methods and Music
for Children SKU:
UT.MAG-268 Composed
by Johann Sebastian Bach.
Arranged by Anna Pasetti.
Saddle stitching.
Magadis. Classical. Ut
Orpheus #MAG 268.
Published by Ut Orpheus
(UT.MAG-268). ISBN
9790215326798. 9 x 12
inches. The study
of Johann Sebastian
Bach’s
compositions on the harp
has a long history. The
first who understood its
importance for
educational purposes was
Robert Nicolas Charles
Bochsa, who inserted some
fugues of Bach and
Haendel in his monumental
method for the harp op.
60, accompanied by
detailed fingerings.
However, it was from the
beginning of the 20th
Century that the great
harp teachers began to
work extensively on
Bach’s repertoire.
Among the most
illustrious examples we
can mention Henriette
Renié, who published
two volumes of
transcriptions, one
containing ten preludes
and one ten short pieces,
Alfred Kastner who worked
on the Two–part
Inventions, Marcel
Grandjany with his famous
studies based on partitas
and sonatas for solo
violin, or Annie Louis
David, who published two
important volumes of
preludes and fugues taken
from The Well-Tempered
Clavier, not to
mention all those who
transcribed just a single
piece for concert
purpose. As is known,
the Notebook for Anna
Magdalena
(Notenbüchlein
für Anna Magdalena
Bach), consists of
two small manuscript
volumes, the first
compiled in Köthen in
1722 and the second in
Leipzig three years
later. The first contains
only compositions by
Johann Sebastian, while
the second also includes
pieces by other authors
such as Couperin, Hasse
and Carl Philipp Emanuel
Bach. The idea of
​​collectin
g in a volume some of the
simplest compositions
contained in the Notebook
was born mainly from the
desire to introduce even
the youngest students to
Bach’s music, in
an easy and progressive
way, so as to start as
soon as possible at make
them familiar with
polyphonic writing and
the use of
embellishments,
introduced here in a
simplified version. $14.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The Wounded Angel [Conducteur et Parties séparées] Forton Music
Picc. 2 Fl. Afl. Bfl (piccolo, 2 flutes, alto flute, bass flute) - Intermediate-...(+)
Picc. 2 Fl. Afl. Bfl
(piccolo, 2 flutes, alto
flute, bass flute) -
Intermediate-Advanced
SKU: FT.FM557
Composed by James
d'Angelo. Flute Quintet -
Piccolo, 2 flutes, Alto
Flute, Bass Flute. Score
and parts. Forton Music
#FM557. Published by
Forton Music (FT.FM557).
ISBN
9790570484560. The
Wounded Angel (2013) is
written for piccolo, two
flutes, alto flute and
bass flute, and is
dedicated to Christine
Turellier, a professor of
flute at the Lille
Conservatory of Music
(France) where the work
was premiered. These
pieces were inspired by a
painting entitled The
Wounded Angel (1967) by
the visionary British
artist Cecil Collins
(1908-1990). His works
have been the basis for a
number of D'Angelo's
compositions. For
example, one of his
latest pieces for
orchestra takes its
inspiration from Collins'
painting The Angel of the
Flowing Light (1968). In
his extensive output the
artist often used angels
and fools as symbols of
purity and wisdom. In the
painting, the earthbound,
winged, wounded angel is
lying on its side with
its eyes closed. Its
colours blend in with the
purplish colours of the
earth. In the distance is
a mountain shaped like a
pyramid while the sky is
filled with shades of
orange. Just at the point
where the mountain meets
the bleak landscape we
see the sun just rising.
This angel has been
injured and fallen to
Earth and in its distress
has to find a way of
healing itself and
ascending to its
spiritual home. In this
highly impressionistic
piece the piccolo stands
for the wounded angel. It
has a three note motif
and its wound is
suggested by the semitone
difference of the second
note each time the motif
is repeated. The piece is
a voyage through all the
states of mind the angel
experiences. For example,
there are moments of
contemplation and peace
where the alto and bass
flutes play rocking
rhythms in open fifths.
