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| Ceremonial March Marching band [Score and Parts] - Intermediate De Haske Publications
Fanfare Band - Grade 5 SKU: BT.DHP-0860051-020 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 5 SKU: BT.DHP-0860051-020 Composed by Jan Van der Roost. Brilliant Marches. March. Set (Score & Parts). Composed 1986. De Haske Publications #DHP 0860051-020. Published by De Haske Publications (BT.DHP-0860051-020). In the course of the two centuries following the death of Henry Purcell in 1695, no British composer of any statue was apparent. Consequently, the break-through of Edward Elgar (1857-1934) as an internationally known and respected composer at the end of the last century, was of considerable importance. As a composer Elgar was largely self-taught and he looked towards the continent for his inspiration. He is without doubt on par with his contemporaries such as the somewhat younger Richard Strauss. The Belgian composer Jan Van der Roost is a genuine admirer of Elgar’s music and on the occasion of the fiftieth anniversary of the composer’s death in 1984 he composed the “CeremonialMarchâ€. Van der Roost was inspired by the most famous and frequently played works from Elgar’s catalogue of works, the characteristic “Pomp and Circumstances†marches, and decided to add his own, sixth march to the existing collection. $137.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Two Marches Zu "Bernhard Von Weimar" [Score] Universal Edition
Chamber Music 1 Piano, 4-hands SKU: PR.UE001360 Orchestra Edition for ...(+)
Chamber Music 1 Piano, 4-hands SKU: PR.UE001360 Orchestra Edition for Piano 4 Hands. Composed by Joseph Joachim Raff. Arranged by Richard Strauss. This edition: Edition for Piano 4 Hands from Richard Strauss. Full score. With Standard notation. Opus 127. Universal Edition #UE001360. Published by Universal Edition (PR.UE001360). ISBN 9783702429096. UPC: 803452060352. $24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Oboe Classics for Beginner [Sheet music + Audio access] - Easy Music Minus One
Book/Online Audio Oboe SKU: HL.400061 Music Minus One Oboe. Compos...(+)
Book/Online Audio Oboe SKU: HL.400061 Music Minus One Oboe. Composed by Various. Sheet music with CD. Music Minus One. Classical and Play Along. Softcover Audio Online. 29 pages. Music Minus One #MMO3411. Published by Music Minus One (HL.400061). ISBN 9781596153585. UPC: 077712334112. 9x12 inches. Performed by Elaine Douvas, oboe Accompaniment: Erik Nielsen, piano This wonderful album for the beginning to early intermediate oboe player includes thirteen pieces ranging from Boccherini to Grieg to Richard Strauss to William Walton. Says James Roe of The Double Reed: “With the poise of a great virtuoso, [Ms. Douvas] approaches these 'easy' pieces as she would a solo line in a great symphony...the richness of her tone, the variety in her articulation, and the beauty and clarity of her line all represent the very best example for students as they develop their concept of playing. And it's all pretty inspiring for us professional oboists as well.†Ms. Douvas's extensive performance notes “are a delight, and will be inspiring to students and an important aid to teachers.†Includes a complete printed solo part annotated with performance suggestions and access to online recordings with complete versions (with soloist) followed by piano accompaniments to each piece, minus the soloist. (2)$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Parade March (Singer) Soli, Mixted choir and accompaniment [Score] Lucks Music Library
(2+1.2.2.2/4.2.3.1,timp,p erc,str) SKU: TM.08865SC Composed by Richard St...(+)
(2+1.2.2.2/4.2.3.1,timp,perc,str) SKU: TM.08865SC Composed by Richard Strauss. Score. Lucks Music Library #A7555. Published by Lucks Music Library (TM.08865SC). No score. $15.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Parade March (Singer) Soli, Mixted choir and accompaniment Lucks Music Library
(2+1.2.2.2/4.2.3.1,timp,p erc,str) SKU: TM.08865SET Composed by Richard S...(+)
(2+1.2.2.2/4.2.3.1,timp,perc,str) SKU: TM.08865SET Composed by Richard Strauss. Set Type: D. Set of parts. Lucks Music Library #A7555. Published by Lucks Music Library (TM.08865SET). No score. $75.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Tone Poems, Series 2 Orchestra [Score] Dover Publications
By Richard Strauss (1864-1949). For Full Orchestra. Full Orchestra (Full Score)....(+)
By Richard Strauss (1864-1949). For Full Orchestra. Full Orchestra (Full Score). Dover Edition. Masterwork. Full Score. Published by Dover Publications Full Score Masterwork
