American Company
(23 results)
No shipping to countries within the European Union.
|
European Companies
(5 results) |
1 |
1 |
|
| 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 | | |
| Dixit Dominus SSA Choral 3-part SSA Shawnee Press
Arranged by Russell L. Robinson. For SSA Choir. Sheet Music. Published by Shawne...(+)
Arranged by Russell L. Robinson. For SSA Choir. Sheet Music. Published by Shawnee Press.
$2.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| As the Rain Choral SATB SATB A Cappella National Music Publishing
Composed by Paul Doust. National/Emerson Fred Bock. A Cappella, Concert, Grad...(+)
Composed by Paul Doust.
National/Emerson Fred Bock. A
Cappella, Concert,
Graduation. Octavo. 8 pages.
National Music Publishers
#NM1034. Published by
National Music Publishers
$2.10 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Music Of Living Choral TTBB TTBB, divisi [Octavo] Hinshaw Music Inc.
By Dan Forrest. For TTBB choir (divisi) (piano accompaniment). Dan Forrest Serie...(+)
By Dan Forrest. For TTBB choir (divisi) (piano accompaniment). Dan Forrest Series. Main Key: D Major. Secular. Difficulty: Medium Advanced (Jr. High/High School) or Medium (Adult). Octavo. 12 pages. Duration 3 minutes. Published by Hinshaw Music Inc. (HI.
$3.25 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Olde English Aires String Orchestra [Score and Parts] Carl Fischer
Greensleeves, Scarborough Fair - Full Score and Parts. By Anonymous. Edited by A...(+)
Greensleeves, Scarborough Fair - Full Score and Parts. By Anonymous. Edited by Amy Rosen. Arranged by Anonymous. String orchestra. For Violin I, Violin II, Violin III, Viola (Treble Clef), Viola, Cello, Double Bass, Piano. Carl Fischer Concert String Orchestra Performance Series: Medium Easy/Easy. Score and parts. 10 pages. Published by Carl Fischer.
$60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Greensleeves to a Ground Descent (Soprano) Recorder, Piano - Intermediate Schott
14 Divisions. Composed by Anonymous. Edited by Kathryn Bennetts and Peter Bowm...(+)
14 Divisions. Composed by
Anonymous. Edited by Kathryn
Bennetts and Peter Bowman.
Arranged by Yeo Yat-Soon.
This edition: Saddle
stitching. Sheet music.
Schott Student Edition.
Classical. Softcover. 20
pages. Schott Music #SE
1048. Published by Schott
Music
$13.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Christmas Quatrain String Orchestra [Score and Parts] Carl Fischer
By Anonymous. Arranged by Elliot Del Borgo. String ensemble. For Violin I, Violi...(+)
By Anonymous. Arranged by Elliot Del Borgo. String ensemble. For Violin I, Violin II, Violin III, Viola, Cello, Double Bass, Piano. Carl Fischer Performance Series for String Orchestra - Concert String Orchestra. Classical. Level: medium easy. Score and parts. 19 pages. Published by Carl Fischer.
