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| Gustave Vogt's Musical Album of Autographs English horn, 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. Introduction 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. IntroductionGustave Vogt’s Musical ParisGustave 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.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 Six†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).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 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…†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 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Solos for the English Horn Player English horn, Piano Schirmer
Piano, English Horn - Difficulty: medium to medium-difficult SKU: HL.50333080...(+)
Piano, English Horn - Difficulty: medium to medium-difficult SKU: HL.50333080 English Horn and Piano. Composed by Various. Edited by P. Thomas. Woodwind. Classical. Book only. With solo part, standard notation and piano accompaniment. 64 pages. G. Schirmer #ED2988. Published by G. Schirmer (HL.50333080). ISBN 9780793508723. UPC: 073999330809. 9x12 inches. Stacy/Thomas. Contents: Adagio (Mozart) � Gymnopedie No. 2 (Satie) � Intermezzo (Granados) � Theme from New World Symphony (Dvorák) � Notturno (Borodin) � Sicilienne (Fauré) � Sonata (Marcello) � Sonata (Telemann) � The Swan (Le Cygne) � The Swan of Tuonela (Sibelius) � Tristan and Isolde Theme (Wagner) � When I Am Laid in Earth (Purcell) � Where E'er You Walk (Handel). (2)$21.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Qua Resurget Ex Favilla English horn, Piano Theodore Presser Co.
Chamber Music oboe SKU: PR.114422520 Sonata for Oboe and Piano. Co...(+)
Chamber Music oboe SKU: PR.114422520 Sonata for Oboe and Piano. Composed by Katherine Needleman. Set of Score and Parts. 24+8 pages. Duration 15:45. Theodore Presser Company #114-42252. Published by Theodore Presser Company (PR.114422520). ISBN 9781491134788. UPC: 680160683833. After decades as a renowned oboe virtuoso, Katherine Needleman was improvising at the piano during the quarantine summer of 2020 when her ideas congealed in a powerful way. Within a week she completed a 16-minute oboe sonata inspired by the world’s overlapping crises. This riveting three-movement sonata bears the title qua resurget ex favilla, drawn from the Dies Irae text referring to rising back from ashes. Needleman won the International Double Reed Society’s Inaugural Commissioning Competition by entering her own recording of this work, performing as both oboist and pianist from her living room. As a result, IDRS commissioned her to compose a new work for English horn and piano which was premiered at their 2021 Virtual Symposium and programmed for the live 2022 convention. I’m not exactly sure how, in a life consumed by music, I never put anything on paper between the time I stopped at age 10 and the age of 42. I mean, I have some ideas why, but that could easily dissolve into a feminist manifesto or a condemnation of my musical education and the overwhelming culture of American oboe playing, the vehicle through which I’ve made a living my entire adult life. Rather than go there, I will just say this is the first piece I put on paper in my adult life.Six months into COVID-19 lockdown in the US, the world was feeling pretty weird. I had familiarized myself with the music notation program, Sibelius, for recent arranging projects. I had written some mockeries of A.M.R. Barret oboe etudes in response to an assignment I was given (and did appropriately first). When I descended into a dark chorale in the middle of the fourth mockery, I realized I needed a new vehicle. I wrote a short, ridiculous piece for my husband’s birthday, and then, the next night, when improvising at the piano, like I’ve done since I was seven years old, this piece came to me. However, this time, I sketched it out into Sibelius. Over the course of the next week, I found notating and picking permanent, official notes to enter into the computer challenging. But it was all done on paper in seven days, and I took another few for dynamics and articulations thinking they might be useful for someone else, if I would ever be lucky enough for someone else to play it.I don’t have much to say about the music of qua resurget ex favilla itself. It’s a personal statement couched in the feelings of that time. The US presidential election was looming large and ugly in my mind, well, that and the end of life as we knew it, but I also had some bizarre feeling that everything would be okay. $24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Solos for Cor Anglais Book 2 English horn, Piano [Score and Parts] - Intermediate/advanced Forton Music
Arranged by Robert Rainford. For cor anglais and piano. Intermediate-Advanced. S...(+)
Arranged by Robert Rainford. For cor anglais and piano. Intermediate-Advanced. Score and parts. Published by Forton Music
$15.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Sonate fur Englischhorn (Sonata for English Horn) English horn, Piano [Score and Parts] Carus Verlag
By Carlo Yvon. For English Horn (Clarinet or Viola), Piano. Score with parts. La...(+)
By Carlo Yvon. For English Horn (Clarinet or Viola), Piano. Score with parts. Language: all languages. 44 pages. Duration 14 min. Published by Carus Verlag (German import).