$24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Two Military Marches, Op. 57 Soli, Mixted choir and accompaniment [Score] Lucks Music Library
(2+1.2.2(+Eb).2/4.2.3.0,t imp,perc,str) SKU: TM.07917SC Composed by Richa...(+)
(2+1.2.2(+Eb).2/4.2.3.0,timp,perc,str) SKU: TM.07917SC Composed by Richard Strauss. Score. Lucks Music Library #A5242. Published by Lucks Music Library (TM.07917SC). 1 tuba is optional. P/C in set. $20.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Two Military Marches, Op. 57 Soli, Mixted choir and accompaniment Lucks Music Library
(2+1.2.2(+Eb).2/4.2.3.0,t imp,perc,str) SKU: TM.07917SET Composed by Rich...(+)
(2+1.2.2(+Eb).2/4.2.3.0,timp,perc,str) SKU: TM.07917SET Composed by Richard Strauss. Set Type: D. Set of parts. Lucks Music Library #A5242. Published by Lucks Music Library (TM.07917SET). $75.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Metamorphosen Boosey and Hawkes
String Ensemble (Parts) SKU: HL.48024809 Realisation for String Septet...(+)
String Ensemble (Parts) SKU: HL.48024809 Realisation for String Septet by Rudolf Leopold Parts. Composed by Richard Strauss. Boosey & Hawkes Chamber Music. Classical. Softcover. 60 pages. Duration 1440 seconds. Boosey & Hawkes #M060136665. Published by Boosey & Hawkes (HL.48024809). ISBN 9781784545604. UPC: 888680978990. 9.0x12.0x0.169 inches. In 1990 a short score of Strauss's late masterpiece Metamorphosen was discovered in Switzerland and acquired by the Bavarian State Library in Munich. It is headed 'Metamorphosen. Andante (für 2 Violinen, 2 Bratschen, 2 Celli[,] Contrabass) Richard Strauss'. This gives rise to the assumption that the composer had clearly conceived the piece as scored for seven strings and then changed his mindon receiving a commission from Paul Sacher to write a work for a larger string group. The short score bears the date 31 March 1945 at the end, the full score for twenty-three strings having already been started on 13 March. Rudolf Leopold, concert cellist and professor of cello at the University of Music, Graz, prepared the septet performing version of Metamorphosen, of which the study score was published in 1996. He explains that, for the most part, the 23-part version consists of doublings. “In the realisation of the 'original version' for string sextet and double bass I have made use of both the short score and the final score so that the complete tonal image appears in a chamber music format whilst retaining certain interesting details from the short score (for example the original closing modulation).â€. $75.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto for Violin in D minor, Op. 8 Orchestra [Set of Parts] LudwigMasters Publications
Orchestra 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin SKU: AP...(+)
Orchestra 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin SKU: AP.36-A213048 Composed by Richard Strauss. Full Orchestra. Kalmus Orchestra Library. Part(s). LudwigMasters Publications #36-A213048. Published by LudwigMasters Publications (AP.36-A213048). ISBN 9798892705271. UPC: 659359875526. English. Richard Strauss (1864-1949) wrote his VIOLIN CONCERTO IN D MINOR, Op. 8, between 1881 and 1882, and it remained his only foray in that genre. Composed while a teenager and still in school. While still very much a product of the Romantic era tradition, the work is not considered as distinctive as the works he would produce only a few years later, and Strauss himself later ridiculed the work. Still, with inventive and bold writing in the solo and hints of his mature harmonic style to come, there is much to enjoy in the work, including its warmth, youthful sincerity, and lyrical expression, so that it should not be dismissed as mere juvenilia, either by contemporary audiences or Strauss himself. The chamber version of the concerto was first performed in Vienna on December 5, 1882, with the dedicatee Benno Walter on the violin while Strauss played his own piano reduction. The premiere for the orchestral version would take place seven years later in Cologne on March 4, 1890, with Walter again performing the solo with an orchestra conducted by Franz Wüllner. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $8.00 - See more - Buy online | | |
| Concerto for Violin in D minor, Op. 8 Orchestra [Score] LudwigMasters Publications
Orchestra 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin SKU: AP...(+)