$60.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Viola Technique Viola The Frederick Harris Music Company
Viola - Preparatory-Advanced SKU: FH.VAT Viola Series, 2013 Edition(+)
Viola - Preparatory-Advanced SKU: FH.VAT Viola Series, 2013 Edition. Composed by The Royal Conservatory. Viola Series, 2013 Edition. Book. The Frederick Harris Music Company #VAT. Published by The Frederick Harris Music Company (FH.VAT). ISBN 978-1-55440-573-2. This groundbreaking series for viola offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring virtuoso. Representing all major style periods and a variety of genres, Viola Series, 2013 Edition offers all the music and tools needed to support a comprehensive course of study from the beginner to advanced levels. This thoughtful progression of scales and arpeggios will encourage agility, accuracy, and intonation from the Preparatory Level through Level 10 in one complete volume. Each technical exercise builds on skills from the previous level and provides a continual challenge from students throughout their course of study. Legato Pieces in a Slower Tempo: Grant Us Peace (Dona nobis pacem) - Anonymous arr. Jason Gray Waltz (from The Merry Widow) - Lehar, Franz arr. Janice Tucker Rhoda Bring a Torch, Jeannette, Isabella! (Un flambeau, Jeannette, Isabelle!) - French carol arr. Christine Donkin Largo (from Symphony No. 9 [New World]) - Dvorak, Antonin arr. Jason Noble L'elephant (The Elephant) - Saint-Saens, Camille arr. Jason Gray Spy Movie - Blackwell, David and Kathy Blackwell Sakura (Cherry Blossoms) - Japanese folk song arr. Stephen Chatman Text a Message - Lumsden, Caroline and Ben Attwood The Ash Grove (Llynn Onn) - Welsh folk song arr. Forrest Kinney Energetic Pieces in a Faster Tempo Menuet II (from Music for the Royal Fireworks, HWV 351) - Handel, George Frideric arr. Jason Noble Li'l Liza Jane - American folk song arr. Forrest Kinney The King's March, T 432 - Clarke, Jeremiah arr. Jason Noble Now Is the Month of Maying - Morley, Thomas arr. Christine Donkin Lannigan's Ball - Irish jig arr. Christine Donkin Caterpillar! Caterpillar! - Russian folk song arr. Akiko Kinney Brazilian Breeze - Birston, Harold Dantz - Peuerl, Paul arr. Jason Gray Turkey in the Straw - American minstrel song arr. Forrest Kinney German Dance, K 600 - Mozart, Wolfgang Amadeus arr. Jason Noble Spider Dance - Cowles, Colin Mango Walk - Jamaican folk song arr. Christine Donkin. $29.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Transcriptions for Solo Guitar Vol. 4 Guitar Music Distribution Services
Guitar - intermediate to advanced SKU: M7.GHE-904 Quadrat d'Or. Ed...(+)
Guitar - intermediate to advanced SKU: M7.GHE-904 Quadrat d'Or. Edited by Stefano Grondona. Arranged by Miguel Llobet. This edition: Saddle-wire stitching. Sheet music. 64 pages. MDS (Music Distribution Services) #GHE 904. Published by MDS (Music Distribution Services) (M7.GHE-904). ISBN 9783890449043. English. In contrast to Llobet´s output of just 14 original works, his transcriptions for guitar number 118, a considerable quantity of an extremely high standard. These were a huge influence on the two generations of guitarists following Llobet some of whom mercilessly and anonymously plundered and disfigured them for their own use! Being also an accomplished pianist, Llobet was in a better position than any other of his contemporaries to transcribe the German Romantic Masters, as well as the piano music of Albéniz and Granados, among others. Transcribed by Llobet mainly during his formative years these transcriptions are masterpieces which transcend their original setting. In his early career, Segovia played many transcriptions of Llobet, eg Bach's Prélude in Dm, Sarabande, Bourrée, Gavotte. This volume is highly recommended. $30.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Alte Lautenmusik 3 Guitars (trio) - Intermediate/advanced Schott
Guitar Trio - intermediate to advanced SKU: HL.49006260 Performance Sc...(+)
Guitar Trio - intermediate to advanced SKU: HL.49006260 Performance Score. Edited by Konrad Wö and lki. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Playing score. 24 pages. Schott Music #ED6389. Published by Schott Music (HL.49006260). ISBN 9790001067973. UPC: 073999339970. 9.0x12.0x0.125 inches. 3 Guitars. $16.99 - See more - Buy online | | |
