| Rhythm Stand (Score Only) Orchestre d'harmonie [Conducteur] - Intermédiaire American Composers Forum
(BandQuest Series Grade 3). By Jennifer Higdon. For Concert Band (Score). BandQu...(+)
(BandQuest Series Grade
3). By Jennifer Higdon.
For Concert Band (Score).
BandQuest. Grade 3. 21
pages. Published by
American Composers Forum
$10.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rhythm Stand Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire American Composers Forum
By Jennifer Higdon. (Score and Parts). Score and full set of parts. American Co...(+)
By Jennifer Higdon.
(Score and Parts). Score
and full set of parts.
American Composers Forum
Concert Band. Published
by American Composers
Forum.
$60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Jazzin' Americana, Book 3 Piano seul - Intermédiaire Alfred Publishing
8 Intermediate Piano Solos That Celebrate American Jazz. Composed by Wynn-An...(+)
8 Intermediate Piano
Solos
That Celebrate American
Jazz. Composed by
Wynn-Anne
Rossi. Book; Piano
Collection; Piano
Supplemental. Jazzin'
Americana. Jazz. 24
pages.
Published by Alfred Music
$7.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jazzin' Americana Books 1-4 (Value Pack) Piano seul - Intermédiaire Alfred Publishing
Piano Solos That Celebrate American Jazz. Composed by Wynn-Anne Rossi. Other; ...(+)
Piano Solos That
Celebrate
American Jazz. Composed
by
Wynn-Anne Rossi. Other;
Piano Supplemental;
Promotional Packet.
Jazzin'
Americana. Jazz.
Published
by Alfred Music
$22.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| United We Stand (An American Medley) Alfred Publishing
Arranged by Sally K. Albrecht, Jay Althouse. For SoundPax. Choral Octavo. Choral...(+)
Arranged by Sally K.
Albrecht, Jay Althouse.
For SoundPax. Choral
Octavo. Choral Designs.
Patriotic, Americana.
Instrumental
Accompaniment. 6 pages.
Published by Alfred
Publishing.
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sally K. Albrecht, Jay Althouse: United We Stand (An American Medley) Chorale 3 parties SAB, Piano [Octavo] - Intermédiaire Alfred Publishing
Arranged by Sally K. Albrecht, Jay Althouse. For Choir. (SAB). Choral Octavo. C...(+)
Arranged by Sally K.
Albrecht, Jay Althouse.
For Choir. (SAB). Choral
Octavo. Choral Designs.
Patriotic, Americana.
Choral Octavo. 12 pages.
Published by Alfred
Publishing. Level:
Level 3 (grade L3).
$2.25 $2.1375 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Tribute to Ray Charles Orchestre d'harmonie - Intermédiaire Music Sales
Concert Band/Harmonie - Grade 3 SKU: BT.1267-05-140-MS Arranged by Peter ...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.1267-05-140-MS
Arranged by Peter Kleine
Schaars. Peter's Popular
Collection. Pop & Rock.
Score Only. Composed
2005. 36 pages. Music
Sales #1267-05-140 MS.
Published by Music Sales
(BT.1267-05-140-MS).
9x12 inches.
English-German-French-Dut
ch. Ray Charles
(1930-2004) was a
multitalented and
pioneering American
pianist and soul singer
who became very popular
in the late fifties, and
remained respected for
his music in the decades
that followed. By
incorporating gospel,
jazz, blues, and big band
elements, he helped shape
the sound of rhythm and
blues, and brought a
soulful sound to
everything from country
music to pop standards.
Ray Charles embodied the
American dream, starting
out a poor, blind boy
from the southern United
States and becoming an
international music
phenomenon; his nickname
was “the
Genius†for a good
reasonIn this arrangement
for concert band, Peter
Kleine Schaars presents
five of the songs
thatcontributed to Ray
Charles’ fame: I
Can’t Stop Loving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her So,
and Unchain My Heart.
Ray Charles
(1930-2004) was een
vernieuwend Amerikaans
pianist en soulzanger die
populair werd in de jaren
vijftig en geliefd bleef
in de decennia die
volgden. Hij gaf mede
vorm aan de sound van de
rhythm & blues en hij gaf
een soulachtigeklank aan
alle muziek van country
tot aan popstandards -
waarin hij gospel, jazz,
blues en
bigband-elementen
verwerkte. Dit
arrangement bevat vijf
van de songs die
bijdroegen aan de roem
van Ray Charles: I
Can’t StopLoving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her
So en Unchain My
Heart.
