| 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 | | |
| Adeste, Fideles Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba - Intermédiaire De Haske Publications
Brass Quintet - intermediate SKU: BT.DHP-1064223-070 For Brass Quintet...(+)
Brass Quintet -
intermediate SKU:
BT.DHP-1064223-070
For Brass Quintet and
Organ (ad lib.).
Arranged by Kazys
Daugela. De Haske
Instrumental Series.
Christmas. Set (Score and
Parts). Composed 2006. 16
pages. De Haske
Publications #DHP
1064223-070. Published by
De Haske Publications
(BT.DHP-1064223-070).
ISBN 9789043126731.
9x12 inches.
English-German-French-Dut
ch. Also known as
Prosa in Nativitáte
Dómini or the
Portugese Hymn,
Adeste, Fideles
has been used at
Benediction at
Christmastide in France
and England since the end
of the eighteenth
century. It invites all
the faithful to come to
Bethlehem to worship the
newborn Savious. Although
more than forty different
English translations were
made, Oakeley's
translation O Come,
All Ye Faithful was
the most preferred, with
additional verses
translated by W.T.
Brooke. All in all, the
hymn has been translated
into at least 125
languages and is one of
the most popular of all
Christmas
hymns.
Adeste,
Fideles, das hier in
einer festlichen
Bearbeitung fu?r
Blechbläserquintett
und Orgel ad lib.
vorliegt, wird schon seit
dem Ende des 18.
Jahrhunderts in
Frankreich und England
zur Segnung in der
Weihnachtszeit verwendet.
Das im deutschen
Sprachraum als Herbei,
o ihr Gläubigen
bekannte Lied wurde
auÃ?erdem in u?ber 100
weitere Sprachen
u?bersetzt und ist damit
eines der beliebtesten
Weihnachtslieder
weltweit.
Lâ??hymne
chrétienne Adeste
Fideles [Adeste
Fidelis] est
également connue sous
le nom de Prosa In
Nativitáte
Dómini ou encore
Cantique portugais
(parce quâ??il fut
chanté dans la
chapelle de l'ambassade
du Portugal Londres).
Depuis la fin du XVIIIe
siècle, Adeste
Fideles est chanté
après la
bénédiction de
Noël dans de
nombreuses églises
françaises et
anglaises. Le texte
invite tous les croyants
se rendre Bethléem
pour adorer le Sauveur
nouveau-né.Lâ??origin
e du cantique reste un
mystère. On mentionne
divers noms de poètes.
Dâ??aucuns soutiennent
quâ??il sâ??agit
dâ??un noël ancien
inspiré dâ??une danse
autour de la crèche.
On pense également que
SaintFrançois
dâ??Assise sâ??en
serait servi pour sa
crèche vivante.
Dâ??autres attribuent
son origine Saint
Bonaventure, un prêtre
franciscain, contemporain
de Saint François, qui
en aurait composé le
texte original, en latin,
au XIIIe siècle.
Enfin, certains
historiens affirment
quâ??Adeste
Fideles aurait
été écrit par un
poète anonyme
français sous le
règne de Louis
XIV.Quoiquâ??il en soit,
il est communément
reconnu que les strophes
ont été écrites
ou découvertes par
lâ??Anglais John Francis
Wade (vers 1710-1786)
alors quâ??il
travaillait en tant que
chercheur et copiste
Douai en France. La
première version
imprimée du cantique
date des années 1740.
Elle fut ensuite
intégrée au recueil
Cantus
Diversipublié en
1751.Catholique la c,
John Francis Wade fuit
lâ??Angleterre en proie
des persécutions
religieuses. Vers 1731,
il copiait des manuscrits
de plain-chant au
Collège dominicain de
Borhem en Flandre. Plus
tard, il sâ??installa
Douai dans le Nord de la
France, forteresse de la
foi catholique, où le
roi d'Espagne Philippe II
avait fondé une
université, en 1559.
Wade gagnait sa vie «
en copiant et vendant des
manuscrits de plain-chant
et dâ??autres ?uvres
». Il fut également
professeur de latin et de
musique sacrée. La
notice nécrologique
mentionnait
lâ??excellence de son
travail de copiste,
quâ??il réalisa pour
des chapelles locales ou
des. $34.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Music for Celebrations Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba - Intermédiaire De Haske Publications
Brass Quintet - intermediate SKU: BT.DHP-1145594-070 11 celebratory pi...(+)
Brass Quintet -
intermediate SKU:
BT.DHP-1145594-070
11 celebratory pieces
for weddings and other
occasions. Arranged
by Markus Schenk. De
Haske Brass Series. Set
(Score & Parts). Composed
2014. De Haske
Publications #DHP
1145594-070. Published by
De Haske Publications
(BT.DHP-1145594-070).
