| Mythos Orchestre à Cordes [Conducteur et Parties séparées] - Facile FJH
By Soon Hee Newbold. Arranged by Soon Hee Newbold. Intermediate String Orchestra...(+)
By Soon Hee Newbold.
Arranged by Soon Hee
Newbold. Intermediate
String Orchestra. FJH
Developing Strings.
Famous myths, legends,
fairy tales, and stories
from all over the world -
including the ancient
Greeks, the Brothers
Grimm, and Hans Christian
Andersen - shapes
cultures, mold ethics,
teach lessons, and
entertain. Every popular
tale has a beginning
adventure, a fantasy, and
the ultimate conflict
between good and evil. I
wrote Mythos to include
these many themes, which
are inspired by age-old
fables, magical sagas,
and the epic dramas of
today. Score for this
title: ST6114S. Extra
part for this title:
ST6114P. String
Orchestra. Level: 2.5.
Score and Set of Parts.
Published by The FJH
Music Company Inc
$55.00 - Voir plus => Acheter | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Romances - Intermédiaire/avancé Wilhelm Hansen
Piano Accompaniment; Viola - Grade 4 SKU: HL.14042354 Viola and Piano<...(+)
Piano Accompaniment;
Viola - Grade 4 SKU:
HL.14042354 Viola
and Piano. Composed
by Poul Ruders. Music
Sales America. Classical,
Contemporary. Softcover.
Composed 2012. Edition
Wilhelm Hansen #WH31331.
Published by Edition
Wilhelm Hansen
(HL.14042354). ISBN
9788759822630.
9.5x14.25x0.17 inches.
International (more than
one
language). Programn
ote According to
tradition, a mid- or
late-19th century
instrumental Romance - or
Romanza - is a shortish
composition of
predominantly melodic
nature, with a slight
leaning toward the
sentimental.In several
European languages, such
as German, French, and
Danish, the word for
navel, i.e., an unfolding
drama in writing, is
Roman, and although
there's nothing literary
about my Six Romances for
viola and piano, each
piece tells its own story
open to individual inner
interpretation. Portal
forms the opening
chapter, so to speak,
paving the way for the
second movement, named
Even Song. Maybe it's
just a simple tune heard
at sunset, perhaps the
melody is carried from
faraway, over the hills
from inside the village
church...Titles such as,
Ballad, and Dirge (song
of mourning) immediately
reveal the nature and
mood of the music to
come, where-as the
concluding piece Duet is
slightly more
'mysterious.'In a classic
duet the two instruments
in question, or more
likely voices complement
each other benevolently.
In the present case,
however, the viola and
the piano both stand
firm, protection their
own turf - and - 'the
twain shall never
meet!'The piece is very
short indeed, it just
stops, leaving the
listener to finish the
'story' in his or her own
imagination. A true open
ending. Poul Ruders. $50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 6 Songs Op. 90 Piano, Voix Breitkopf & Härtel
Voice and piano SKU: BR.DLV-5633 Composed by Jean Sibelius. Voice. Deutsc...(+)
Voice and piano SKU:
BR.DLV-5633 Composed
by Jean Sibelius. Voice.
Deutscher-Lieder-Verlag.
Song; Early modern;
Late-romantic. Score. 8
pages. Breitkopf and
Haertel #DLV 5633.
Published by Breitkopf
and Haertel
(BR.DLV-5633). ISBN
9790004802151. 9 x 12
inches. Swedish /
German. Six single
editions: DLV 5631 -
1. Der Norden DLV 5632
- 2. Hennes Budskap -
Ihre Botschaft DLV
5632 - 3. Morgonen - Der
Morgen DLV 5634 - 4.
Fagelfangaren - Der
Vogelsteller DLV 5635
- 5. Sommernatten - Die
Sommernacht DLV 5636 -
6. Vem Styrde hit din vag
- Wer hat dich hergefuhrt
Fast alle
Orchesterbearbeitungen
sind Jahre nach den
Originalkompositionen fur
Singstimme und Klavier
entstanden.