$29.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Lied for English Horn and Piano English horn, Piano Metropolis Music Publishers
Composed by Frans Corneel D'Haeyer. Woodwinds - English Horn. Metropolis Musi...(+)
Composed by Frans Corneel
D'Haeyer. Woodwinds -
English Horn. Metropolis
Music Publishers #EHP4829EM.
Published by Metropolis
Music Publishers
$19.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Soleil Blue English horn, Piano - Intermediate/advanced Andel
English horn and piano - Grade 4 SKU: ND.ENGH5 Composed by M. Lysight. En...(+)
English horn and piano - Grade 4 SKU: ND.ENGH5 Composed by M. Lysight. English horn. Published by Edition Andel (ND.ENGH5). $16.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Sonata English horn, Piano Seesaw Music Corp
English Horn & Piano SKU: SU.50034170 For English Horn & Piano. Co...(+)
English Horn & Piano SKU: SU.50034170 For English Horn & Piano. Composed by Paul Turok. Woodwinds, Oboe/English Horn. Accompanied by piano. Score & Parts. Seesaw Music Corp #50034170. Published by Seesaw Music Corp (SU.50034170). Op. 99Copyright 2004. Published by: Seesaw Music. $41.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| L'amour Perdu for English Horn and Piano English horn, Piano Metropolis Music Publishers
Composed by Sigrid Schuerweghs. Woodwinds - English Horn. Metropolis Music Pu...(+)
Composed by Sigrid
Schuerweghs. Woodwinds -
English Horn. Metropolis
Music Publishers #EHP7344EM.
Published by Metropolis
Music Publishers
$17.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Eventide (solo & pno. reduc.) English horn, Piano Edward B. Marks Music Company
English Horn, Piano SKU: SU.80601220 For English Horn, Piano. Comp...(+)
English Horn, Piano SKU: SU.80601220 For English Horn, Piano. Composed by Kenneth Fuchs. Woodwinds, Oboe/English Horn, Orchestra, Piano Reduction, Keyboard, Piano/Harpsichord. Accompanied by piano. Score & Parts. Edward B. Marks Music #80601220. Published by Edward B. Marks Music (SU.80601220). English Horn, Piano Composed: 2005 Published by: E.B. Marks. $33.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Arcade English horn, Piano - Intermediate FLEX Editions
Chamber Music & Piano Accompaniment 1 English Horn 1 Piano - Grade 3 SKU: FL....(+)
Chamber Music & Piano Accompaniment 1 English Horn 1 Piano - Grade 3 SKU: FL.FX072786 Composed by Pascal Saint-Leger. Original Composition. Classical, Educational. Score and Set of Parts. FLEX Editions #FX072786. Published by FLEX Editions (FL.FX072786). Here is the drawing of a theme built as an arch on the pillars of the piano left hand, declined in three rhythmic forms (linear, swing and with cadence) to address flexibly some technical issues to be acquired over the 4 first years of practice... - Pascal SAINT-LEGER ; Instruments: 1 English Horn 1 Piano; Difficuly Level: Grade 3; Duration: 2 mn 50 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Pascal SAINT-LEGER;. $11.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Cerigo English horn, Piano - Intermediate/advanced FLEX Editions
Chamber Music & Piano Accompaniment 1 English Horn 1 Piano - Grade 4 SKU: FL....(+)
Chamber Music & Piano Accompaniment 1 English Horn 1 Piano - Grade 4 SKU: FL.FX073990 Composed by Pascal Proust. Original Composition. Classical, Educational. Score and Set of Parts. FLEX Editions #FX073990. Published by FLEX Editions (FL.FX073990). Some minutes on Cerigo coast (Kythera), with an atmosphere to find for the young performers of the second style. - Pascal PROUST ;
A piece to be played from 6 years of practice. ; Instruments: 1 English Horn 1 Piano; Difficuly Level: Grade 4. $11.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Sonata no. 3 : for English horn and piano English horn, Piano [Score|Part] Noten Roehr
By Benedetto Marcello (1686-1739). Edited by Seweryn Snieckowski. For english ho...(+)
By Benedetto Marcello (1686-1739). Edited by Seweryn Snieckowski. For english horn and piano. Woodwind music. Score and part. Published by Noten Roehr
$20.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Sonata da Camera English horn, Piano - Intermediate Andel | | |
| Sortileges English horn, Piano - Intermediate FLEX Editions