ISBN 9789043137010.
English-German-French-Dut
ch. A collection of
classical works for
various occasions
including birthdays,
anniversaries, weddings
and funerals, arranged by
Markus Schenk especially
for this edition. These
works are distinguished
by their stylistic
diversity and character,
and areversatile thanks
to their range of
durations-from a short
Bach chorale to an
extended concert
work.
Of het nu
gaat om een verjaardag,
jubileumfeest, bruiloft
of uitvaart, er zijn veel
gelegenheden die vragen
om passende plechtige
blaasmuziek. Die muziek
mag vaak feestelijk zijn,
maar soms is eerder een
ingetogen stemming
gewenst. Voor zijn
Musicfor
Celebrations
selecteerde Markus Schenk
een aantal bekende en
minder bekende klassieke
werken, die hij speciaal
voor deze uitgave heeft
bewerkt. Deze verzamelde
werken onderscheiden zich
door hun stilistische
diversiteit en de
variatie insfeer, maar
ook door de wisselende
tijdsduur – van een
kort Bachkoraal tot een
omvangrijk concertwerk.
Derhalve is deze
veelzijdige bundel
geschikt voor
uiteenlopende
gelegenheden.
M
usic for Celebrations
enthält 11 klassische
Stücke für
verschiedene Anlässe
wie Geburtstage,
Jubiläen, Hochzeiten
und Beerdigungen, die von
Markus Schenk extra
für diese Ausgabe
arrangiert wurden. Die
sehr wohlüberlegte
Auswahl enthält
vomkurzen Bachchoral bis
zum längeren
Konzertwerk viele
charakterlich und
stilistisch
unterschiedliche
Werke. Ebenfalls
erhältlich für
variables
Bläserensemble in
einer deutschen Ausgabe
(Feierliche
Bläserklänge
DHP
1145595-070).
Qu
8217;il s’agisse
d’anniversaires, de
mariages ou de
funérailles, il y a de
nombreuses occasions qui
font appel à la
musique de
cérémonie pour
ensembles de cuivres. Que
l’instant se
prête à la
gaieté ou
aurecueillement, Music
for Celebrations, de
Markus Schenk, est
l’ouvrage idéal
puisqu’il rassemble
des oeuvres classiques
connues et moins connues,
spécialement
arrangées pour cette
édition. Ces oeuvres
complètes se
distinguentpar leur
diversité de style et
de caractère, mais
aussi par leur durée
en partant du court
choral de Bach
jusqu’à la
pièce de concert
plus longue. Cette
collection polyvalente
est donc adaptée
à un large
éventaild’interp
rétation. Aussi
disponible pour ensemble
vent - instrumentation
variable (DHP
1145593-070). $31.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Cartoon Parade Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba - Facile De Haske Publications
Brass Quintet - early intermediate SKU: BT.DHP-1185993-070 The Muppet ...(+)
Brass Quintet - early
intermediate SKU:
BT.DHP-1185993-070
The Muppet Show Theme
- I'm Popeye the Sailor
Man - Mickey Mouse
March. Arranged by
Eric J. Hovi. De Haske
Brass Series.
TV-Film-Musical-Show. Set
(Score & Parts). Composed
2018. De Haske
Publications #DHP
1185993-070. Published by
De Haske Publications
(BT.DHP-1185993-070).
ISBN 9789043156578.
International. In
this five-part medley for
brass quintet, we meet
some of the greatest
cartoon characters ever
created: The Muppets,
Popeye and of course
Mickey Mouse. This is a
great arrangement to
feature in your concerts
for kids (and adults!).
In deze medley
voor koperkwintet komen
we een aantal van de
leukste poppen en
stripfiguren tegen die
ooit het wereldpodium
hebben betreden: The
Muppets, Popeye en
natuurlijk Mickey Mouse.
Een weergaloos stuk waar
zowel kinderen als
volwassenen van genieten!
In diesem Medley
für
Blechbläserquintett
treffen wir einige der
großartigsten
Zeichentrickfiguren, die
jemals erfunden wurden:
Die Muppets, Popeye und
natürlich Micky Mouse.
Ein wunderbarer
Konzertbeitrag für
Kinder und Erwachsene!