Orchestra 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin SKU: AP.36-A213001 Composed by Richard Strauss. Full Orchestra. Kalmus Orchestra Library. Score. LudwigMasters Publications #36-A213001. Published by LudwigMasters Publications (AP.36-A213001). ISBN 9798892705264. UPC: 659359870385. English. Richard Strauss (1864-1949) wrote his VIOLIN CONCERTO IN D MINOR, Op. 8, between 1881 and 1882, and it remained his only foray in that genre. Composed while a teenager and still in school. While still very much a product of the Romantic era tradition, the work is not considered as distinctive as the works he would produce only a few years later, and Strauss himself later ridiculed the work. Still, with inventive and bold writing in the solo and hints of his mature harmonic style to come, there is much to enjoy in the work, including its warmth, youthful sincerity, and lyrical expression, so that it should not be dismissed as mere juvenilia, either by contemporary audiences or Strauss himself. The chamber version of the concerto was first performed in Vienna on December 5, 1882, with the dedicatee Benno Walter on the violin while Strauss played his own piano reduction. The premiere for the orchestral version would take place seven years later in Cologne on March 4, 1890, with Walter again performing the solo with an orchestra conducted by Franz Wüllner. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $55.00 - See more - Buy online | | |
| Concerto for Violin in D minor, Op. 8 Orchestra LudwigMasters Publications
Orchestra 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin SKU: AP...(+)
Orchestra 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin SKU: AP.36-A213002 Composed by Richard Strauss. Full Orchestra. Kalmus Orchestra Library. Score and Part(s). LudwigMasters Publications #36-A213002. Published by LudwigMasters Publications (AP.36-A213002). UPC: 659359873225. English. Richard Strauss (1864-1949) wrote his VIOLIN CONCERTO IN D MINOR, Op. 8, between 1881 and 1882, and it remained his only foray in that genre. Composed while a teenager and still in school. While still very much a product of the Romantic era tradition, the work is not considered as distinctive as the works he would produce only a few years later, and Strauss himself later ridiculed the work. Still, with inventive and bold writing in the solo and hints of his mature harmonic style to come, there is much to enjoy in the work, including its warmth, youthful sincerity, and lyrical expression, so that it should not be dismissed as mere juvenilia, either by contemporary audiences or Strauss himself. The chamber version of the concerto was first performed in Vienna on December 5, 1882, with the dedicatee Benno Walter on the violin while Strauss played his own piano reduction. The premiere for the orchestral version would take place seven years later in Cologne on March 4, 1890, with Walter again performing the solo with an orchestra conducted by Franz Wüllner. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $150.00 - See more - Buy online | | |
| 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 | | |
| Activate! Feb/Mar 10 Heritage Music Press
(Music, Movement and More! The Music Magazine for Grades K-6). By Jeanette Morga...(+)
(Music, Movement and More! The Music Magazine for Grades K-6). By Jeanette Morgan. For Games, Unison choir, Orff Instrument, Movement, CD Included. General music
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| The Romantic Era Piano solo Hal Leonard
55 Selections from Symphonies, Ballets, Operas & Piano Literature for Piano Solo...(+)
55 Selections from Symphonies, Ballets, Operas & Piano Literature for Piano Solo. Arranged by Blake Neely, Richard Walters. World's Greatest Classical Music. Size 9x12 inches. 240 pages. Published by Hal Leonard.
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| Madrigal Pavane / Timburibá [Score] - Advanced Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4287 Composed by Francisco Braga. Arran...(+)
Guitar solo - Advanced SKU: DZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. Les Productions d'OZ #DZ 4287. Published by Les Productions d'OZ (DZ.DZ-4287). ISBN 9782898522048. Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others. In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre. Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez. Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin). In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions. In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro. Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro. The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.
Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres. En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre. De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez. Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne). En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes. En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro. Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro. La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ». Envoyer des commentaires Panneaux latéraux Historique Enregistrées. $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Classic Meets Contemporary Hal Leonard
SKU: HL.4008699 Classical Highlights and Original Works for Concert Ba...(+)
SKU: HL.4008699 Classical Highlights and Original Works for Concert Band CD. Composed by Franco Cesarini. Editions Franco Cesarini. Classical, Concert Band. CD. Hal Leonard #EFC035-CD. Published by Hal Leonard (HL.4008699). ISBN 9798350115697. UPC: 196288190790. The CD : The first CD (Classic) features 8 pieces of classical music arranged for concert band by Franco Cesarini: Festmusik der Stadt Wien - Richard Strauss L'Arlésienne Suite No. 2 from the Incidental Music - Georges Bizet (I. Pastorale II. Intermezzo III. Menuet IV. Farandole) Nimrod from “Enigma Variationsâ€, Op. 36 - Edward Elgar Galop from “Dance of the Hours†- Amilcare Ponchielli Interlude from the Cantata SÃ¥ngen, Op. 44 - Wilhelm Stenhammar Coronation March from the Opera “Le Prophète†- Giacomo Meyerbeer Psyché et Éros from the Symphonic Poem “Psyché†- César Franck Radetzky-Marsch, Op. 228 - Johann Strauss Sr. The second CD (Contemporary) includes 6 recordings of original works by Franco Cesarini: A Glorious Fanfare, Op.38/3 Tamm Greek Folk Song Suite No. 2, Op. 58b (Samiotissa, Kato Sto Jalo, Chasaposerviko) Bright Dawn Overture, Op. 59 Notes from the Road (An Overture), Op. 60 Siebnen THE ROYAL NETHERLANDS ARMY BAND 'JOHAN WILLEM FRISO' The Royal Netherlands Army Band 'Johan Willem Friso' (JWF) was established on 1st January 2005 after a reorganisation of military bands, when the four Royal Netherlands Army Bands existing at that time were dissolved. The band consists of 54 members and is basedat the Johan Willem Friso Barracks in Assen. An important part of the bandÂ’s activities takes place within the armed forces as a kind of 'house band'. In addition, the band has representative duties on behalf of the Netherlands armed forces and regularly performs concerts and participates in tattoos at home and abroad. The agenda also includes performances at ceremonies such as changes-of-command, swearing-in ceremonies, the opening of parliament, national remembrance days, veteransÂ’ day or guards of honour during state visits and CD recordings. $21.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Radetzky March Concert band [Score and Parts] Boosey and Hawkes
Score and Parts. By Johann Strauss. Arranged by Norman Richardson. (BAND SET). ...(+)
Score and Parts. By Johann Strauss. Arranged by Norman Richardson. (BAND SET). Boosey and Hawkes Concert Band. Size 7x10.5 inches. Published by Boosey & Hawkes.
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| GUNTRAM: Prelude to Act II [Score] Lucks Music Library
(3D1.3D1.3D1.2+1/4.3.3.1, 2 timp,perc,str) SKU: TM.06006SC Composed by Ri...(+)
(3D1.3D1.3D1.2+1/4.3.3.1,2 timp,perc,str) SKU: TM.06006SC Composed by Richard Strauss. Score. Lucks Music Library #A7815. Published by Lucks Music Library (TM.06006SC). March (Alceste), Menuet (Iphigenie en Aulide), Grazioso (Paride e Elena), Slave Dance (Iphigenie en Aulide). $20.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Radetzky March Orchestra [Score and Parts] - Easy Alfred Publishing
By Johann Strauss, Sr. (1804-1849). Arranged by Richard Meyer. Orchestra. Full O...(+)
By Johann Strauss, Sr. (1804-1849). Arranged by Richard Meyer. Orchestra. Full Orchestra. First Philharmonic. Form: Transcription. Romantic. Grade 2. Conductor Score and Parts. 172 pages
$59.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| GUNTRAM: Prelude to Act II Lucks Music Library
(3D1.3D1.3D1.2+1/4.3.3.1, 2 timp,perc,str) SKU: TM.06006SET Composed by R...(+)
(3D1.3D1.3D1.2+1/4.3.3.1,2 timp,perc,str) SKU: TM.06006SET Composed by Richard Strauss. Set Type: D. Set of parts. Lucks Music Library #A7815. Published by Lucks Music Library (TM.06006SET). March (Alceste), Menuet (Iphigenie en Aulide), Grazioso (Paride e Elena), Slave Dance (Iphigenie en Aulide). $85.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Radetzky March Orchestra [Score] - Easy Alfred Publishing
By Johann Strauss, Sr. (1804-1849). Arranged by Richard Meyer. Orchestra. Full O...(+)
By Johann Strauss, Sr. (1804-1849). Arranged by Richard Meyer. Orchestra. Full Orchestra. First Philharmonic. Form: Transcription. Romantic. Grade 2. Conductor Score. 16 pages
$9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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| Jan Van der Roost:
Ceremonial March: Fanfare
Band: Score & Parts Marching band [Score and Parts] De Haske Publications
In the course of the two centuries following the death of Henry Purcell in 1695 ...(+)
In the course of the two centuries following the death of Henry Purcell in 1695 no British composer of any statue was apparent. Consequently the break-through of Edward Elgar (1857-1934) as an internationally known and respected composer at the end of the last century was of considerable importance. As a composer Elgar was largely self-taught and he looked towards the continent for his inspiration. He is without doubt on par with his contemporaries such as the somewhat younger Richard Strauss. The Belgian composer Jan Van der Roost is a genuine admirer of Elgar?s music and on the occasion of the fiftieth anniversary of the composer?s death in 1984 he composed the ?CeremonialMarch?. Van der Roost was inspired by the most famous and frequently played works from Elgar?s catalogue of works the characteristic ?Pomp and Circumstances? marches and decided to add his own sixth march to the existing collection.