Chamber Music & Piano Accompaniment 1 English Horn 1 Piano - Grade 3 SKU: FL....(+)
Chamber Music & Piano Accompaniment 1 English Horn 1 Piano - Grade 3 SKU: FL.FX074296 Composed by Pascal Proust. Original Composition. Classical, Educational. Score and Set of Parts. FLEX Editions #FX074296. Published by FLEX Editions (FL.FX074296). This piece must be played very freely, almost like a cadence, by a young wizard-musician casting his spells! From 4 years of practice. - Pascal PROUST ; Instruments: 1 English Horn 1 Piano; Difficuly Level: Grade 3; Duration: 2 mn 20 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Pascal PROUST. $11.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Rhapsody for English Horn and Strings (Piano Score) English horn, Piano [Reduction] Galaxy Music Corporation
Composed by Gordon Jacob (1895-1986). Orchestra: Youth Orchestra, Bestseller. Pi...(+)
Composed by Gordon Jacob (1895-1986). Orchestra: Youth Orchestra, Bestseller. Piano score. Galaxy Music Corporation #1.5094. Published by Galaxy Music Corporation
$13.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Pastoral English horn, Piano Theodore Presser Co.
(For English Horn And Piano). By Elliott Carter (1908-). For english horn, piano...(+)
(For English Horn And Piano). By Elliott Carter (1908-). For english horn, piano. This edition: 144-40005 no longer exists as a composite item; now available as FOUR separate items (-A,-B,-C,-D). Contemporary. Solo part with piano reduction. Standard nota
$21.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Elegy for English Horn (piano reduction) English horn, Piano [Reduction] - Intermediate/advanced C. Alan Publications
By Jack Stamp. English Horn and piano. Chamber Music. Level: Grade 4. Solo part ...(+)
By Jack Stamp. English Horn and piano. Chamber Music. Level: Grade 4. Solo part and piano reduction. Published by C. Alan Publications.
$24.00 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Solos for Cor Anglais Book 1 English horn, Piano [Score and Parts] Forton Music
Composed by Various. Arranged by Robert Rainford. For english horn and piano. Sc...(+)
Composed by Various. Arranged by Robert Rainford. For english horn and piano. Score and parts. Published by Forton Music
$15.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Au Loin English Horn/piano English horn, Piano Durand | | |
| Thea Musgrave: Threnody For Cor Anglais And Piano English horn, Piano Music Sales
Music Sales America. Post-1900. Music Sales #NOV121176. Published by Music Sales...(+)
Music Sales America. Post-1900. Music Sales #NOV121176. Published by Music Sales
$19.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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| Solos For The English
Horn Player - Cor Anglais English horn, Piano Schirmer
Description A fantastic collection of solos for the English Horn player. Tran...(+)
Description A fantastic collection of solos for the English Horn player. Transcribed and edited by Thomas Stacy for Horn with piano accompaniment. Featured pieces includes Faure's Sicilienne , Borodin's Notturno and Mozart's Adagio K.58a . Songlist Adagio [Mozart, Wolfgang Amadeus] Gymnopedie No.1 [Satie, Erik] Intermezzo (Granados) Largo (Symphony No.9 In E Minor 'From The New World' Op.95) [Dvorak, Antonin] Nocturne [Borodin, Alexander] Sicilienne Sonata (Marcello) Sonata (Telemann) Swan Of Tuonela,The (Sibelius) The Swan (Le Cygne) Tristan And Isolde Theme-wagner When I Am Laid In Earth Where E'er You Walk [Handel, George Frideric]
27.50 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Ralph Vaughan Williams:
Six Studies in English
Folk Song: Cor Anglais:
Study English horn, Piano [Sheet music] Stainer and Bell
Adapted and transcribed for English Horn by Robert Stanton these intermediate ...(+)
Adapted and transcribed for English Horn by Robert Stanton these intermediate studies by Vaughn-Williams are interesting and melodic whilst introducing and honing the specifics of English Folk songs.Piano accompaniment: Cat. No. H47
3.25 GBP - Sold by Musicroom UK | |
| Edward Gregson: Le Jardin
À Giverny: Cor Anglais:
Instrumental Work English horn, Piano [Sheet music] Novello & Co Ltd.