Ray
Charles, dem Hollywood
jüngst mit einer Oscar
preisgekrönten
Filmproduktion huldigte,
ist die Verkörperung
des amerikanischen
Traums: Vom armen,
blinden Jungen aus den
Südstaaten wurde er
zum internationalen
musikalischen
Phänomen; seinen
Spitznamen Genie trug er
völlig zu Recht. In
dieser Bearbeitung für
Blasorchester
präsentiert Peter
Kleine Schaars fünf
der Lieder, die zu Ray
Charles' Ruhm beitrugen.
RRay Charles
(1930-2004) était un
pianiste et un chanteur
de soul américain
l’esprit novateur
et aux multiples talents.
Il connut le succès
dès la fin des
années 1950 et son
immense notoriété
ne le quittera plus. En
intégrant dans son jeu
des éléments venus
du gospel, du jazz, du
blues et du big band, il
a contribué la
naissance et au
développement du
rhythm and blues et
apporté une
sonorité pleine de
sensibilité tous les
styles musicaux, de la
musique country aux
grands classiques de la
musique pop. Ray Charles
incarnait le rêve
américain : musicien
noir, aveugle, issu du
milieu défavorisé
du Sud des
États-Unis, il
accède au statut de
phénomène musical
dans le mondeentier. On
ne l’a pas
surnommé “the
Genius†par hasard.
Dans cet arrangement pour
Orchestre
d’Harmonie, Peter
Kleine Schaars a
rassemblé cinq titres
emblématiques de Ray
Charles : I
Can’t Stop Loving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her
So et Unchain My
Heart.
Ray
Charles è un vero
mito: cinque decenni di
successi, una carriera
eccezionale ricca di
decine di successi che
hanno fatto il giro del
mondo diventando fonte di
ispirazione per intere
generazioni di giovani
artisti. Soprannominato
“The Geniusâ€,
questo pioniere del R&B e
della soul music, cieco
dall’et di sette
anni, ha composto alcune
delle canzoni memorabili
della musica nera
americana tra cui I
Can’t Stop Loving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her
so e Unchain My
Heart. $27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| A Tribute to Ray Charles Orchestre d'harmonie - Intermédiaire Music Sales
Concert Band/Harmonie - Grade 3 SKU: BT.1267-05-010-MS Arranged by Peter ...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.1267-05-010-MS
Arranged by Peter Kleine
Schaars. Peter's Popular
Collection. Pop & Rock.
Set (Score & Parts).
Composed 2005. Music
Sales #1267-05-010 MS.
Published by Music Sales
(BT.1267-05-010-MS).
9x12 inches.
English-German-French-Dut
ch. Ray Charles
(1930-2004) was a
multitalented and
pioneering American
pianist and soul singer
who became very popular
in the late fifties, and
remained respected for
his music in the decades
that followed. By
incorporating gospel,
jazz, blues, and big band
elements, he helped shape
the sound of rhythm and
blues, and brought a
soulful sound to
everything from country
music to pop standards.
Ray Charles embodied the
American dream, starting
out a poor, blind boy
from the southern United
States and becoming an
international music
phenomenon; his nickname
was “the
Genius†for a good
reasonIn this arrangement
for concert band, Peter
Kleine Schaars presents
five of the songs
thatcontributed to Ray
Charles’ fame: I
Can’t Stop Loving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her So,
and Unchain My Heart.
Ray Charles
(1930-2004) was een
vernieuwend Amerikaans
pianist en soulzanger die
populair werd in de jaren
vijftig en geliefd bleef
in de decennia die
volgden. Hij gaf mede
vorm aan de sound van de
rhythm & blues en hij gaf
een soulachtigeklank aan
alle muziek van country
tot aan popstandards -
waarin hij gospel, jazz,
blues en
bigband-elementen
verwerkte. Dit
arrangement bevat vijf
van de songs die
bijdroegen aan de roem
van Ray Charles: I
Can’t StopLoving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her
So en Unchain My
Heart.