96.99 GBP - Sold by Musicroom UK | |
| Jan Van der Roost:
Ceremonial March: Concert
Band: Score & Parts Concert band [Score and Parts] De Haske Publications
In the course of the two centuries following the death of Henry Purcell in 1695 ...(+)
In the course of the two centuries following the death of Henry Purcell in 1695 no British composer of any statue was apparent. Consequently the break-through of Edward Elgar (1857-1934) as an internationally known and respected composer at the end of the last century was of considerable importance. As a composer Elgar was largely self-taught and he looked towards the continent for his inspiration. He is without doubt on par with his contemporaries such as the somewhat younger Richard Strauss. The Belgian composer Jan Van der Roost is a genuine admirer of Elgar?s music and on the occasion of the fiftieth anniversary of the composer?s death in 1984 he composed the ?CeremonialMarch?. Van der Roost was inspired by the most famous and frequently played works from Elgar?s catalogue of works the characteristic ?Pomp and Circumstances? marches and decided to add his own sixth march to the existing collection.
96.99 GBP - Sold by Musicroom UK | |
| Randy Max - Orchestral
Excerpts For Timpani + Cd Theodore Presser Co.
Contenu Barber: Medea's Meditation and Dance of VengeanceBartok: Concerto for Or...(+)
Contenu Barber: Medea's Meditation and Dance of VengeanceBartok: Concerto for Orchestra (4&5)Bartok: Music for Strings, Percussion & Celeste (2&4)Bartok: Piano Concerto 2 (1&3)Bartok; Violin Concerto 2 (1,2,3)Beethoven: Symphony 1 (3)Beethoven: Symphony 5 (3&4)Beethoven: Symphony 7 (1&4)Beethoven: Symphony 8 (4)Beethoven: Symphony 9 (1,2,4)Beethoven: Piano Concerto 5 Emperor (3)Beethoven: Violin Concerto (1)Berlioz: Symphonie fantastique (4,5)Brahms: Symphony 1 (1,4)Britten: Young Person's Guide to the Orchestra (Variation M)Carter: Variations for OrchestraElgar: Enigma Variations (7,13)Hindemith:Symphonic Metamorphoses on Weber (2)Mahler; Symphony 5 (1,5)Maher: Symphony 7 (5)Martin: Concerto for 7 Winds, Timpani, Percussion & Strings (3)Mozart: Symphony 39 (1)Prokofieff: Symphony 6 (2)Schuman (William): New England Triptych (1)Shostalovich: Symphony 1 (4)Strauss (Richard): BurleskeStrauss (Richard): Der Rosenkavalier Suite (Quick Waltz)Stravinsky: The Rite of Spring (189 to end)Tchaikovsky: Symphony 4 (1,4)Wagner: Götterdämmerung (Siegfried's Funeral March)
53.10 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Classic meets
Contemporary Concert Band/Harmonie Edition Franco Cesarini
Classical Highlights and Original Works for Concert Band. Par CESARINI FRANCO. L...(+)
Classical Highlights and Original Works for Concert Band. Par CESARINI FRANCO. LES CD
Le premier CD (Classic) propose 8 enregistrements d’oeuvres de musique classique arrangées par Franco Cesarini::
Festmusik der Stadt Wien - Richard Strauss
L'Arlésienne Suite No. 2 from the Incidental Music - Georges Bizet (I. Pastorale II. Intermezzo III. Menuet IV. Farandole)
Nimrod from 'Enigma Variations', Op. 36 - Edward Elgar
Galop from 'Dance of the Hours' - Amilcare Ponchielli
Interlude from the Cantata Sången, Op. 44 - Wilhelm Stenhammar
Coronation March from the Opera 'Le Prophète” - Giacomo Meyerbeer
Psyché et Éros from the Symphonic Poem 'Psyché' - César Franck
Radetzky-Marsch, Op. 228 - Johann Strauss Sr.