The final bars of The
Wounded Angel portray the
gentle power of the angel
to heal itself and return
to the heavens. Here,
following the motif of
the gently rocking
rhythms the piccolo plays
two ascending fourths
leading to a G sharp
which has its resolution
in the angels keynote
A. $25.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Ultimate Country Fake Book - 4th Edition
Fake Book [Fake Book] Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 568 pages. Publis...(+)
Fake Book (Includes
melody line and chords).
Size 9x12 inches. 568
pages. Published by Hal
Leonard.
(8)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Not Just Another Scale Book, Book 1 Piano seul [Partition + CD] - Intermédiaire Alfred Publishing
10 Innovative Piano Solos Using Major and Minor Scales. By Mike Springer. For Pi...(+)
10 Innovative Piano Solos
Using Major and Minor
Scales. By Mike Springer.
For Piano. Piano
Collection. Level:
Intermediate (grade 3/4).
Book and CD. Published by
Alfred Publishing
(2)$8.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sight-Reading for Fun. Book 3 Piano seul [Conducteur] Stainer and Bell
Piano SKU: ST.H337 Composed by Peter Lawson. Score. Stainer & Bell Ltd. #...(+)
Piano SKU: ST.H337
Composed by Peter Lawson.
Score. Stainer & Bell
Ltd. #H337. Published by
Stainer & Bell Ltd.
(ST.H337). ISBN
9790220210198. Revi
sion of melodic and
harmonic intervals,
dotted notes, syncopation
and more difficult
rhythms, key signatures
of up to three sharps or
flats, 3-8 time, B sharp
equals C natural, 12
pieces for grade
three. $9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Fun with Jazz Piano Piano seul - Débutant Schott
Piano - very easy SKU: HL.49007916 Volume 1. Composed by Mike Scho...(+)
Piano - very easy SKU:
HL.49007916 Volume
1. Composed by Mike
Schoenmehl. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Jazz Instruction. 44
pages. Schott Music
#ED8321. Published by
Schott Music
(HL.49007916). ISBN
9783795750572. UPC:
884088015886.
9.0x12.0x0.14 inches.
German -
English. Easy jazz
and pop pieces for
newcomers. With
performance instructions
and tips on
practicing. $22.99 - Voir plus => Acheter | | |
| Monsterlieder Piano seul [Partition + Accès audio] - Facile Breitkopf & Härtel
Easy Piano Pieces for Monsters with Two to Six Hands. Composed by Timothy Sha...(+)
Easy Piano Pieces for
Monsters with Two to Six
Hands. Composed by
Timothy
Sharp. Book. Breitkopf
and
Haertel #EB-8947.
Published
by Breitkopf and Haertel
$26.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Organ School Orgue Wilhelm Hansen
Organ SKU: HL.14034957 Composed by Finn Videro. Music Sales America. Clas...(+)
Organ SKU:
HL.14034957 Composed
by Finn Videro. Music
Sales America. Classical,
Instruction, Technique.
Book [Softcover]. 136
pages. Edition Wilhelm
Hansen #WH24091.
Published by Edition
Wilhelm Hansen
(HL.14034957). ISBN
9788774552475.
12.25x8.25x0.7 inches.
English. Includes
works by Bach, Buxtehude,
Couperin, Pachelbel.
Exercises and short
pieces for the
improvement of overall
technique. $44.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Prelude in G-sharp minor, Op. 32 No. 12 Piano seul G. Henle
(Piano Solo). Composed by Sergei Rachmaninoff (1873-1943). Edited by Dominik Rah...(+)
(Piano Solo). Composed by
Sergei Rachmaninoff
(1873-1943). Edited by
Dominik Rahmer and
Marc-Andr�© Hamelin.
For Piano. Henle Music
Folios. G. Henle #HN1213.
Published by G. Henle
$7.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Advent Reflections (Piano/Choral Score) Chorale SATB SATB divisi - Intermédiaire Schirmer
Composed by Joseph Gregorio. Advanced/Collegiate. Advent, 21st Century, Marian...(+)
Composed by Joseph
Gregorio.
Advanced/Collegiate.
Advent,
21st Century, Marian.