In den
fünfziger Jahren
erlangte der Pianist und
Soulsänger Ray Charles
große, bis heute
ungebrochene
Popularität. In dieser
Bearbeitung für
Blasorchester
präsentiert Peter
Kleine Schaars fünf
der Lieder, die
wesentlich zu Ray
Charles’ Ruhm
beitrugen und auch heute
noch ein hoch
ansteckendes Soul-Fieber
unter Musikern und
Zuhörern auslösen
können.
Ray
Charles (1930-2004)
était un pianiste et
un chanteur de soul
américain
l’esprit novateur
et aux multiples talents.
Il connut le succès
dès la fin des
années 1950 et son
immense notoriété
ne le quittera plus. En
intégrant dans son jeu
des éléments venus
du gospel, du jazz, du
blues et du big band, il
a contribué la
naissance et au
développement du
rhythm and blues et
apporté une
sonorité pleine de
sensibilité tous les
styles musicaux, de la
musique country aux
grands classiques de la
musique pop. Ray Charles
incarnait le rêve
américain : musicien
noir, aveugle, issu du
milieu défavorisé
du Sud des
États-Unis, il
accède au statut de
phénomène musical
dans le mondeentier. On
ne l’a pas
surnommé “the
Genius†par hasard.
Dans cet arrangement pour
Orchestre
d’Harmonie, Peter
Kleine Schaars a
rassemblé cinq titres
emblématiques de Ray
Charles : I
Can’t Stop Loving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her
So et Unchain My
Heart.
Ray
Charles è un vero
mito: cinque decenni di
successi, una carriera
eccezionale ricca di
decine di successi che
hanno fatto il giro del
mondo diventando fonte di
ispirazione per intere
generazioni di giovani
artisti. Soprannominato
“The Geniusâ€,
questo pioniere del R&B e
della soul music, cieco
dall’et di sette
anni, ha composto alcune
delle canzoni memorabili
della musica nera
americana tra cui I
Can’t Stop Loving
You, Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her
so e Unchain My
Heart. $186.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Tribute to Kerouac Piano seul - Avancé Brixton Publications
Solo piano - Grade 5 SKU: B7.B111 Composed by David Alpher. Edited by How...(+)
Solo piano - Grade 5
SKU: B7.B111
Composed by David Alpher.
Edited by Howard J. Buss.
TRIBUTE TO KEROUAC,
version for solo piano by
David Alpher was inspired
by the work, life, and
times of Jack Kerouac,
King of the Beat
Generation. Cast in 7
movements, this
significant composition
is hugely influenced by
jazz. 20th Century. Score
and parts. Duration 17'.
Brixton Publications
#B111. Published by
Brixton Publications
(B7.B111). 8.5x11
inches. TRIBUTE TO
KEROUAC, version for solo
piano by David Alpher was
inspired by the work,
life, and times of Jack
Kerouac, King of the Beat
Generation. Cast in 7
movements, this
significant composition
is hugely influenced by
jazz. In the preface to
the score the composer
writes: Kerouac
demonstrated the epic
contradiction of America:
on the one hand its wild
energy, joy of life, and
expansiveness; on the
other, its tendency to
self-destruct. Tribute to
Kerouac is my musical
response to, and
commemoration of, this
important American writer
who liked to describe
himself as a
'jazz.poet.'The ensemble
version of this work (for
clarinet, tenor sax,
piano & string bass) is
recorded on Ongaku
Records #024-112. $16.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Day the Music Died Chorale SATB Hal Leonard
Choral (SATB) SKU: HL.1328264 (A Tribute to Ritchie Valens, Buddy Holl...(+)
Choral (SATB) SKU:
HL.1328264 (A
Tribute to Ritchie
Valens, Buddy Holly and
The Big Bopper).
Arranged by Roger
Emerson. Pop Choral
Series. Fifties, Medley,
Pop. Octavo. 32 pages.
Duration 490 seconds.
Published by Hal Leonard
(HL.1328264). UPC:
196288183570.
6.75x10.5x0.07
inches. Commissione
d in honor of that
fateful day in 1959,
here's a medley that
combines some of the most
iconic songs from Ritchie
Valens, Buddy Holly and
The Big Bopper. This
musical tribute fittingly
concludes with Don
McLean's â??American
Pie.â?. $3.75 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Day the Music Died Chorale 2 parties Hal Leonard
Choral (2-Part) SKU: HL.1328266 (A Tribute to Ritchie Valens, Buddy Ho...(+)
Choral (2-Part) SKU:
HL.1328266 (A
Tribute to Ritchie
Valens, Buddy Holly and
The Big Bopper).