Trotz
der Tatsache dass sie
rasch hingeworfen sind
zeigt sich in allen
Liedern Sibelius'
Meisterschaft als
Orchesterliederkomponist.
Manchmal vermag er eine
dustere dramatische
Atmosphare (in ,,Pa
verandan vid havet) zu
erzeugen manchmal
gelingen ihm leuchtend
farbige Impressionen (in
,,Soluppgang) oder zart
transparente Gewebe (in
,,Varen flyktar hastigt)
- immer jedoch sind die
Lieder ganz aus deren
poetischer Idee heraus
gestaltet und
differenziert
nachgezeichnet. In den
meisten Fallen
beschrankte sich Sibelius
auf ein relativ kleines
Orchester. In ,,Varen
flyktar hastigt sind
neben den Streichern nur
zwei Floten und vier
Horner besetzt. Nearly
all of the orchestral
arrangements were made
years after the original
compositions for voice
and piano.
Yet
even though the
arrangements were made in
a very short period of
time Sibelius handled the
combination of solo voice
and orchestra in all
songs with equal mastery
sometimes creating dark
and dramatic atmospheres
(in Pa verandan vid
havet) sometimes radiant
colorful impressions (in
Soluppgang) or
light-colored transparent
textures (in Varen
flyktar hastigt) and
always basing his ideas
on the poetic idea of the
song while discovering
refined ways of
supporting it. Fast alle
Orchesterbearbeitungen
sind Jahre nach den
Originalkompositionen fur
Singstimme und Klavier
entstanden.
Trotz
der Tatsache dass sie
rasch hingeworfen sind
zeigt sich in allen
Liedern Sibelius'
Meisterschaft als
Orchesterliederkomponist.
manchmal vermag er eine
dustere dramatische
Atmosphare (in ,,Pa
verandan vid havet) zu
erzeugen manchmal
gelingen ihm leuchtend
farbige Impressionen (in
,,Soluppgang) oder zart
transparente Gewebe (in
,,Varen flyktar hastigt)
- immer jedoch sind die
Lieder ganz aus deren
poetischer Idee heraus
gestaltet und
differenziert
nachgezeichnet. In den
meisten Fallen
beschrankte sich Sibelius
auf ein relativ kleines
Orchester. In ,,Varen
flyktar hastigt sind
neben den Streichern nur
zwei Floten und vier
Horner besetzt. Nearly
all of the orchestral
arrangements were made
years after the original
compositions for voice
and piano.
Yet
even though the
arrangements were made in
a very short period of
time Sibelius handled the
combination of solo voice
and orchestra in all
songs with equal mastery
sometimes creating dark
and dramatic atmospheres
(in Pa verandan vid
havet) sometimes radiant
colorful impressions (in
Soluppgang) or
light-colored transparent
textures (in Varen
flyktar hastigt) and
always basing his ideas
on the poetic idea of the
song while discovering
refined ways of
supporting it. $12.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| 6 Songs Op. 90 Piano, Voix Breitkopf & Härtel
Voice and piano SKU: BR.DLV-5634 Composed by Jean Sibelius. Voice. Deutsc...(+)
Voice and piano SKU:
BR.DLV-5634 Composed
by Jean Sibelius. Voice.
Deutscher-Lieder-Verlag.
Song; Early modern;
Late-romantic. Score. 8
pages. Breitkopf and
Haertel #DLV 5634.
Published by Breitkopf
and Haertel
(BR.DLV-5634). ISBN
9790004802168. 9 x 12
inches. Swedish /
German. Six single
editions: DLV 5631 -
1. Der Norden DLV 5632
- 2. Hennes Budskap -
Ihre Botschaft DLV
5632 - 3. Morgonen - Der
Morgen DLV 5634 - 4.
Fagelfangaren - Der
Vogelsteller DLV 5635
- 5. Sommernatten - Die
Sommernacht DLV 5636 -
6. Vem Styrde hit din vag
- Wer hat dich hergefuhrt
Fast alle
Orchesterbearbeitungen
sind Jahre nach den
Originalkompositionen fur
Singstimme und Klavier
entstanden.