Edward Gregson's Le Jardin À Giverny was composed in 2016 and is arranged for C...(+)
Edward Gregson's Le Jardin À Giverny was composed in 2016 and is arranged for Cor Anglais and Piano. It has a duration of approximately 6 minutes.
10.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Edward Gregson: Le Jardin
À Giverny: Cor Anglais:
Score and Parts English horn, Piano Novello & Co Ltd.
Edward Gregson's Le Jardin À Giverny was composed in 2016 and is scored for C...(+)
Edward Gregson's Le Jardin À Giverny was composed in 2016 and is scored for Cor Anglais and String Quartet. It has a duration of approximately 6 minutes.
14.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Elegie (VAN BEVEREN
ACHIEL) English horn, Piano Metropolis Music Publishers
Par VAN BEVEREN ACHIEL. Belgian composer Achiel Van Beveren (1904 - 1985) origin...(+)
Par VAN BEVEREN ACHIEL. Belgian composer Achiel Van Beveren (1904 - 1985) originally composed this Elegie in 1953 as a vocalise for bass voice and piano (also violin and piano) and it was dedicated to Leopold Loomans, one of his students. Achiel's son, Alex Van Beveren, a professional oboe and English horn player later adapted this work for English horn and piano. This publication includes the solo part as playable on English horn, as well as the original vocalise part. Belgian composer Achiel Van Beveren (1904 - 1985) originally composed this Elegie in 1953 as a vocalise for bass voice and piano (also violin and piano) and it was dedicated to Leopold Loomans, one of his students. Achiel's son, Alex Van Beveren, a professional oboe and English horn player later adapted this work for English horn and piano. This publication includes the solo part as playable on English horn, as well as the original vocalise part./ Répertoire / Cor Anglais et Piano
19.77 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Nicolas Bacri: Lyric
Interlude: Cor Anglais:
Score and Parts English horn, Piano [Sheet music] Leduc, Alphonse
Rarely has a musical work been better characterized by its subtitle than Nicolas...(+)
Rarely has a musical work been better characterized by its subtitle than Nicolas Bacri’s Lyric Interlude: ‘A Study in Pastoral Style’. When in 2008 the composer received the commission for a piece with English Horn from Cecilia Benner patron of the Chamber Music Society of Detroit he immediately thought of the duo between this instrument and the Oboe that Berlioz in the Symphonie fantastique placed at the beginning of the ‘Scène aux champs’ making suddenly appear a nocturnal country landscape where two shepherds carry on a dialogue on their pipes. First performed in March 2009 inits original version for English Horn Violin and Cello the Lyric Interlude for English Horn and Piano (Op.110b) nonetheless proclaims another tradition: that of British pastoralism illustrated by the music of Ralph Vaughan Williams (1872-1958) the 50th anniversary of his death having just been celebrated. This score pays him homage of rare sensitivity: set off by refined counterpoint the undulating lament of the beginning rhythmically supple evokes the waving wheat as does Vaughan Williams in the opening undulation of his Symphony No.3. The lyrical effusion briefly interrupted by a scherzo in 6/8 again pours out making the work evolve towards a slow ecstatic atmosphere close to the last of the English composer’s Three Preludes on Welsh Hymn Tunes. Far from bucolic postcard clichés and servile imitation this Lyric Interlude opens the doors to a realm where pure beauty reigns. The composer also wrote another version of this work for English Horn (or Flute Clarinet or Viola) Violin and Cello Op.110a (AL 30 751)
11.99 GBP - Sold by Musicroom UK | |
| Nicolas Bacri: Lyric
Interlude: Chamber
Ensemble: Score and Parts English horn, Piano Leduc, Alphonse
Pour Cor Anglais (Ou Flûte Ou Clarinette Ou Alto) Violon Et Violoncelle-Ra...(+)