Arranged by Roger
Emerson. Pop Choral
Series. Fifties, Medley,
Pop. Octavo. 32 pages.
Duration 490 seconds.
Published by Hal Leonard
(HL.1328266). UPC:
196288183594.
6.75x10.5x0.07
inches. Commissione
d in honor of that
fateful day in 1959,
here's a medley that
combines some of the most
iconic songs from Ritchie
Valens, Buddy Holly and
The Big Bopper. This
musical tribute fittingly
concludes with Don
McLean's â??American
Pie.â?. $3.75 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Day the Music Died Chorale 3 parties SAB, Piano Hal Leonard
Choral (SAB Choir) SKU: HL.1328265 (A Tribute to Ritchie Valens, Buddy...(+)
Choral (SAB Choir)
SKU: HL.1328265
(A Tribute to Ritchie
Valens, Buddy Holly and
The Big Bopper).
Arranged by Roger
Emerson. Pop Choral
Series. Fifties, Medley,
Pop. Octavo. 32 pages.
Duration 490 seconds.
Published by Hal Leonard
(HL.1328265). UPC:
196288183587.
6.75x10.5x0.07
inches. Commissione
d in honor of that
fateful day in 1959,
here's a medley that
combines some of the most
iconic songs from Ritchie
Valens, Buddy Holly and
The Big Bopper. This
musical tribute fittingly
concludes with Don
McLean's â??American
Pie.â?. $3.75 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Homenaje a la Guitarra MDS (Music Distribution Services) (+)
-
Preludio Castellon
(Hommage a Francisco
Tarrega)
-
Preludio Mexicano
(Hommage a Manuel
Ponce)
-
Preludion No.3
-
Preludio Venezolano
(Hommage a Antonio
Lauro)
-
Preludio No.4
-
Preludio Poetico
(Hommage a Daniel
Fortea)
-
Praludium & Fuge
(Hommage a Johann
Sebastian Bach)
-
Jazz Study (Tribute
to the Great American
Songbook)
-
Estudio en forma de
Milonga
-
Estudio Flamenco
-
Arpeggio Study
-
Cavatina for 2 Guitars
-
Estudio Ligado
-
Estudio Cubanito No.1
(Hommage a Leo
Brouwer)
-
Estudio Cubanito No.2
(Hommage a Leo
Brouwer)
| | |
| Two Songs on American Poems Piano, Voix Peermusic Classical
Baritone Voice and Piano SKU: BT.PMC3865 Baritone and piano. Compo...(+)
Baritone Voice and Piano
SKU: BT.PMC3865
Baritone and
piano. Composed by
Morten Lauridsen. Score
Only. Composed 2011. 12
pages. Peermusic
Classical #PMC3865.
Published by Peermusic
Classical (BT.PMC3865).
The Two Songs
on American Poems were
composed in late May and
early June of 2011 by
candlelight at my rustic
waterfront cabin on a
remote island off the
northwest coast of
Washington State. It was
in this locale that I
havecompleted a number of
works over the years,
including the Lux
Aeterna, O Magnum
Mysterium, Nocturnes,
Canticle/O Vos Omnes and
others. Prayer was
written in memory of
Michael Jasper Gioia,
Dana and Mary Gioia's
infant son, whosebrief
life was tragically ended
by SIDS.Mr. Gioia served
as Chair of the National
Endowment for the Arts
from 2003-2010 and has
authored several books of
poems, numerous
anthologies, articles,
essays and two opera
libretti. Amonghis many
awards are the American
Book Award and
Presidential Citizens
Medal. He currently holds
the Judge Widney Chair of
Poetry and Public Policy
at the University of
Southern California. Sure
on this Shining Night was
originallycomposed as a
choral piece, the third
movement of my Nocturnes
on poems by Rilke, Neruda
and Agee. Rod Gilfry, an
international star of
opera, recital and
musical theater,
premiered the mixed duet
version with his
daughter, Carin,in 2009.
He is Professor of Vocal
Studies at the USC
Thornton School of Music.