| A Charles Dickens Christmas Concert band - Intermediate Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-050-5 Composed by traditional Engl...(+)
Concert band - Grade 3 SKU: MH.1-59913-050-5 Composed by traditional English carols. Arranged by William Ryden. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 6:30. Published by Manhattan Beach Music (MH.1-59913-050-5). ISBN 9781599130507. Charles Dickens certainly would have known the three carols in A CHARLES DICKENS CHRISTMAS. They were among the best-known and best-loved carols of the Victorian Era, and were a staple of the repertoire of roving waits, or carollers, that appear in his novels. Today this music is as familiar as Santa Claus and Tiny Tim. THE FIRST NOWELL was first collected in Christmas Carols, Ancient and Modern by William Sandys in 1833. It is most probably 200 years older than that. The Oxford Book of Carols contains nine verses, which makes it an ideal processional for Christmas or Epiphany (the feast commemorating the coming of the Magi). COVENTRY CAROL, or Lully, Lullay, comes from the medieval tradition of mystery and miracle plays. In 1534 the Pageant of the Shearman and Tailors Guild included a scene in which the mothers of Jewish children sang this haunting lullaby after hearing the horrifying order: Herod the king, In his raging, All young children to slay. The music is anonymous; the text believed to be by Robert Croo. ANGELS WE HAVE HEARD ON HIGH is probably of French origin, but the English long ago adopted it as their own. Besides the French text, Les Anges dans nos compagnes, it is known in several versions and by several titles, including Angels from the Realms of Glory, When the Crimson Sun Had Set, and Westminster Carol. It belongs to a category known as macaronic carols, which mix vernacular verses with Latin refrains - in this instance, Gloria in Excelsis Deo (Glory be to God on High). Ensemble instrumentation: 1 Piccolo, 8 Flute, 2 Oboe, 1 Bassoon 1, 1 Bassoon 2, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 1 Eb Alto Clarinet, 3 Bb Bass Clarinet & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 1 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1, 2 F Horn 2, 2 Trombone 1, 2 Trombone 2, 2 Trombone 3, 3 Euphonium (Bass Clef), 2 Euphonium (Treble Clef), 5 Tubas, 1 Timpani, 2 Bells & Chimes, 3 Percussion 1: small triangle, suspended cymbal, crash cymbal, snare drum, bass drum, 2 Percussion 2: large triangle, finger cymbals. $75.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Ubi Caritas Choral SATB SATB A Cappella - Advanced Schott
Choral (SATB a cappella) - advanced SKU: HL.49045613 SSAATB a cappella...(+)
Choral (SATB a cappella) - advanced SKU: HL.49045613 SSAATB a cappella. Composed by Enjott Schneider. This edition: Saddle stitching. Sheet music. Choral. In his about four-and-a-half-minute sacred choral work Ubi caritas for six-part mixed a cappella choir (SSAATB), Enjott Schneider combines various musical elements like freely created Gregorian near-quotations, unison passages, sounds of fifths and colour. General Worship, Sacred. Octavo. Composed 2016. 12 pages. Duration 4' 30''. Schott Music #C59039. Published by Schott Music (HL.49045613). ISBN 9790001166164. UPC: 841886032538. 7.5x11.0x0.05 inches. Latin. The extremely compositional versatility of Enjott Schneider is evident even in the small(est) form of choral music. In his about four-and-a-half-minute sacred choral work Ubi caritas for six-part mixed a cappella choir (SSAATB), the award-winning composer combines various musical elements like freely created Gregorian near-quotations, unison passages, sounds of fifths and colourful harmonies, frequent changes of time, as well as meticulously graded dynamic levels into a harmonious whole. Imbued with calmness and sensuality, the church music composition is based on the text of a Latin antiphon from the Maundy Thursday liturgy. According to the composer, these anonymous verses represent for him the central statement of Christian faith: Ubi Caritas - Where there is love, there is God!