Pour Cor Anglais (Ou Flûte Ou Clarinette Ou Alto) Violon Et Violoncelle-Rarely has a musical work been better characterized by its subtitle than Nicolas Bacri’s Lyric Interlude: ‘A Study in Pastoral Style’. When in 2008 the composer received the commission for a piece with English Horn from Cecilia Benner patron of the Chamber Music Society of Detroit he immediately thought of the duo between this instrument and the Oboe that Berlioz in the Symphonie fantastique placed at the beginning of the ‘Scène aux champs’ making suddenly appear a nocturnal country landscape where two shepherds carry on a dialogue on their pipes. First performed in March 2009 atone of the Scarab Club Concerts in Detroit the Lyric Interlude for English Horn Violin and Cello (Op.110a) nonetheless proclaims another tradition: that of British pastoralism illustrated by the music of Ralph Vaughan Williams (1872-1958) the 50th anniversary of his death having just been celebrated. This score pays him homage of rare sensitivity: set off by refined counterpoint the undulating lament of the beginning rhythmically supple evokes the waving wheat as does Vaughan Williams in the opening undulation of his Symphony No.3. The lyrical effusion briefly interrupted by a scherzo in 6/8 again pours out making the work evolve towards a slow ecstatic atmosphere close to the last of the English composer’s Three Preludes on Welsh Hymn Tunes. Far from bucolic postcard clichés and servile imitation this Lyric Interlude opens the doors to a realm where pure beauty reigns. The composer also wrote another version of this work for English Horn (or Flute Clarinet or Viola) and Piano Op.110b (AL 30 750)
14.99 GBP - Sold by Musicroom UK | |
| 9 Chants Sans Parole
Cy138 (MEIN) English horn, Piano [Sheet music] Heugel
Par MEIN. / Solfège/Formation Musicale / Cor Anglais et Piano
19.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Niels Viggo Bentzon:
Sonata For Cor Anglais
And Piano Op.71: Cor
Anglais: English horn, Piano [Score] Wilhelm Hansen
Bentzon's Sonata For Cor Anglais And Piano from Opus 71.
13.99 GBP - Sold by Musicroom UK | |
| EDITIONS DELATOUR FRANCE
DEBUSSY CLAUDE -
RHAPSODIE POUR SAXOPHONE
ET ORCHESTRE ADAPTEE POUR
COR ANGLAIS and PIANO
Français English horn, Piano Delatour France
Adaptation pour cor anglais par Gilles Silvestrini? La Rhapsodie pour saxop...(+)
Adaptation pour cor anglais par Gilles Silvestrini? La Rhapsodie pour saxophone et orchestre fut commandée à Debussy en 1901 par Elise Hall, une riche saxophoniste américaine. En 1903, une première partitition était recopiée, réalisée sur cinq ou six portées avec quelques indications d?orchestration. Pour des raisons inconnues, Debussy ne poursuivit pas son travail. Ce n?est qu?en 1919 que l?ouvrage fut créé, dans une orchestration de Jean Roger-Ducasse. En 1935, le chef d?orchestre André Ansermet réorchestra l?ouvrage, en prévoyant plus de soli pour le saxophone, ceux-ci prélevés dans les parties orchestrales. Par la suite, de nombreuses réductions pour saxophone et piano s?inspirèrent de la version d?Ansermet. Dans cette présente adaptation pour cor anglais, eu égard au caractère intimiste de l?instrument, j?ai été amené à choisir des solutions inédites, privilégiant la plus parfaite fusion avec le piano. / Partitions classique / Bois / Hautbois / EDITIONS DELATOUR FRANCE
33.00 EUR - Sold by Woodbrass Pre-shipment lead time: In Stock | |
| En Chemin Pour Cor
Anglais Et Clavecin (Ou
Clavier)
Français English horn, Piano Delatour France
En chemin est une pièce assez courte de forme rondeau, Les couplets, en sol mi...(+)
En chemin est une pièce assez courte de forme rondeau, Les couplets, en sol mineur, empruntent leur caractère au tango, Les refrains, eux, sont en sol Majeur et comprennent deux éléments distincts - d'une part la mélodie jouée par l'instrument soliste, et d'autre part la rythmique très marquée du clavier, Cette pièce a été déclinée en plusieurs versions : Cor anglais/Piano, puis Cor anglais/Clavecin et enfin Violon/Piano,En chemin a été jouée pour la première fois dans sa version originale (Cor anglais/Piano) le 21 septembre 2008, au Logis du Bon St-Jacques à Moret-sur-Loing (Seine-et-Marne), / Cor