Dans ce medley
pour quintette de
cuivres, nous rencontrons
quelques-uns des plus
grands personnages
animés jamais
inventés : Les
Muppets, Popeye et bien s
r Mickey Mouse. Les
enfants l'apprécieront
autant que les adultes !
Nel medley
'Cartoon Parade' per
quintetto di ottoni,
incontriamo alcuni dei
più grandi personaggi
dei cartoni animati mai
inventati: i Muppets,
Braccio di ferro e,
naturalmente, Topolino.
Un grande momento per
bambini e adulti nei
vostri concerti! $27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| A Child's Garden of Jazz for Brass Quintet Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba [Conducteur et Parties séparées] - Avancé Cherry Classics
By Henry Wolking. For Brass Quintet. Contemporary jazz. Advanced. Score and part...(+)
By Henry Wolking. For
Brass Quintet.
Contemporary jazz.
Advanced. Score and
parts. Published by
Cherry Classics
$32.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Three Pieces Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba - Avancé De Haske Publications
Brass Quintet - advanced SKU: BT.DHP-1043522-070 Composed by Modest Petro...(+)
Brass Quintet - advanced
SKU:
BT.DHP-1043522-070
Composed by Modest
Petrovich Mussorgsky.
Arranged by Peter
Knudsvig. Symphonic Brass
Ensemble Series (Rekkenze
Brass). Educational Tool.
Set (Score & Parts) with
CD. Composed 2004. 28
pages. De Haske
Publications #DHP
1043522-070. Published by
De Haske Publications
(BT.DHP-1043522-070).
International. T
hese three pieces were
originally written for
piano but have echoes of
Mussorgsky?s most famous
work ? Pictures at an
Exhibition. The intention
is to use each instrument
in a virtuosic and
solo-like manner. One can
hear moments of Pictures
in the pieces; The Hut of
Babba Yaga comes to mind
during In the Crimea and
The Village contains a
Promenade section not
unlike that of Pictures.
Still later, the muted
horn and trumpet
?clucking? remind the
listener of the Ballet of
the Chickens.
Eine
gelungene Bearbeitung der
drei Klavierstücke des
russischen Komponisten
Mussorgsky. Peter
Knudsvig lässt in
seinem Arrangement für
Blechbläserquintett
jedes Instrument virtuos
und solistisch
herausragen. Die erste
Stimme kann auch von
Trompete in Es oder
Pikkolotrompete in B
gespielt werden.
Le Quintette de
Cuivres Rekkenze
Brass a été
fondé par des membres
de l’Orchestre
Symphonique d’Hof
en Allemagne, et reconnu
internationalement comme
un des meilleurs
ensembles du genre. La
devise de
l’ensemble se
résume par
“BRASSzinationÂ
® : la fascination par
les cuivresâ€.
C’est avec grand
plaisir que nous vous
présentons la
Collection Rekkenze
Brass qui couvre un
large éventail de
styles. Chaque Å“uvre
publiée dans cette
collection est
accompagnée
d’un compact disc
sur lequel sont
enregistrées les
versions intégrales de
la plupart des Å“uvres
disponibles dans une
interprétation unique
du Rekkenze Brass.
Instrumentation : 2
TrompettesSib, Cor en
Fa/Mib,Trombone en Ut BC,
Tuba
Strumentazione: 2
Trombe Sib, Corno Fa/Mib,
Trombone, Tuba in Do o
Basso Sib. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Aladdin Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba - Intermédiaire De Haske Publications
Brass Quintet - intermediate SKU: BT.DHP-1206247-070 Three Songs from ...(+)
Brass Quintet -
intermediate SKU:
BT.DHP-1206247-070
Three Songs from the
Motion Picture
Soundtrack. Composed
by Alan Menken. Arranged
by Robert van Beringen.
De Haske Brass Series.
TV-Film-Musical-Show. Set
(Score & Parts). Composed
2020. De Haske
Publications #DHP
1206247-070. Published by
De Haske Publications
(BT.DHP-1206247-070).
ISBN 9789043158923.
International. One
of Disney’s most
popular and endearing
animated films, Aladdin
was released in 1992,
followed by the live
action version in 2019.
Three songs from the 2019
Motion Picture Soundtrack
‘Arabian
Nights’, ‘A
Whole New World’
and ‘Prince
Ali’ have been
arranged for quartet by
Robert van Beringen which
enables any ensemble to
get acquainted with this
incredible music.