Trotz
der Tatsache dass sie
rasch hingeworfen sind
zeigt sich in allen
Liedern Sibelius'
Meisterschaft als
Orchesterliederkomponist.
Manchmal vermag er eine
dustere dramatische
Atmosphare (in ,,Pa
verandan vid havet) zu
erzeugen manchmal
gelingen ihm leuchtend
farbige Impressionen (in
,,Soluppgang) oder zart
transparente Gewebe (in
,,Varen flyktar hastigt)
- immer jedoch sind die
Lieder ganz aus deren
poetischer Idee heraus
gestaltet und
differenziert
nachgezeichnet. In den
meisten Fallen
beschrankte sich Sibelius
auf ein relativ kleines
Orchester. In ,,Varen
flyktar hastigt sind
neben den Streichern nur
zwei Floten und vier
Horner besetzt. Nearly
all of the orchestral
arrangements were made
years after the original
compositions for voice
and piano.
Yet
even though the
arrangements were made in
a very short period of
time Sibelius handled the
combination of solo voice
and orchestra in all
songs with equal mastery
sometimes creating dark
and dramatic atmospheres
(in Pa verandan vid
havet) sometimes radiant
colorful impressions (in
Soluppgang) or
light-colored transparent
textures (in Varen
flyktar hastigt) and
always basing his ideas
on the poetic idea of the
song while discovering
refined ways of
supporting it. Fast alle
Orchesterbearbeitungen
sind Jahre nach den
Originalkompositionen fur
Singstimme und Klavier
entstanden.
Trotz
der Tatsache dass sie
rasch hingeworfen sind
zeigt sich in allen
Liedern Sibelius'
Meisterschaft als
Orchesterliederkomponist.
manchmal vermag er eine
dustere dramatische
Atmosphare (in ,,Pa
verandan vid havet) zu
erzeugen manchmal
gelingen ihm leuchtend
farbige Impressionen (in
,,Soluppgang) oder zart
transparente Gewebe (in
,,Varen flyktar hastigt)
- immer jedoch sind die
Lieder ganz aus deren
poetischer Idee heraus
gestaltet und
differenziert
nachgezeichnet. In den
meisten Fallen
beschrankte sich Sibelius
auf ein relativ kleines
Orchester. In ,,Varen
flyktar hastigt sind
neben den Streichern nur
zwei Floten und vier
Horner besetzt. Nearly
all of the orchestral
arrangements were made
years after the original
compositions for voice
and piano.
Yet
even though the
arrangements were made in
a very short period of
time Sibelius handled the
combination of solo voice
and orchestra in all
songs with equal mastery
sometimes creating dark
and dramatic atmospheres
(in Pa verandan vid
havet) sometimes radiant
colorful impressions (in
Soluppgang) or
light-colored transparent
textures (in Varen
flyktar hastigt) and
always basing his ideas
on the poetic idea of the
song while discovering
refined ways of
supporting it. $12.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Jingle Bells Ensemble Jazz [Conducteur et Parties séparées] C.L. Barnhouse
Arranged by Paul Clark. Jazz Ensemble. Score and set of parts. Composed 2005. Du...(+)
Arranged by Paul Clark.
Jazz Ensemble. Score and
set of parts. Composed
2005. Duration 0:02:36
$50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Wild Flowers Violon Bote and Bock
Violin SKU: HL.48023884 For Violin. Composed by Ursula Mamlok. Boo...(+)
Violin SKU:
HL.48023884 For
Violin. Composed by
Ursula Mamlok. Boosey &
Hawkes Chamber Music.
Classical. Softcover. 6
pages. Bote & Bock
#M202534540. Published by
Bote & Bock
(HL.48023884).
9.25x12.0x0.053
inches. This
composition for solo
violin was written in
1987 for the violinist
Roger Zahab who performed
the world premiere in New
York. As is typical of
Ursula Mamlok, the work
of about 5 minutes'
duration is very short.