Le deuxième CD (Contemporary) comprend 6 enregistrements d'œuvres originales de Franco Cesarini:
A Glorious Fanfare, Op.38/3
Tamm
Greek Folk Song Suite No. 2, Op. 58b (Samiotissa, Kato Sto Jalo, Chasaposerviko)
Bright Dawn Overture, Op. 59
Notes from the Road (An Overture), Op. 60
Siebnen
LA MUSIQUE MILITAIRE ROYALE DES PAYS-BAS ’JOHAN WILHELM FRISO’
La musique militaire royale des Pays-Bas ‘Johan Willem Friso’ (JWF) a été créée le 1er janvier 2005 après une réorganisation des orchestres d’harmonie militaires, lorsque les quatre ensembles de l'armée royale des Pays-Bas existants à l'époque, ont été dissous. Le groupe se compose de 54 membres, basé à la caserne Johan Willem Friso à Assen.
Une partie importante des activités de l’orchestre se déroule au sein des forces armées comme une sorte 'd’orchestre maison'. En outre, le groupe a des fonctions de représentation au nom des forces armées néerlandaises, donne régulièrement des concerts, participe à des parades ??au Pays Bas et à l'étranger. Le planning comprend des services lors de cérémonies telles que les passations de commandement, les cérémonies d'assermentation, l'ouverture du parlement, les journées nationales du souvenir, la journée des anciens combattants ou les gardes d'honneur lors de visites d'États ainsi que des enregistrements de CD. / Date parution : 2023-07-31/ Accessoire / Concert Band/Harmonie
22.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Hans-Günter Heumann:
Piano Gefällt Mir!
Classics Piano solo Bosworth
The author and arranger Hans-Günter Heumann adds to his bestselling series Pian...(+)
The author and arranger Hans-Günter Heumann adds to his bestselling series Piano Gefällt Mir! with a Classical edition. All of the greatest masters of musical history is represented by their most famous works, whether it's Bach, Strauss, Liszt, Mozart, these pieces are playable by beginners to advanced pianists, with tempo markings, fingerings and chord symbols.Among the 50 classic pieces in this edition are many famous works which have been used in some of the greatest Hollywood films. Heumann's ever-popular arrangements are perfect for different abilities and fans of the finest classical compositions. / Piano
32.60 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Richard Strauss: Johann
Strauss - His Greatest
Piano Solos: Piano:
Instrumental Piano solo Ashley Publications
25 titles including: The Beautiful Blue Danube £ Emperor Waltz £ My Vienn...(+)
25 titles including: The Beautiful Blue Danube £ Emperor Waltz £ My Vienna £ Tales from the Vienna Woods £ Voices of Spring £ Wine Woman and Song £ Tick Tock Polka £ and more.
15.99 GBP - Sold by Musicroom UK | |
| Malcolm Arnold: Electra:
Orchestra: Study Score Orchestra [Sheet music] Novello & Co Ltd.
Malcolm Arnold's ballet in one act Electra is presented here as a full study sco...(+)
Malcolm Arnold's ballet in one act Electra is presented here as a full study score. Based on a reduced version of Sophocles' play Arnold's ballet was commissioned by the Royal Ballet and first performed at the Royal Opera House in Covent Garden on the 26th of March 1963. Electra lasts around 15 minutes and was given its first concert performance by the BBC Concert Orchestra at the Royal Festival Hall in London conducted by Barry Wordsworth on the 5th of November 2004. For this full score Arnold adopted the normal anglicised spelling of Electra however the firstperformance had it billed in the original spelling of Elektra as in the more famous opera by Richard Strauss. The ballet is exciting dynamic and dark making for a wonderful performance that's as compelling as it is enjoyable. The power of the music married with the intense percussion in Electra are fitting for such a classically tragic tale.