15.95 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Arcade (SAINT-LEGER
PASCAL) English horn, Piano [Score and Parts] - Intermediate FLEX Editions
Par SAINT-LEGER PASCAL. Voici le dessin d'un thème, bâti en forme d'arc sur le...(+)
Par SAINT-LEGER PASCAL. Voici le dessin d'un thème, bâti en forme d'arc sur les piliers de la main gauche du Piano (d'ou le nom de la pièce...), décliné sous trois formes rythmiques (linéaire, swinguée et cadentielle) permettant ainsi d'aborder souplement certaines difficultées techniques devant être acquises au cours des années d'un 1er cycle... - Pascal SAINT-LEGER - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Cor Anglais 1 Piano - Niveau de Difficulté : 3/6 - Intermédiaire - Durée : 2 mn 50 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Pascal SAINT-LEGER - / Niveau : Intermédiaire / Classique, Pédagogique / Répertoire / Cor Anglais et Piano
14.09 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Escale A Molène
(NAULAIS JEROME) English horn, Piano [Score and Parts] - Easy FLEX Editions
English Horn and Piano. Par NAULAIS JEROME. Cette pièce est un hommage à cette...(+)
English Horn and Piano. Par NAULAIS JEROME. Cette pièce est un hommage à cette petite île au large de la côte ouest du Finistère, en face de l'île d'Ouessant. Le début de la piece représente un paysage de la lande bretonne. On retrouve ensuite des danses typiques de cette région. - Jérôme NAULAIS - Une pièce adaptée pour une autition ou un examen de Cycle I C - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Cor Anglais 1 Piano - Niveau de Difficulté : 2/6 - Facile - Durée : 2 mn 15 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Jérôme NAULAIS - / Niveau : Facile / Classique, Pédagogique / Répertoire / Cor Anglais et Piano
13.13 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Ein Ewig Rätsel Will
Ich Bleiben... English horn, Piano - Advanced Schott
La composition a été créé dans sous la forme d'une épitaphe musicale surA l...(+)
La composition a été créé dans sous la forme d'une épitaphe musicale surA l'occasion du 125e anniversaire de la mort de la Bavière Le roi Louis II enveloppé dans la légende. Les citations d'oeuvres de la Compositeur préféré du roi, Richard Wagner, peut être entendu. à En même temps, le pittoresque motif d'une romantique énigmatique Château du Graal, créé par Ludwig II avec Neuschwanstein, est reflétée dans la marque musicale. / Cor Anglais, Basson Et Cordes / 44 pages / niveau : Avancé / Partition
28.40 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| L'Amour Perdu
(SCHUERWEGHS SIGRID) English horn, Piano Metropolis Music Publishers
Par SCHUERWEGHS SIGRID. Everyone who has lost a love or a loved one in their lif...(+)
Par SCHUERWEGHS SIGRID. Everyone who has lost a love or a loved one in their life: a friendship you've lost sight of, a favourite place, a beloved animal, or a person you are now missing... . This composition is dedicated to all that Lost Love. Everyone who has lost a love or a loved one in their life: a friendship you've lost sight of, a favourite place, a beloved animal, or a person you are now missing... . This composition is dedicated to all that Lost Love./ Répertoire / Cor Anglais et Piano
18.54 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| P. Haris: Sonatina:
Piano: Instrumental Album English horn, Piano [Score and Parts] Queen's Temple Publications
A short attractive work in three contrasting movements written for the Cor Ang...(+)
A short attractive work in three contrasting movements written for the Cor Anglais with full Piano accompaniment. An entertaining and energetic piece that combines simple diatonic harmonies with some delicious and jazzy melodic twists. An ideal addition to any repertoire and perfect for any festival audition or concert performance.