In his about four-and-a-half-minute sacred choral work Ubi caritas for six-part mixed a cappella choir (SSAATB), Enjott Schneider combines various musical elements like freely created Gregorian near-quotations, unison passages, sounds of fifths and colourful harmonies, frequent changes of time, as well as meticulously graded dynamic levels into a harmonious whole. According to the composer, the text represents for him the central statement of Christian faith: Ubi Caritas - Where there is love, there is God! $5.99 - See more - Buy online | | |
| Viola Repertoire 8 Viola The Frederick Harris Music Company
Viola - Early Advanced SKU: FH.VA8 Viola Series, 2013 Edition. Com...(+)
Viola - Early Advanced SKU: FH.VA8 Viola Series, 2013 Edition. Composed by The Royal Conservatory. Viola Series, 2013 Edition. Book/CD. The Frederick Harris Music Company #VA8. Published by The Frederick Harris Music Company (FH.VA8). ISBN 978-1-55440-570-1. This groundbreaking series for viola offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring virtuoso. Representing all major style periods and a variety of genres, Viola Series, 2013 Edition offers all the music and tools needed to support a comprehensive course of study from the beginner to advanced levels. A rich and varied selection of music in each of these nine progressive volumes of repertoire appeals to violists of all ages. From the Preparatory Level through Level 8, students will be exposed to quality selections originally written for viola, fun arrangements of traditional fiddle and folk tunes, as well as contemporary pieces by notable composers such as Violet Archer, Carey Cheney, and Fritz Kriesler. Preparatory Level: Blast Off! - Cohen, Mary Dragon Drama! - Harris, Paul D Scale Waltz - Anderson, Gerald E. and Robert Frost Pizzicato Puddle Stomp - Rapoport, Katharine Level 1: Gliding Along at the Octopus Ball - Cohen, Mary The Little Eel - Entezami, Ramin Nojack - Donkin, Christine Bow Division - Anonymous Level 2: Rowing on the Lake - Keyser, Paul de Sailing - Romberg, Bernhard Heinrich arr. A. Baird Knechtel Charlie Is My Darling - Traditional Scottish melody arr. Mary Cohen Kites - Rapoport, Katharine Level 3: Etude in C Major, op. 45, book 1, no. 4 - Wohlfahrt, Franz Heidi Hi! - Cohen, Mary The Fair Isle - Mackay, Neil Spuzzam - Donkin, Christine The First Skating Lesson - Geringas, Yaakov Level 4: Melodious Double Stops No. 9 - Trott, Josephine Hot Chocolate Treat - Cohen, Mary Preparatory Exercise for Chromatic Scales - Kinsey, Herbert transc. Margaret Banwell Playing Ball - Geringas, Yaakov. $48.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Cello Repertoire Level 8 Cello The Frederick Harris Music Company
Cello - Early Advanced SKU: FH.VC8 Cello Series, 2013 Edition. Com...(+)
Cello - Early Advanced SKU: FH.VC8 Cello Series, 2013 Edition. Composed by The Royal Conservatory. Cello Series, 2013 Edition. Book/CD. The Frederick Harris Music Company #VC8. Published by The Frederick Harris Music Company (FH.VC8). ISBN 978-1-55440-544-2. This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. Supporting a balanced course of study, this series organizes repertoire into nine volumes from the Preparatory Level through Level 8. Each level offers music from a range of styles and compositional eras, including standard literature, new arrangements of familiar tunes, and music written for cellists, by cellists. These selections provide the flexibility to choose pedagogically appropriate material suited to each individual, and to motivate students to fully develop their musicianship and technique. Preparatory Level: Etude in C Major - Schroeder, Carl Stroll Along - Anonymous arr. Samuel Applebaum Etude in C Major - Romberg, Bernhard Heinrich Climbing the Scale - Hewitt-Jones, Anita Etude in C Major - Kummer, Friedrich August My Pony - Slovenian folk song arr. Francis Grant Level 1: The Willow Tree - Grant, Francis Etude in C Major - Hohmann, Christian-Heinrich Travelling Along - Hewitt-Jones, Anita The Train - Legg, Pat Up and Down Again - Dancla, Charles arr. Samuel Applebaum Etude in G Major - Dotzauer, Friedrich Etude in C Major - Romberg, Bernhard Heinrich Etude in G Major, op. 101, no. 9 - Lee, Sebastian Level 2: Etude in D Major - Kummer, Friedrich August Etude in B flat Major, op. 70, no. 16 - Lee, Sebastian Phrygian Frolic - Legg, Pat Martele March - Hewitt-Jones, Anita Pachyderm Parade - Mooney, Rick Etude in G Minor - Romberg, Bernhard Heinrich Etude in C