29.99 GBP - Sold by Musicroom UK | |
| Library Of Piano
Favorites Piano Accompaniment [Book] Amsco Wise Publications
A collection of the world's finest classical and popular music for Piano. Here y...(+)
A collection of the world's finest classical and popular music for Piano. Here you will find the great masterpieces of every era - from classical and romance to ragtime and blues. Enjoy three centuries of all-time favourite Piano solos. Including Amazing Grace, Clair de Lune, Grand March from Aida and The Minute Waltz. / Piano Accompagnement
25.60 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Ottorino Respighi: Pini
di Roma: Concert Band:
Score Concert band De Haske Publications
Ottorino Respighi (1879-1936) est considéré comme l'un des plus grands composi...(+)
Ottorino Respighi (1879-1936) est considéré comme l'un des plus grands compositeurs italiens du début du XXe siècle. Respighi a composé plusieurs opéras des ballets quelques cantates des œuvres de musique de chambre et des mélodies pour orgue et piano. Son style unique a été profondément influencé par les impressionnistes français par Rimski-Korsakov et Richard Strauss. Toutefois il est surtout connu pour son triptyque symphonique Fontane di Roma (Les Fontaines de Rome) Pini di Roma (Les Pins de Rome) et Feste Romane (Fêtes romaines). Dans le poème symphonique Les Pins de Rome il se montre un maître de l?orchestration par son utilisation de timbrestrès variés et captivants. La composition comprend quatre mouvements et s?ouvre par les Pins de la Villa Borghèse où des enfants jouent près des arbres. Après cette introduction Respighi passe brusquement aux Pins près d?une catacombe : les pins projettent leur ombre sur l?entrée d'une catacombe d?où s'élève un hymne grégorien mélancolique. Les Pins du Janicule est un nocturne où les pins se profilent au clair d'une lune sereine. Dans les Pins de la Via Appia (Voie Apienne) le jour se lève : La campagne tragique est veillée par des pins solitaires. La musique ressuscite la vision glorieuse d'une armée consulaire en marche vers le Capitole.
37.50 GBP - Sold by Musicroom UK | |
| Ottorino Respighi: Pini
di Roma: Concert Band:
Score & Parts Concert band [Score and Parts] De Haske Publications
Ottorino Respighi (1879-1936) est considéré comme l'un des plus grands composi...(+)
Ottorino Respighi (1879-1936) est considéré comme l'un des plus grands compositeurs italiens du début du XXe siècle. Respighi a composé plusieurs opéras des ballets quelques cantates des œuvres de musique de chambre et des mélodies pour orgue et piano. Son style unique a été profondément influencé par les impressionnistes français par Rimski-Korsakov et Richard Strauss. Toutefois il est surtout connu pour son triptyque symphonique Fontane di Roma (Les Fontaines de Rome) Pini di Roma (Les Pins de Rome) et Feste Romane (Fêtes romaines). Dans le poème symphonique Les Pins de Rome il se montre un maître de l?orchestration par son utilisation de timbrestrès variés et captivants. La composition comprend quatre mouvements et s?ouvre par les Pins de la Villa Borghèse où des enfants jouent près des arbres. Après cette introduction Respighi passe brusquement aux Pins près d?une catacombe : les pins projettent leur ombre sur l?entrée d'une catacombe d?où s'élève un hymne grégorien mélancolique. Les Pins du Janicule est un nocturne où les pins se profilent au clair d'une lune sereine. Dans les Pins de la Via Appia (Voie Apienne) le jour se lève : La campagne tragique est veillée par des pins solitaires. La musique ressuscite la vision glorieuse d'une armée consulaire en marche vers le Capitole.
339.99 GBP - Sold by Musicroom UK | |
| Easiest Book Of Piano
Favourites Piano solo [Sheet music] - Easy Amsco Wise Publications
Piano solo / Reliure : Spirales
Nb de Pages : 240
Langue : Anglais
30.50 EUR - Sold by Note4Piano Pre-shipment lead time: 24 hours - In Stock Only 2 left in stock, order soon ! | |
| Orchanics 2: Orchestra:
Score and Parts Orchestra Goodmusic Publishing
Eight Varied Pieces For Orchestra-Three new collections of varied pieces for orc...(+)
Eight Varied Pieces For Orchestra-Three new collections of varied pieces for orchestra for players from beginner to grade 3 standard.This collection of three books each containing eight varied pieces has been compiled to capture the imagination of young players and to introduce them to a wide range of musical styles.Special effects appropriate to each instrument provide additional learning points and great entertainment both in rehearsal and performance. There are glissandos for strings and trombone flutter tonguing for flute and trumpets (for those able to) and a range of vocal sounds for all!The scoring allows these pieces to be played by variouscombinations of instruments. Ideally your orchestra should have some instruments from each section but if not (for example no brass) then the supplementary piano part (available separately) can be used to fill the gaps. It can also be used to provide extra support in rehearsals.As well as the normal percussion parts some of the pieces make use of a drum kit. For orchestras without a drum kit player a drum kit and bass backing track is available to download free of charge either as MP3 or WAV files.OrchestrationDescant recorder Treble recorder Flute 1 Flute 2 or Oboe Clarinet 1 Clarinet 2 Alto Sax Bassoon Horn in F Horn in Eb Trumpet 1 Trumpet 2 Trombone (Bass clef) Trombone (Treble clef) Timpani Drum Kit Percussion 1 Percuission 2 Percussion 3.Strings (Violin 1 Violin 2 Violin 3 Viola Cello Bass)Orchanics 2 contains:-Marching through Mud (Richard Ling); When I was a lad (from HMS Pinafore); Ghost Ride (Richard Ling); Largo (Dvorak); Battle Zone (Richard Ling); Persian March (J Strauss II); Lazy Horse (Richard Ling); Good King Wenceslas.