Both he and Mr. Gioia are
national treasures. The
Two Songs are designed as
a pair but may be sung
independently - when
paired, Sure On This
ShiningNight should begin
immediatelyfollowing the
final, sustained chord of
Prayer with no break in
between the songs. Both
of these songs, premiered
by Mr. Gilfry accompanied
by the composer at a USC
Visions & Voices tribute
to DanaGioia on September
27, 2011, have their
roots in the American
musical theater and
should be sung as
such. $24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 2 Songs on American Poems Voix Baryton, Piano Peermusic Classical
(Baritone and Piano). By Morten Lauridsen (1943-). Peermusic Classical. 12 pages...(+)
(Baritone and Piano). By
Morten Lauridsen (1943-).
Peermusic Classical. 12
pages. Published by
Peermusic
$14.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| American Emblem - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Marimba, Mark Tree, Oboe,
Percussion 1 and more. -
Grade 3 SKU:
CF.CPS167F Composed
by Bill Calhoun. SWS.
Full score. 28 pages.
Duration 4 minutes, 16
seconds. Carl Fischer
Music #CPS167F. Published
by Carl Fischer Music
(CF.CPS167F). ISBN
9781491140819. UPC:
680160628872. 9 x 12
inches. This new
piece from composer Bill
Calhoun is a distinctly
American work for concert
band that has potential
as a concert or contest
piece or as patriotic
tribute to our great
land. Starting with an
open sounding fanfare,
the piece leads to a
truly American style
melodic figure before
developing variations on
Yankee Doodle in ways
reminiscent of other
great American composers.
This is followed by a
heartfelt middle section,
leading to a stunning
climax with the opening
material returning for an
upbeat conclusion. This
will make you band sound
wonderful for concert or
contest. $13.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| American Band GIA Publications
SKU: GI.G-7266 Music, Dreams, and Coming of Age in the Heartland. ...(+)
SKU: GI.G-7266
Music, Dreams, and
Coming of Age in the
Heartland. Composed
by Kristen Laine.
Instructional. 325 pages.
GIA Publications #7266.
Published by GIA
Publications (GI.G-7266).
ISBN 9781592403196.
English. Every
fall, marching bands take
to the field in a
uniquely American ritual.
From the stands, it looks
easy. You don’t
see them sweat. For
millions of kids, band is
more than a show.
It’s a rite of
passage—a first
foray into leadership and
adult responsibility, and
a chance to learn what it
means to be part of a
community. Nowhere is
band more serious than at
Concord High School in
Elkhart, Indiana, where
the entire town is
involved with the success
of its defending state
champion band, the
Marching Minutemen. In
the place where this
tradition may have
originated, in the city
that became the band
instrument capital of the
world, band is a
religion. But it’s
not the only religion, as
director Max Jones
discovers. After four
decades. Jones’s
single-minded devotion to
musical excellence has
fallen out of step with a
younger generation
increasingly focused on
personal salvation. In
what his students do not
know is his final season
of directing, he has
assembled his most
ambitious show ever, for
the strongest senior
class he has ever
directed. Amid
conflicting notions of
greatness, the band
marches through a season
that starts in hope and
promise, progresses
through uncertainty and
disappointment, and ends,
ultimately, in
redemption. American Band
is an unusually intimate
chronicle of life, in all
its triumph,
disappointment, and
drama, in the kind of
community in which most
of America lives. It is
an especially timely
portrait, capturing as it
does the spirit of the
heartland at a time of
profound change. If you
have ever been— or
yearned to be—
part of something bigger
than yourself, you will
be rooting for the kids
whose voices fill this
book. Kirsten Laine is an
award-winning journalist
whose commentaries can be
heard on Vermont Public
Radio. She lives in New
Hampshire with writer Jim
Collins and their two
children. “American
Band has everything going
for it, from tempo to
heart to the grand
bittersweet finale. What
a gift for readers: a
pitch-perfect tribute to
kids and song and
community.â€
—Madeleine Blais
Pulitzer Prize winner and
author of In These Girls,
Hope is a Muscle. $26.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| American Emblem - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Marimba, Mark Tree, Oboe,
Percussion 1 and more. -
Grade 3 SKU:
CF.CPS167 Composed by
Bill Calhoun. SWS FS. Set
of Score and Parts. With
Standard notation.
8+8+4+8+8+8+4+4+4+4+4+4+4
+4+4+4+4+6+6+4+6+8+2+2+1+
4+16+28 pages. Duration 4
minutes, 16 seconds. Carl
Fischer Music #CPS167.