In one movement, divided
into five short sections,
she sums up her musical
cause in an extremely
virtuoso manner: A
powerful opening theme,
which varies several
times, is followed by a
quiet, lyrical passage
which uses similar
musical ideas, however.
In the following, the
formal contrast
disappears due to the
increasing fusion of
opening theme and slower
episode before the main
theme is taken up again
in the final section in a
very dramatic form. $10.99 - Voir plus => Acheter | | |
| Herrmann: Portrait Of Hitch (Study Score) Orchestre Music Sales
Orchestra SKU: HL.14025900 Composed by Bernard Herrmann. Music Sales Amer...(+)
Orchestra SKU:
HL.14025900 Composed
by Bernard Herrmann.
Music Sales America.
Classical. Studyscore.
Music Sales #NOV750028.
Published by Music Sales
(HL.14025900). 0.453
inches. Herrmann
wanted to write a musical
portrait of his friend
and colleague Alfred
Hitchcok, so choose
motifs from the movie The
Trouble With Harry, one
of Hitchcock's more
personal and humorous
films. This
single-movement work for
Orchestra employs some of
the more familiar
elements of Herrmann's
compositional style:
short musical phrases
repeated and then
repeated again in other
positions, sharp use of
dynamics among them. From
the first note, the
creepiness begins.Bernard
Herrmann was among the
very greatest of all
composers of music for
cinema and there are many
who avow that he was the
greatest of all. A very
short list of the films
for which this
award-winning
composercreated
soundtracks includes
Citizen Kane, The Man Who
Knew Too Much, Vertigo,
Jason and Argonauts,
Fahrenheit 451, Obsession
and Taxi Driver. He had a
long and fertile
association with Alfred
Hitchcock during the most
productive period of
Hitchcock's career and
with Orson Welles from
the time of the Mercury
Theatre on the Air. In
addition to his
conducting and composing
work for the
entertainment world,
Herrmann wrote concert
pieces, including a
symphony, opera and
cantata. $44.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Short-toed Lark And The Cetti's War Piano seul Leduc, Alphonse
Piano SKU: HL.48182066 Composed by Olivier Messiaen. Leduc. Post-1900. So...(+)
Piano SKU:
HL.48182066 Composed
by Olivier Messiaen.
Leduc. Post-1900.
Softcover. 10 pages.
Alphonse Leduc #AL22944.
Published by Alphonse
Leduc (HL.48182066).
UPC: 888680850869.
9.0x12.0x0.155
inches. “The
Bird Catalogue by Olivier
Messiaenis a set of 7
books with 13 pieces for
Piano composed between
1956 and 1958. Each
volume refers to a
special bird and to the
region where the bird is
typically from in France.
The piece not only
describes the bird, it
also depicts its
surroundings, such as
other birds, the
landscape of its area,
the colours and the
temperature. Book 1 - Le
Chocard des Alpes (Alpine
Chough) - Le Loriot
(Golden Oriole) IH Le
Merle Bleu (Blue Rock
Thrush) Book 2 - Le
Traquet Stapazin
(Black-Eared Wheatear)
Book 3 - La Chouette
Hulotte (Tawny Owl) -
L'Alouette Lulu (Wood
Lark) Book 4 - La
Rousserolle Effarvatte
(Reed Warbler) Book 5 -
L'Alouette Calandrelle
(Short-Toed Lark) - La
Bouscarle (Cetti's
Warbler) Book 6 - Le
Merle de Roche (Rock
Thrush) Book 7 - La Buse
Variable (Buzzard) - Le
Traquet Rieur (Black
Wheatear) - Le Courlis
Cendré (Curlew) As
mentioned above, this 5th
volume focuses on the
Short-toed Lark and the
Cetti's Warbler. The
first one, the Short-toed
Lark represents the
wilderness of Provence
and the Cetti's Warbler,
the Charente area. The
interpretation of these
pieces requires a strong
level in Piano (upper
advanced), due to some
complex technique
requirement. Olivier
Messiaen (1908-1992) was
a French organist and
composer who was
passionate about
Ornithology and one of
the most important
composers of his century.