Major - Werner, Josef Level 3: Etude in A Major - Dotzauer, Friedrich Spiccato Race - Hewitt-Jones, Anita Etude in G Major, op. 30, no. 6 - Brueckner, Oskar Etude in C Major - Borschitzky, Johann Francis Etude in B flat Major - Tabb, Richard Valentine Etude in G Major - Kummer, Friedrich August Etude in F Major - Matz, Rudolf Fire Stations - Legg, Pat Etude in F Major - Feuillard, Louis R. Level 4: Etude in G Minor, op. 70, no. 24 - Lee, Sebastian Etude in C Major - Tabb, Richard Valentine Etude in D Major - Matz, Rudolf Calypso - Legg, Pat I Was a Teenage Monster - Mooney, Rick Suo-Gan (A Welsh Lullaby) - Welsh folk song Arr. Rick Mooney Etude in D Minor - Werner, Joseph Etude in G Major, op. 31, no. 12 - Schroeder, Carl Etude in C Major - Feuillard, Louis R. Spinner's Waltz - Hewitt-Jones, Anita. $48.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Deutschlandberger Mohren. Supp.set - Advanced Schott
4 recorders, guitar, percussion, string quartet and string orchestra (STR ERG) -...(+)
4 recorders, guitar, percussion, string quartet and string orchestra (STR ERG) - advanced SKU: HL.49001926 Composed by Hans Werner Henze. This edition: Saddle stitching. Sheet music. Concertino (Chamber Orchestra). Classical. Set of supplemental string parts. Composed 1984-1985. 36 pages. Duration 10'. Schott Music #CON 203-60. Published by Schott Music (HL.49001926). ISBN 9790001024921. Henze composed these dances, which can be scored for various instruments, for the orchestra of the conservatory of Deutschlandsberg (Austria). These compositions are based on an anonymous Morissa (Spanish designation for a dance form probably introduced by crusaders) from the English Fitzwilliam Virginal Book. $27.99 - See more - Buy online | | |
| Medieval Dance Suite Violin, Clarinet, Piano (trio) [Score and Parts] - Advanced Consort Press
By John Biggs (1932-). For clarinet, violin, piano. Themes from seven anonymous ...(+)
By John Biggs (1932-). For clarinet, violin, piano. Themes from seven anonymous composers. Neo Medieval. Advanced. Score and parts. Duration 11.5 minutes
$18.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Bring A Torch String Orchestra - Intermediate Carl Fischer
Orchestra String Orchestra - medium easy SKU: CF.CAS36F Composed by Anony...(+)
Orchestra String Orchestra - medium easy SKU: CF.CAS36F Composed by Anonymous. Arranged by Roy Phillippe. Carl Fischer Concert String Orchestra Series. Classical. Full score. With Standard notation. 12 pages. Carl Fischer Music #CAS36F. Published by Carl Fischer Music (CF.CAS36F). ISBN 9780825863653. UPC: 798408063658. 8.5 X 11 inches. Key: F major. A warm and richly scored setting of the popular Christmas carol Bring a Torch Jeanette, Isabella, this full sounding arrangement will greatly enrich seasonal programming. Roy Phillippe has employed a broad palette of harmonic and instrumental colors to craft a memorable holiday selection. About Carl Fischer Concert String Orchestra Series This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by: - Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
- More comprehensive bowing techniques
- Viola T.C. included
- Careful selection of keys and degree of difficulty for advancing musicians
$9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Deutschlandberger Mohren. Set - Advanced Schott
4 recorders, guitar, percussion, string quartet and string orchestra (ST CHOR) -...(+)
4 recorders, guitar, percussion, string quartet and string orchestra (ST CHOR) - advanced SKU: HL.49001925 Composed by Hans Werner Henze. This edition: Saddle stitching. Sheet music. Concertino (Chamber Orchestra). Classical. Set of Parts. Composed 1984-1985. 210 pages. Duration 10'. Schott Music #CON 203-50. Published by Schott Music (HL.49001925). ISBN 9790001024914. 9.0x12.0x0.741 inches. Henze composed these dances, which can be scored for various instruments, for the orchestra of the conservatory of Deutschlandsberg (Austria). These compositions are based on an anonymous Morissa (Spanish designation for a dance form probably introduced by crusaders) from the English Fitzwilliam Virginal Book. $119.00 - See more - Buy online | | |
| Deutschlandberger Mohren. F.s. Orchestra [Score] - Advanced Schott
4 recorders, guitar, percussion, string quartet and string orchestra (Score) - a...(+)