Published by Carl Fischer
Music (CF.CPS167).
ISBN 9781491140161.
UPC: 680160628223. 9 x 12
inches. This new
piece from composer Bill
Calhoun is a distinctly
American work for concert
band that has potential
as a concert or contest
piece or as patriotic
tribute to our great
land. Starting with an
open sounding fanfare,
the piece leads to a
truly American style
melodic figure before
developing variations on
Yankee Doodle in ways
reminiscent of other
great American composers.
This is followed by a
heartfelt middle section,
leading to a stunning
climax with the opening
material returning for an
upbeat conclusion. This
will make you band sound
wonderful for concert or
contest. $95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cherokee Traveler's Greeting Chorale SATB Gentry Publications
(from Three Native American Songs). Composed by Kevin Memley. For Choral (SATB)....(+)
(from Three Native
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by Kevin Memley. For
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| 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 | | |
| American Salute (based on "When Johnny Comes Marching Home") Orchestre d'harmonie [Conducteur] - Intermédiaire Alfred Publishing
By Morton Gould. Arranged by Philip J. Lang. By Morton Gould / arr. Philip J. La...(+)
By Morton Gould. Arranged
by Philip J. Lang. By
Morton Gould / arr.
Philip J. Lang. For
Concert Band. Concert
Band. Belwin Classic
Band. Patriotic. Level:
Medium (grade IV 1/2).
Conductor Score and
Parts. 1 pages. Duration
4:31. Published by Alfred
Publishing.
(1)$15.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| American Salute (based on When Johnny Comes Marching Home) Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Alfred Publishing
By Morton Gould. Arranged by Philip J. Lang. By Morton Gould / arr. Philip J. La...(+)
By Morton Gould. Arranged
by Philip J. Lang. By
Morton Gould / arr.
Philip J. Lang. For
Concert Band. Concert
Band. Belwin Classic
Band. Folk Song;
Patriotic. Conductor
Score and Parts. 1 pages.
Duration 4:31. Published
by Alfred Publishing.
Level: 4.5 (Medium to
Medium Advanced) (grade
4.5).
$95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Richard Byrd : Great American Fanfare Ensemble de Trompettes Eighth Note Publications
By Richard Byrd. For 10 Trumpets. Brass - Large Cornet (Trumpet) Ensemble; Part(...(+)
By Richard Byrd. For 10
Trumpets. Brass - Large
Cornet (Trumpet)
Ensemble; Part(s); Score.
Eighth Note Publications.
Patriotic. 40 pages.
Published by Eighth Note
Publications
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A South American Journey - Intermédiaire Forsyth Publications
Recorder and Harpsichord (or Piano) - Intermediate SKU: FP.FPJ01 Composed...(+)
Recorder and Harpsichord
(or Piano) - Intermediate
SKU: FP.FPJ01
Composed by Jim Parker.
Sheet Music and Books.
Take a South American
Journey with Jim Parker,
award-winning TV & Film
composer, with this
imaginative suite of
pieces for recorder and
piano. Classical.
Collection. Forsyths
Publications #FPJ01.
Published by Forsyths
Publications (FP.FPJ01).
ISBN
9790570504015. Jim
Parker's TV, film and
theatre scores are much
loved, with credits
including Foyle’s
War, House of Cards,
Midsomer Murders and
House of Elliott. He has
won the British Academy
Award for Best TV Music
on no less than four
occasions.
South
American Journey shares
Parker's genius for
painting musical pictures
and weaving memorable
melodies. He'll even have
you believing your
recorder is a Peruvian
pan-pipe! The piece was
written as a tribute to
the memory of his friend
and near-neighbour
Stephen
Dodgson.
Tango
Cinco and Pueblo
Tranquilo were first
performed in a concert
celebrating the life and
work of Stephen Dodgson
in the Cosmo Rodewald
Concert Hall, Manchester
University, on April 5th
2014, by John Turner
(recorder) and Pamela
Nash (harpsichord), and
the premiere of the
complete suite was given
by John Turner (recorder)
and Harvey Davies
(harpsichord) at
St.Bartholomew's Church,
Church Minshull,
Cheshire, on May 17th
2014. It is available in
recorded form on the
album Travelling Light:
Music of Jim Parker on
the Divine Art label. $15.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
|