Inspired by Japanese
music, he had a very
special way of composing
and his work can be
identified by its
complexity, its diatonic
aspect, its harmony with
limited transposition,
its colour and its
additive rhythms. He
composed many works
related to ornithology
and birdsong, including
the 'Treatise on rhythm,
colour and ornithology'
in 7 volumes.â€. $35.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Walk, Don't Run Ensemble Jazz [Conducteur et Parties séparées] - Facile Sierra Music
By Shorty Rogers. Arranged by Shorty Rogers. Jazz Ensemble / Jazz Band. Shorty R...(+)
By Shorty Rogers.
Arranged by Shorty
Rogers. Jazz Ensemble /
Jazz Band. Shorty Rogers
Series. Easy Swing. Grade
2. Score and set of parts
$50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Energize Your Fingers Every Day, Book 3 Piano seul - Facile FJH
Piano - Early Intermediate SKU: FJ.FJH2167 3. Composed by Helen Ma...(+)
Piano - Early
Intermediate SKU:
FJ.FJH2167 3.
Composed by Helen Marlais
and Timothy Brown. Piano
Technique; Technique
Musicianship. The FJH
Pianist's Curriculum.
Book. The FJH Music
Company Inc #98-FJH2167.
Published by The FJH
Music Company Inc
(FJ.FJH2167). ISBN
9781619282254. UPC:
241444387030.
English. Use
Energize Your Fingers
Every Day to develop
natural, healthy
technique from the very
beginning! Students
develop healthy,
tension-free technique
through sets of short
exercises to be mastered
weekly. Engaging
illustrations and titles
help students connect
technique with music.
This series can be used
will all piano methods to
ensure excellent
technical skills. $6.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Short Scherz - Quintet for Saxophone Quartet and Trombone Quatuor de Saxophones: 4 saxophones - Avancé Cherry Classics
Saxophone Quartet and Trombone - Advanced SKU: CY.CC3180 Composed by Jim ...(+)
Saxophone Quartet and
Trombone - Advanced
SKU: CY.CC3180
Composed by Jim Pugh.
Classical. Score and
Parts. Cherry Classics
#CC3180. Published by
Cherry Classics
(CY.CC3180). ISBN
9790530119082. 8.5 x 11
in inches. James
Pugh has written a short
work of chamber music in
one movement called Short
Scherz, Quintet for
Saxophone Quartet and
Trombone. This music is
appropriate for very
advanced performers and
is about 2 1/2 minutes in
length. The work begins
with a bouncy melody (A
Theme) that works it's
way up through the
instruments, comes to a
climax and continues on
into a languid melodic
section (B Theme) and
works its way by adding
speed and dynamics to the
conclusion (A Theme
repeated). This work was
written for and first
performed in 1989 by
George Marge and the
American Saxophone
Quartet with Mr.
Pugh. $35.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Four Short Prayers of St. Francis of Assisi for Trombone Sextet Cherry Classics
6-part Trombone ensemble - moderately advanced SKU: CY.CC2991 Composed by...(+)
6-part Trombone ensemble
- moderately advanced
SKU: CY.CC2991
Composed by Francis
Poulenc. Arranged by
Robert Kalwas. 20th
Century Liturgical. Score
and Parts. 26 pages.
Cherry Classics #2991.
Published by Cherry
Classics (CY.CC2991).
ISBN
9790530058107. Four
Short Prayers of Saint
Francis of Assisi were
introduced to Poulenc by
his nephew Jerome, a
Franciscan monk, who
asked the composer to set
them to music. Poulenc
found these prayers very
inspirational, as he was
deeply moved spiritually
and at the same time
intimidated by the
Saint's
humility. Robert
Kalwas has done a
marvelous job arranging
these four short works
(timing is about 7-8
minutes) for a sextet or
6-part ensemble of
Trombones. All parts are
in bass clef. This
arrangement will work
nicely for moderately
advanced. $32.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Romance in C major Op. 42 Breitkopf & Härtel
String orchestra SKU: BR.PB-4879-07 Study score. Composed by Jean ...(+)
String orchestra SKU:
BR.PB-4879-07
Study score.