4 recorders, guitar, percussion, string quartet and string orchestra (Score) - advanced SKU: HL.49001924 Composed by Hans Werner Henze. This edition: Saddle stitching. Sheet music. Concertino (Chamber Orchestra). Classical. Score. Composed 1984-1985. 60 pages. Duration 10'. Schott Music #CON 203. Published by Schott Music (HL.49001924). ISBN 9790001024907. UPC: 884088107512. Henze composed these dances, which can be scored for various instruments, for the orchestra of the conservatory of Deutschlandsberg (Austria). These compositions are based on an anonymous Morissa (Spanish designation for a dance form probably introduced by crusaders) from the English Fitzwilliam Virginal Book. $40.00 - See more - Buy online | | |
1 |
|
| Harald Genzmer:
Greensleeves GeWV 261:
Treble Recorder: Score Schott
Variations on an Old Folk Song-Commissioned by the Schott publishing house the ...(+)
Variations on an Old Folk Song-Commissioned by the Schott publishing house the present variations on the song Greensleeves were written in 2000 by Genzmer who seized on the suggestion to write a cycle of variations on this Old English melody which had often served as a theme for variations in music history as for example in the famous anonymous cycle 'Greensleeves to a ground' (around 1700). Genzmer keeps the theme simple yet with great virtuosity and original harmony. All parts are written in a linear fashion. The four variations observe almost in a classical manner the principle of increasing differentiation and acceleration of therhythm.Variation 1 uses crotchets and quavers as well as semiquaver triplets whereas Variation 2 uses semiquavers throughout and Variation 3 the somewhat faster semiquaver triplets. Variation 4 stays on this fast rhythmic level with semiquavers and semiquaver triplets. A rewarding piece for the 'Jugend musiziert' competition as well as for advanced lessons.
14.50 GBP - Sold by Musicroom UK | |
| A Comprehensive Guitar
Series : Guitar
Repertoire Et Studies 2 Guitar
Bridges: A Comprehensive Guitar Series serves as the official resource for guita...(+)
Bridges: A Comprehensive Guitar Series serves as the official resource for guitar assessments of the Royal Conservatory Music Development Program. Innovative in its structure, Bridges supports students from the beginner to advanced levels with carefully sequenced repertoire, etudes, and technique. Each of the Repertoire and Etudes books in the series spans all major style periods and a variety of genres, presenting an organized compilation of pieces appropriate for that level of technical development. Nine progressive levels of Repertoire and Etudes scaffold student learning at every stage of musical development. Each book contains a balanced and representative selection of works from the Renaissance, Baroque, Classical, Romantic, and contemporary style periods. From the classics of Aguado to the modern compositions of Zenamon, Bridges connects students to both essential literature and enticing masterpieces never before found together. The Etudes have been carefully selected to support the repertoire and isolate specific technical and musical challenges, making Bridges an ideal collection and a comprehensive teaching resource. / Guitare
28.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Paul Doust: As the Rain:
Mixed Choir a Cappella:
Vocal Score Choral SATB [Vocal Score] National Music Publishers
This powerfully descriptive piece by Paul Doust uses programmatic musical elemen...(+)
This powerfully descriptive piece by Paul Doust uses programmatic musical elements that mirror the lyrics. The text is an anonymous Gaelic blessing with poetic words and images. Paul's setting is fresh and metaphoric and very satisfying. Good for advanced high school college and communtiy ensembles. Medium to difficult.
11.25 GBP - Sold by Musicroom UK | |
| 78 Duets for Flute and
Clarinet Vol. 1: Flute
Solo: Score Flute, Clarinet (duet) [Sheet music] - Easy Rubank Publications
The First Volume of Duets for Flute and Clarinet by Himie Voxman. With numbers ...(+)
The First Volume of Duets for Flute and Clarinet by Himie Voxman. With numbers 1 to 55 and featuring duets of easy to medium difficulty this collection gives budding developing Clarinet and Flute players plenty of exciting and enjoyable material to play together improving technique tone quality intonation and giving experience and confidence in an intimate ensemble environment. It is a tremondous selection with pieces by the master composers and lesser known or anonymous composers. Volume 2 contains advanced duets numbers 56 to 78.
10.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
1 |
|