Piano/choral score. E.C.
Schirmer Publishing
#8490.
Published by E.C.
Schirmer
Publishing
$2.85 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Psalms without Words - Volume 3 - Violin and Piano GIA Publications
Keyboard, piano, violin SKU: GI.G-003098 Composed by Keith S. Kalemba. Sa...(+)
Keyboard, piano, violin
SKU: GI.G-003098
Composed by Keith S.
Kalemba. Sacred. GIA
Publications #003098.
Published by GIA
Publications
(GI.G-003098).
Scripture: Psalm 46,
Psalm 108, Psalm
131. This
collection includes three
pieces for violin and
piano by Keith S.
Kalemba. The first piece
is a meditation inspired
by Psalm 46, “Be
still and know that I am
God.†The music
alternates between rich
harmonies and silence.
The scherzo based on
Psalm 108, “Awake,
my soul, awake, lyre and
harp!†is a dance
laced with lydian
melodies and rich chords.
The berceuse based on
Psalm 131, “My
whole being is at rest in
you, my God†is a
gentle lullaby with a
large arching melody.
  . $12.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Three Pieces for Flute, Harp, and String Quartet Theodore Presser Co.
Chamber Music SKU: PR.114403320 Composed by Daniel Gregory Mason. Set of ...(+)
Chamber Music SKU:
PR.114403320 Composed
by Daniel Gregory Mason.
Set of Score and Parts.
Theodore Presser Company
#114-40332. Published by
Theodore Presser Company
(PR.114403320).
$46.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sight-Reading for Fun. Book 2 Piano seul [Conducteur] Stainer and Bell
Piano SKU: ST.H336 Composed by Peter Lawson. Score. Stainer & Bell Ltd. #...(+)
Piano SKU: ST.H336
Composed by Peter Lawson.
Score. Stainer & Bell
Ltd. #H336. Published by
Stainer & Bell Ltd.
(ST.H336). ISBN
9790220210181. Play
ing hands together,
simple intervals and
chords, scale and
broken-chord patterns,
accidentals, more
contrasts of articulation
and expression, key
signatures of one flat
and up to three sharps,
12 pieces for grade
two. $9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Celtic Music For Guitar Guitare notes et tablatures [Partition + CD] - Facile ADG productions
By Allan Alexander. For Guitar. This edition: Guitar. Celtic guitar solos in not...(+)
By Allan Alexander. For
Guitar. This edition:
Guitar. Celtic guitar
solos in notation and
tablature. Celtic. Level:
Beginner. Book With Cd.
80 pages. Published by
ADG productions.
(1)$24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Double Stop Musings for the Cello, Book Two Violoncelle [Partition] C. Harvey Publications
By Cassia Harvey. For cello. Instructional; string techniques. Method book. 31 p...(+)
By Cassia Harvey. For
cello. Instructional;
string techniques. Method
book. 31 pages
$9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 50 Renaissance and Baroque Standards - English version [CD] - Débutant Anne Fuzeau Productions
With Variants, Examples and Advice for Playing and Improvising on any instrument...(+)
With Variants, Examples
and Advice for Playing
and Improvising on any
instrument. Edited by
Pascale Boquet, Gerard
Rebours. Music Books/CDs.
Teaching Works. Level:
Grade 0. 144 pages.
Published by Editions
Fuzeau Classique - France
(French import).
$26.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Mini Maestro 2 Piano seul Schott
Piano SKU: HL.49046444 50 Little Piano Pieces from Baroque to Modern M...(+)
Piano SKU:
HL.49046444 50
Little Piano Pieces from
Baroque to Modern Music
Easy. Edited by
Hans-Gü and nter
Heumann. Piano
Collection. Classical.
Softcover. 72 pages.
Schott Music #ED23199.