Composed by Jean
Sibelius. Softcover.
Partitur-Bibliothek
(Score Library).
Sibelius composed this
short (only five minutes
long) Romance in C Op. 42
in 1903; the work was
first performed in Turku
in March 1904. The
Romance is not a concerto
movement in disguise, but
features the dark, dense
string writing typical of
Sibelius. Early modern;
Late-romantic. Study
Score. 8 pages. Duration
5'. Breitkopf and Haertel
#PB 4879-07. Published by
Breitkopf and Haertel
(BR.PB-4879-07). ISBN
9790004206768. 5.5 x 7.5
inches. Sibelius
composed this short (only
five minutes long)
Romance in C Op. 42 in
1903; the work was first
performed in Turku in
March 1904. The Romance
is not a concerto
movement in disguise, but
features the dark, dense
string writing typical of
Sibelius. Fast alle
Orchesterbearbeitungen
sind Jahre nach den
Originalkompositionen fur
Singstimme und Klavier
entstanden.
Trotz
der Tatsache dass sie
rasch hingeworfen sind
zeigt sich in allen
Liedern Sibelius'
Meisterschaft als
Orchesterliederkomponist.
Manchmal vermag er eine
dustere dramatische
Atmosphare (in ,,Pa
verandan vid havet) zu
erzeugen manchmal
gelingen ihm leuchtend
farbige Impressionen (in
,,Soluppgang) oder zart
transparente Gewebe (in
,,Varen flyktar hastigt)
- immer jedoch sind die
Lieder ganz aus deren
poetischer Idee heraus
gestaltet und
differenziert
nachgezeichnet. In den
meisten Fallen
beschrankte sich Sibelius
auf ein relativ kleines
Orchester. In ,,Varen
flyktar hastigt sind
neben den Streichern nur
zwei Floten und vier
Horner besetzt. Nearly
all of the orchestral
arrangements were made
years after the original
compositions for voice
and piano.
Yet
even though the
arrangements were made in
a very short period of
time Sibelius handled the
combination of solo voice
and orchestra in all
songs with equal mastery
sometimes creating dark
and dramatic atmospheres
(in Pa verandan vid
havet) sometimes radiant
colorful impressions (in
Soluppgang) or
light-colored transparent
textures (in Varen
flyktar hastigt) and
always basing his ideas
on the poetic idea of the
song while discovering
refined ways of
supporting it. $11.95 - Voir plus => AcheterDélais: 3 to 4 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 | | |
| Emil Kronke: Humming Birds, Op. 210 - Shortest Easy Pieces Flûte traversière et Piano - Facile Schott
For Flute and Piano - Schott Student Edition. Composed by Emil Kronke. Edite...(+)
For Flute and Piano -
Schott
Student Edition. Composed
by
Emil Kronke. Edited by
Britta Bauer. Schott
Student
Edition. Repertoire.
Softcover. Schott Music
#SE1015. Published by
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| Folk Songs and Dances From The Balkans - Pan Flute Flûte de Pan [Partition + CD] - Facile Mel Bay
For Flute. Solos. Baltic. Beginning-Intermediate. Book/CD Set. 24 pages. Publis...(+)
For Flute. Solos.
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Book/CD Set. 24 pages.
Published by Mel Bay
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| As Moscas for Piano Piano seul Periferia Music
Piano SKU: AY.PN3176PM Composed by Leandro Turano. Keyboards - Piano. She...(+)
Piano SKU:
AY.PN3176PM Composed
by Leandro Turano.
Keyboards - Piano. Sheet
music. Duration 1'.
Periferia Publishing
#PN3176PM. Published by
Periferia Publishing
(AY.PN3176PM). ISBN
9790543575066. As
Moscas (The Flies) is a
very short piece (about 1
minute or less) with a
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joke with the rhythm, bar
changes and dissonances.