Aladdin, een van
Disneys meest geliefde en
innemende animatiefilms,
kwam uit in 1992 en werd
jaren later, in 2019,
gevolgd door de
liveactionversie. Drie
songs uit de soundtrack
daarvan ‘Arabian
Nights’, ‘A
Whole New World’
en ‘Prince
Ali’ zijn door
Robert van Beringen
gearrangeerd voor
kwartet, zodat
verschillende ensembles
kunnen kennismaken met
deze schitterende muziek.
Aladdin, einer
der beliebtesten und
liebenswertesten
Disney-Animationsfilme,
wurde 1992
veröffentlicht. 2019
folgte eine
Realfilm-Version. Robert
van Beringen hat drei
Lieder aus dem
Film-Soundtrack von 2019
für eine
Quartettbesetzung
arrangiert: Arabian
Nights“, A Whole
New World“ und
Prince Ali“. Somit
kann sich jedes Ensemble
mit dieser fantastischen
Musik vertraut machen.
Aladdin,
l’un des films
d’animation les
plus populaires de
Disney, est sorti en 1992
et a été suivi, en
2019, de sa version en
live action. Trois
chansons de la bande
originale de cette
dernière « Nuits
d’Arabie »,
« A Whole New World
» et « Prince Ali
» ont été
arrangées par Robert
van Beringen which pour
quatuor instrumentation,
permettant ainsi
n’importe quel
ensemble de se
familiariser avec cette
splendide musique. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Seventh Night of July Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba - Avancé De Haske Publications
Brass Quintet - advanced SKU: BT.DHP-1145333-070 Tanabata. Compose...(+)
Brass Quintet - advanced
SKU:
BT.DHP-1145333-070
Tanabata. Composed
by Itaru Sakai. De Haske
Brass Series. Set (Score
and Parts). Composed
2014. 20 pages. De Haske
Publications #DHP
1145333-070. Published by
De Haske Publications
(BT.DHP-1145333-070).
ISBN 9789043135566.
9x12 inches.
English-German-French-Dut
ch. In Japan, July
the 7th is a holiday
known as Tanabata, for
which large celebrations
are held throughout the
country. The holiday is
based on a legend about a
young man and a young
woman who are separated
by the Milky Way and can
only see each otheronce a
year on this night. THE
SEVENTH NIGHT OF JULY is
Itaru Sakai´s musical
interpretation of this
romantic legend. The
work was originally
composed for wind
orchestra and published
by De Haske Publications.
This version for brass
quintet was transcribed
by the
composer.
Op 7
juli viert Japan
Tanabata. Het is een
feestdag die is terug te
voeren op een oude
legende. Volgens dit
verhaal mogen in die
nacht een jonge man en
een jonge vrouw alleen
dan elkaar zien.
Gescheiden door de
Melkweg leven ze derest
van het jaarapart van
elkaar. In THE SEVENTH
NIGHT OF JULY verklankte
Itaru Sakai deze
romantische
geschiedenis. Ook
verkrijgbaar voor
blaasorkest. Deze variant
voor koperkwintet is een
bewerking van de
componist
zelf.
Der 7. Juli
ist in Japan ein Feiertag
namens Tanabata, zu dem
im ganzen Land groÃ?e
Feste gefeiert werden. Er
geht auf eine Legende
zurück, der zufolge
ein junger Mann und eine
junge Frau, die durch die
MilchstraÃ?e voneinander
getrennt sind, sich nurin
dieser einen Nacht sehen
dürfen. In THE SEVENTH
NIGHT OF JULY vertonte
Itaru Sakai diese
romantische Legende.
Auch für
Blasorchester und Brass
Band erhältlich. Die
Version für
Blechbläserquintett
ist eine Transkription
des
Komponisten.
Le 7
juillet est un jour
férié au Japon,
appelé Tanabata, qui
évoque une légende
selon laquelle un jeune
homme et une jeune femme,
séparés lun de
lautre par la Voie
Lactée, ne peuvent se
réunir que durant
cette nuit-l . THE
SEVENTH NIGHT OF JULY
dItaru Sakai, qui met
cette romantique
légende en musique,
est une pièce
pétillante au finale
époustouflant .
Une version pour
orchestre dharmonie est
également disponible.
La transcription pour
quintette de cuivres a
été réalisée
par le
compositeur.
Un
brano esigente per
quintetto di ottoni, che
riprende una romatica
leggenda giapponese.
Disponibile anche per
banda. $42.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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