Published by Schott Music
(HL.49046444). UPC:
840126925142. The
three-volume collection
Mini Maestro presents
little piano pieces
advancing progressively
from very easy to
intermediate level,
presented in
chronological order
across five centuries
from the Baroque,
Classical, Romantic and
Modern eras through to
jazz, pop and minimal
music. At the end of each
volume - under the
heading More fun to play
together - there are
three additional pieces
for piano duet. All the
pieces are easy to learn
and offer varied
repertoire as an ideal
supplement to any piano
tutorial method with
music suitable for
concert performance,
tuition purposes,
examinations and
competitions. Book 2
contains pieces with an
extended range of two
octaves and chord
sequences with three or
four parts, including
inversions. Other
features include using
the pedal, simple
ornaments, basic
polyphony,
differentiating melody
and accompaniment, pieces
in majorand minor keys
with key signatures of up
to two sharps or
flats. $18.99 - Voir plus => Acheter | | |
| Mini Maestro 3 Piano seul Schott
Piano SKU: HL.49046445 50 Little Piano Pieces from Baroque to Modern M...(+)
Piano SKU:
HL.49046445 50
Little Piano Pieces from
Baroque to Modern Music
Easy to Inter.
Composed by Various.
Edited by Hans-Gü and
nter Heumann. Piano
Collection. Classical.
Softcover. 80 pages.
Schott Music #ED23200.
Published by Schott Music
(HL.49046445). UPC:
840126925159. The
three-volume collection
Mini Maestro presents
little piano pieces
advancing progressively
from very easy to
intermediate level,
presented in
chronological order
across five centuries
from the Baroque,
Classical, Romantic and
Modern eras through to
jazz, pop and minimal
music. At the end of each
volume - under the
heading More fun to play
together - there are
three additional pieces
for piano duet. All the
pieces are easy to learn
and offer varied
repertoire as an ideal
supplement to any piano
tutorial method with
music suitable for
concert performance,
tuition purposes,
examinations and
competitions. Book 3
contains pieces with a
range of up to four
octaves with more
demanding rhythms and
speeds. Also included are
subtle contrastsin tone,
playing with expression,
playing more than one
part with one hand and
advanced polyphony in
major and minor keys with
key signatures of up to
three sharps or
flats. $18.99 - Voir plus => Acheter | | |
| Dixit Dominus SSA Chorale 3 parties SSA Shawnee Press
Arranged by Russell L. Robinson. For SSA Choir. Sheet Music. Published by Shawne...(+)
Arranged by Russell L.
Robinson. For SSA Choir.
Sheet Music. Published by
Shawnee Press.
$2.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Stereograms, Volume I Cherry Classics
Bass clef instruments SKU: CY.CC2629 Rhythmic Etudes for Bass Clef Ins...(+)
Bass clef instruments
SKU: CY.CC2629
Rhythmic Etudes for
Bass Clef
Instruments. Composed
by David Brubeck.
Published by Cherry
Classics (CY.CC2629).
A visual
stereogram represents a
3-D image while looking
though a pair of 2-D
images. There are special
viewers that are used to
give this effect where
two images viewed through
the special device can
give a 3-D or
stereographic effect.
Brubeck's Stereograms for
Bass Clef Instruments are
musical versions of the
graphic form. Brubeck
uses familiar folk
melodies to create his
Stereograms and adds
jazzy twists to many of
them. The musical version
may contain two or three
individual parts within a
single melodic line, thus
the musical 3-D
Stereogram is created.
Bach’s
unaccompanied works have
underlying multiple parts
in them and Brubeck has
been inspired by the
Master to create a
similar texture in these
works. They are suitable
encore pieces or
performance pieces, alone
or grouped into ad hoc
suites.
Brubeck'
s music requires rhythmic
accuracy and multiple
tonal colors, and are
especially useful as
sight reading tools to
keep the performer sharp
and on his/her toes. He
has also added octave
suggestions to allow them
to be playable by the
widest array of bass clef
instruments.
Eac
h Stereogram is dedicated
to a special musical hero
in Brubeck's life.
Excellent as study etudes
or sight-reading pieces,
Stereograms can be
performed/practiced by
Trombonists, Bass
Trombonists, Tubists and
Euphoniumists.