Very fun, it sounds like
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| The Long and Short of Music Piano seul [Partition + CD] GIA Publications
By Daniel Meyer. For Keyboard. Music Collection. Instructional. Level: Easy/Medi...(+)
By Daniel Meyer. For
Keyboard. Music
Collection.
Instructional. Level:
Easy/Medium. Book and CD.
Text language: English.
136 pages. Published by
GIA Publications.
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| The Triumph of Man Orchestre d'harmonie - Intermédiaire Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-1948-00 Short Suite for Band. Composed by Tatg...(+)
Grade 3 SKU:
CL.012-1948-00
Short Suite for
Band. Composed by
Tatgenhorst. Concert
Band. Audio recording
available separately
(item CL.WFR138). Score
and set of parts.
Composed 1980. Duration 4
minutes, 32 seconds. Opus
III Wind Orchestra
Publications
#012-1948-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-1948-00).
Five very short
segments titled,
``Discovery,’â€
™
``Adventure,’â€
™
``Love,’’
``Recreation,’â
™ and ``The
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are combined in this
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| 20 Short Organ Pieces Orgue Zimbel Press
Organ SKU: SU.80101363 For Organ. Composed by Michael Canales. Key...(+)
Organ SKU:
SU.80101363 For
Organ. Composed by
Michael Canales.
Keyboard, Organ. Score.
Zimbel Press #80101363.
Published by Zimbel Press
(SU.80101363).
This
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Ascension Postlude in D,
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Instrumentation: Organ.
Composed: 2012-14
Published by: Zimbel
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| Reachin' For A Rainbow Ensemble Jazz [Conducteur et Parties séparées] Kendor Music Inc.
Composed by Sammy Nestico. Sammy Nestico Young Jazz Series. Easy Jazz. Score and...(+)
Composed by Sammy
Nestico. Sammy Nestico
Young Jazz Series. Easy
Jazz. Score and set of
parts. Published by
Kendor Music Inc
(KN.SN70055).
$48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Reachin' For A Rainbow (Full Score) - Facile Kendor Music Inc.
Jazz Ensemble - Grade 2 SKU: KN.SN70055S Composed by Sammy Nestico. Sammy...(+)
Jazz Ensemble - Grade 2
SKU: KN.SN70055S
Composed by Sammy
Nestico. Sammy Nestico
Young Jazz Series. Kendor
Music Inc #SN70055S.
Published by Kendor Music
Inc (KN.SN70055S).
UPC:
822795700558. Play
this chart with a crisp
feel, treating short
notes very short. In
measures 18-19, 26-27 and
62-63 the 3rd and 4th
Trumpet parts can be
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| Tehillim to Yahweh Chorale SATB SATB A Cappella Subito Music
SATB Chorus, a cappella SKU: SU.94010340 Composed by James Lee III. Vocal...(+)
SATB Chorus, a cappella
SKU: SU.94010340
Composed by James Lee
III. Vocal/Choral, Sacred
Choral. Choral Octavo.
Subito Music Corporation
#94010340. Published by
Subito Music Corporation
(SU.94010340).
Tehillim to
Yahweh is a very short
paraphrase of part of
Psalm 150, and in English
is translated to Psalms
to the Lord. It is meant
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followed by a short
passage of canonical
entrances; the end of the
work employs a small use
of chromaticism. SATB
Chorus, a cappella
Duration: 1 ' Composed:
2013 Published by: Subito
Music Publishing Minimum
order quantity: 8 copies.
Perusal copies are
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| The Triumph of Man Orchestre d'harmonie - Intermédiaire Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-1948-01 Short Suite for Band. Composed by Tatg...(+)
Grade 3 SKU:
CL.012-1948-01
Short Suite for
Band. Composed by
Tatgenhorst. Concert
Band. Audio recording
available separately
(item CL.WFR138). Extra
full score. Composed
1980. Duration 4 minutes,
32 seconds. Opus III Wind
Orchestra Publications
#012-1948-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-1948-01).