5.50 GBP - Sold by Musicroom UK | |
| L'Attente
Français English horn, Piano Delatour France
Une attente qui est récompensée. Si les premières mesures sont interrogatives...(+)
Une attente qui est récompensée. Si les premières mesures sont interrogatives, la réponse qui suit apporte l'apaisement. C'est un véritable jeu qui se déroule entre le binaire et le ternaire qui contient la joie la plus intense avec un côté un peu clinquant et provocateur, mais rassurant. / Cor Anglais Et Piano
15.10 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Cerigo (PROUST PASCAL) English horn, Piano [Score and Parts] - Intermediate/advanced FLEX Editions
Par PROUST PASCAL. Quelques minutes sur les côtes de Cerigo (Cythère), une amb...(+)
Par PROUST PASCAL. Quelques minutes sur les côtes de Cerigo (Cythère), une ambiance à trouver par les jeunes interprètes du second cycle. - Pascal PROUST - Une pièce pour un Cycle II. - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Cor Anglais 1 Piano - Niveau de Difficulté : 4/6 - Intermédiaire/Avancé - Durée : 4 mn 00 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Pascal PROUST - / Niveau : Intermédiaire à Avancé / Classique, Pédagogique / Répertoire / Cor Anglais et Piano
14.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Kapella (PROUST PASCAL) English horn, Piano [Score and Parts] - Intermediate FLEX Editions
Par PROUST PASCAL. Une planète lointaine qui fera sans doute rêver en musique ...(+)
Par PROUST PASCAL. Une planète lointaine qui fera sans doute rêver en musique nos jeunes interprètes de fin de 1er cycle - Pascal PROUST - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Cor Anglais 1 Piano - Niveau de Difficulté : 3/6 - Intermédiaire - Durée : 3 mn 20 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Pascal PROUST - / Niveau : Intermédiaire / Classique, Pédagogique / Répertoire / Cor Anglais et Piano
13.13 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Vesuvio (PROUST PASCAL) English horn, Piano [Score and Parts] - Intermediate FLEX Editions
Par PROUST PASCAL. Un caractère de feu à donner à cette pièce pour les instr...(+)
Par PROUST PASCAL. Un caractère de feu à donner à cette pièce pour les instrumentistes d'un niveau déjà avancé... - Pascal PROUST - Une pièce pour un début de Cycle II. - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Cor Anglais 1 Piano - Niveau de Difficulté : 3/6 - Intermédiaire - Durée : 3 mn 30 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Pascal PROUST - / Niveau : Intermédiaire / Classique, Pédagogique / Répertoire / Cor Anglais et Piano
14.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Lutins Malins (PROUST
PASCAL) English horn, Piano [Score and Parts] - Easy FLEX Editions
Par PROUST PASCAL. Un peu de détaché et un peu de legato dans cette page diver...(+)
Par PROUST PASCAL. Un peu de détaché et un peu de legato dans cette page divertissante pour les jeunes élèves du cycle 1. - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Cor Anglais 1 Piano - Niveau de Difficulté : 2/6 - Facile - Durée : 2 mn 15 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Pascal PROUST - / Niveau : Facile / Classique, Pédagogique / Répertoire / Cor Anglais et Piano
11.25 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Andalucia (NAULAIS
JEROME) English horn, Piano [Score and Parts] - Intermediate/advanced FLEX Editions