T
he thirteen melodies used
in Volume I are: You Are
My Sunshine, This Little
Light of Mine, The Itsy
Bitsy Spider, When the
Saints Go Marching In,
Just a Closer Walk With
Thee, Frère
Jacques, On Top of Old
Smokey, If You're Happy
and You Know It, London
Bridge is Falling Down,
Twinkle Twinkle Little
Star, Jesus Loves Me,
Have You Ever Seen a
Lassie, Go Tell Aunt
Rhody. $25.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Zigzag - Stemmer Music Sales
Percussion SKU: HL.14036649 By Einar Nielsen. By Per Norgard. Music Sales...(+)
Percussion SKU:
HL.14036649 By Einar
Nielsen. By Per Norgard.
Music Sales America.
Classical. Set of Parts.
Music Sales #KP00290.
Published by Music Sales
(HL.14036649). ISBN
9788759879269.
Danish. Programme
Note Zigzag - percussion
sextet (1981)ZIGZAG
(1981, earlier entitled
just SEXTET) is the
second of my three
percussion sextets (the
other being RONDO (1964)
and SQUARE AND ROUND (TWO
DANCES) (1986)). ZIGZAG
derives its
characteristic rhythmic
impulse from the
establishing of simple
metres (for instance
four-bar patterns) that
are abruptly cut off
before completion, only
to start over again
immediately. This creates
a sort of cubistic
rhythmic effect, present
also in my ISTERNIA
(1979) for marimba solo
and SONORA (1981) for
flute and harp.Several
percussion ensembles have
performed SQUARE AND
ROUND together with
ZIGZAG, the latter played
attacca as a third
movement. Ifind the
result of this
combination convincing
and satisfactory and I
recommend it in
performance - with the
titleSquare, Round and
Zigzag - 3 pieces for
percussion sextet
(1981/86).However, SQUARE
AND ROUND as well as
ZIGZAG may still be
played separately.Per
Norgard. $42.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mini Maestro 1 Piano seul Schott
Piano SKU: HL.49046443 50 Little Piano Pieces from Baroque to Modern M...(+)
Piano SKU:
HL.49046443 50
Little Piano Pieces from
Baroque to Modern Music
Very Easy. Edited by
Hans-Gü and nter
Heumann. Piano
Collection. Classical.
Softcover. 64 pages.
Schott Music #ED23198.
Published by Schott Music
(HL.49046443). ISBN
9783795719067. UPC:
840126925128. The
three-volume collection
Mini Maestro presents
little piano pieces
advancing progressively
from very easy to
intermediate level,
presented in
chronological order
across five centuries
from the Baroque,
Classical, Romantic and
Modern eras through to
jazz, pop and minimal
music. At the end of each
volume - under the
heading More fun to play
together - there are
three additional pieces
for piano duet. All the
pieces are easy to learn
and offer varied
repertoire as an ideal
supplement to any piano
tutorial method with
music suitable for
concert performance,
tuition purposes,
examinations and
competitions. Book 1
contains pieces in the
five-finger range at
various pitches, followed
by pieces spanning an
octave range with simple
rhythms and easy chord
sequences. Also featured
are differing styles of
articulation, melody in
the left hand, octave or
ottava signs, pieces in
major and minor keys with
key signatures of up to
one sharp or flat. $18.99 - Voir plus => Acheter | | |
| Guitar Images Book Guitare Guitare classique [Partition] Mel Bay
By William Bay. For Guitar (Classical). Solos. Bill's Music Shelf. Baroque. Inte...(+)
By William Bay. For
Guitar (Classical).
Solos. Bill's Music
Shelf. Baroque.
Intermediate. Book. 80
pages. Published by Mel
Bay Publications, Inc
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Alfred's Basic Piano Library Popular Hits Complete, Book 1 Piano seul - Débutant Alfred Publishing
(For the Later Beginner). Arranged by Tom Gerou. For Piano. Book; Graded Standar...(+)
(For the Later Beginner).
Arranged by Tom Gerou.
For Piano. Book; Graded
Standard Repertoire;
Method/Instruction; Piano
- Alfred's Basic Piano
Library. Alfred's Basic
Piano Library. Broadway;
Children; Movie; Pop.
Beginner. 40 pages.
Published by Alfred Music
$11.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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