Five very short
segments titled,
``Discovery,’â€
™
``Adventure,’â€
™
``Love,’’
``Recreation,’â
™ and ``The
Future’’
are combined in this
minisuite. Highly
descriptive with lots of
dynamic contrast and
carefully scored for high
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| The Lord careth for us Soli, choeur mixte et accompagnement [Conducteur] Carus Verlag
Cantata for a wedding. Composed by Johann Sebastian Bach (1685-1750). Edi...(+)
Cantata for a
wedding. Composed by
Johann Sebastian Bach
(1685-1750). Edited by
Solvej Donadel. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas;
Wedding. Full score.
Composed 1708. 36 pages.
Duration 14 minutes.
Carus Verlag #CV
31.196/00. Published by
Carus Verlag
(CA.3119600).
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| The Lord is mindful of us (Der Herr denket an uns) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
Orchestra Soli STB, Coro SATB, 2 Vl, Va, Vc, Bc SKU: CA.3119607 Cantat...(+)
Orchestra Soli STB, Coro
SATB, 2 Vl, Va, Vc, Bc
SKU: CA.3119607
Cantata for a
wedding. Composed by
Johann Sebastian Bach.
Edited by Solvej Donadel.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas, Wedding.
Study score. Composed
1708. BWV 196. 36 pages.
Duration 14 minutes.
Carus Verlag #CV
31.196/07. Published by
Carus Verlag
(CA.3119607). ISBN
9790007242411. Language:
German/English. Esp
ecially due to the early
date of its composition,
from the pen of the just
turned 22-year-old Johann
Sebastian Bach, the
cantata The Lord careth
for us BWV 196 has its
charm, and through its
conciseness, as well as
its simple scoring, it is
quite accessible for
performance by ensembles
with only modest means.
The cantata was composed
on the occasion of a
wedding in the 1797/08,
the details of which
cannot be exactly
ascertained. The text of
the libretto contains no
freely written poetry,
rather is drawn solely
from the Bible (Psalm
115:12-13), there are no
recitatives, and the
arias are kept very
short. The scoring is
also of modest
propoportions: In addtion
to the solo voices
soprano, tenor and bass,
as well as a four-voice
choir, only strings and
basso continuo are
requried. The cantata
begins, as is typical
early Bach cantatas, with
a short instrumental
sinfonia and ends, not
with a chorale, but with
a choral movement. Score
available separately -
see item CA.3119600. $15.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Lord is mindful of us (Der Herr denket an uns) Chorale SATB Carus Verlag
STB vocal soli, SATB choir, 2 violins, viola, cello, basso continuo SKU: CA.3...(+)
STB vocal soli, SATB
choir, 2 violins, viola,
cello, basso continuo
SKU: CA.3119619
Cantata for a
wedding. Composed by
Johann Sebastian Bach.
Edited by Solvej Donadel.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Complete
orchestral parts. Sacred
vocal music, Cantatas,
Wedding. Set of Orchestra
Parts. Composed 1708. BWV
196. Duration 14 minutes.
Carus Verlag #CV
31.196/19. Published by
Carus Verlag
(CA.3119619). ISBN
9790007210496. Text
language:
German/English. Esp
ecially due to the early
date of its composition,
from the pen of the just
turned 22-year-old Johann
Sebastian Bach, the
cantata The Lord careth
for us BWV 196 has its
charm, and through its
conciseness, as well as
its simple scoring, it is
quite accessible for
performance by ensembles
with only modest means.
The cantata was composed
on the occasion of a
wedding in the 1797/08,
the details of which
cannot be exactly
ascertained. The text of
the libretto contains no
freely written poetry,
rather is drawn solely
from the Bible (Psalm
115:12-13), there are no
recitatives, and the
arias are kept very
short. The scoring is
also of modest
propoportions: In addtion
to the solo voices
soprano, tenor and bass,
as well as a four-voice
choir, only strings and
basso continuo are
requried. The cantata
begins, as is typical
early Bach cantatas, with
a short instrumental
sinfonia and ends, not
with a chorale, but with
a choral movement. Score
and parts available
separately - see item
CA.3119600. $78.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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