Par NAULAIS JEROME. Cette piece concertante, comme le titre l'indique, est un pe...(+)
Par NAULAIS JEROME. Cette piece concertante, comme le titre l'indique, est un petit voyage en Espagne et notamment en Andalousie où un passage nous emmène plus particulièrement à Séville... - Jérôme NAULAIS - Une pièce adaptée pour une autition ou un examen de Cycle II - Formation : Musique de Chambre, Duo, Solo and Accompagnement Piano - Instrumentation : 1 Cor Anglais 1 Piano - Niveau de Difficulté : 4/6 - Intermédiaire/Avancé - Durée : 4 mn 10 s - Style Musical : Classique, Pédagogique - Catégorie : Composition Originale - Compositeur : Jérôme NAULAIS - / Niveau : Intermédiaire à Avancé / Classique, Pédagogique / Répertoire / Cor Anglais et Piano
14.09 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Une nuit à Grenade
(cor anglais et piano)
(NAULAIS JEROME) English horn, Piano [Sheet music] Soldano
Par NAULAIS JEROME. / Niveau : fin de 1er cycle / Répertoire / Cor Anglais et...(+)
Par NAULAIS JEROME. / Niveau : fin de 1er cycle / Répertoire / Cor Anglais et Piano
11.46 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Pickles n°4 (cor
anglais et piano)
(NAULAIS JEROME) English horn, Piano [Sheet music] Soldano
Par NAULAIS JEROME. / Niveau : fin de 1er/ début de 2nd cycle / Répertoire /...(+)
Par NAULAIS JEROME. / Niveau : fin de 1er/ début de 2nd cycle / Répertoire / Cor Anglais et Piano
11.46 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Shérazade et le
sultan (cor anglais et
piano) (NAULAIS JEROME) English horn, Piano [Sheet music] Soldano
Par NAULAIS JEROME. / Niveau : 2ème cycle / Répertoire / Cor Anglais et Pian...(+)
Par NAULAIS JEROME. / Niveau : 2ème cycle / Répertoire / Cor Anglais et Piano
12.85 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Sur les rives du Missouri
(cor anglais et piano)
(NAULAIS JEROME) English horn, Piano [Sheet music] Soldano
Par NAULAIS JEROME. / Niveau : 2ème cycle / Répertoire / Cor Anglais et Pian...(+)
Par NAULAIS JEROME. / Niveau : 2ème cycle / Répertoire / Cor Anglais et Piano
11.46 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Pickles n°3 (cor
anglais et piano)
(NAULAIS JEROME) English horn, Piano [Sheet music] Soldano
Par NAULAIS JEROME. / Niveau : fin de 1er/ début de 2nd cycle / Répertoire /...(+)
Par NAULAIS JEROME. / Niveau : fin de 1er/ début de 2nd cycle / Répertoire / Cor Anglais et Piano
12.50 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| La fête au village
(cor anglais et piano)
(NAULAIS JEROME) English horn, Piano [Sheet music] Soldano
Par NAULAIS JEROME. / Niveau : 2ème cycle / Répertoire / Cor Anglais et Pian...(+)
Par NAULAIS JEROME. / Niveau : 2ème cycle / Répertoire / Cor Anglais et Piano
12.50 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Pickles No. 2 (NAULAIS
JEROME) English horn, Piano Soldano
Par NAULAIS JEROME. / Niveau : Fin 1er Cycle / Répertoire / Cor Anglais et Pi...(+)
Par NAULAIS JEROME. / Niveau : Fin 1er Cycle / Répertoire / Cor Anglais et Piano
11.46 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Pickles No. 1 (NAULAIS
JEROME) English horn, Piano Soldano
Par NAULAIS JEROME. / Niveau : Fin 1er Cycle / Répertoire / Cor Anglais et Pi...(+)
Par NAULAIS JEROME. / Niveau : Fin 1er Cycle / Répertoire / Cor Anglais et Piano
12.50 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
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