55.00 GBP - Sold by Musicroom UK | |
| The Library of Easy Piano
Classics - Volume 2 [Sheet music] - Intermediate Amsco Wise Publications 32.50 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Easiest Book of Piano
Classics Piano solo [Sheet music] - Easy Amsco Wise Publications 32.50 EUR - Sold by Note4Piano Pre-shipment lead time: 24 hours - In Stock Only 1 left in stock, order soon ! | |
| Test Pieces For
Orchestral Auditions Trombone Music Partner
(2CD set) CDs only. (These orchestral recordings present the complete excerpt, a...(+)
(2CD set) CDs only. (These orchestral recordings present the complete excerpt, and the specific instrument is not omitted.) For corresponding sheet music anthology see EP 8665 / Trombone
34.60 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Wiener Philhar Fanf March
Card Divers Boosey and Hawkes 55.60 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| 100 Easy Classics For
Piano Piano solo [Sheet music] - Easy Faber Music Limited
Cent classiques adaptés pour le pianiste de niveau intermédiaire, avec des oeu...(+)
Cent classiques adaptés pour le pianiste de niveau intermédiaire, avec des oeuvres allant de Mozart à Albeniz.
/ Classique / Arrangeurs : Manhire, Wilson / Palmer, Lynn / Partition / Cartonné / Plat de carton /
23.00 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| 1001 All-Time Hit Songs Melody line, (Lyrics) and Chords [Sheet music] Amsco Wise Publications
Third edition of the world's biggest songbook. This is a vast bumper collection,...(+)
Third edition of the world's biggest songbook. This is a vast bumper collection, perfect for buskers, of 1001 all-time hit songs.Whatever your taste, there's guaranteed to be tonnes of songs you'll want to play, this book will last you years!Inside the spiral bound cover you will find a generous selection of hit songs, golden standards, jazz and blues numbers, classical pieces, hymns, gospel songs, stage, film and musical music! Arranged here in Melody line arrangements for Piano, Organ, Electronic Keyboards, Guitar and all C instruments, complete with lyrics and chord symbols. / Ligne Mélodique, Paroles Et Accords (Avec Grilles D'Accords)
60.30 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Tunes you've always
wanted to play
Piano solo [Sheet music] - Intermediate Chester
Un excellent album contenant plus de 155 pages de mélodies classiques et ...(+)
Un excellent album contenant plus de 155 pages de mélodies classiques et traditionnelles, arrangées pour piano facile par Carol Barratt. Inclus la Lettre à Elise, La Sonate au Clair de Lune et le le Can-Can / Classique / Arrangements : Carol Barrat / Partition /
25.50 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Klavierbibel Heumann
(HEUMANN HANS-GUNTER) Easy Piano [Sheet music] - Easy Bosworth
Par HEUMANN HANS-GUNTER. 130 de mélodies les plus grands de tous les temps de t...(+)
Par HEUMANN HANS-GUNTER. 130 de mélodies les plus grands de tous les temps de tous les coins du monde musical ont été disposés comme les solos de Piano facile par Hans-Günter Heumann. Des thèmes classiques spectaculaires et des Gospels, droit par le biais de favoris de Jazz, chansons du pays et même mer cabanes... cette collection est la ressource ultime pour l'étudiant de Piano intermédiaire, ou pour ceux cherchant simplement un moyen rapide pour stimuler votre répertoire. Toutes les pièces en vedette accessibles et facile à suivre une ligne mélodies et accompagnements simple, avec des paroles complètes et symboles de la corde / Niveau : Assez Facile / Rép International / Recueil / Piano
37.90 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Masterpieces Of Piano
Music Piano solo [Sheet music] Music Sales
The most popular collection of classical Piano music ever published. This author...(+)
The most popular collection of classical Piano music ever published. This authoritative volume contains over 140 selections, covering all fields of Classic, Romantic, Modern, Light, Sacred and Operatic music. / Rép International / Recueil / Piano
40.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Children's Classic Piano
Book 1 (HEUMANN
HANS-GUNTER) Easy Piano [Sheet music] - Easy Bosworth
Par HEUMANN HANS-GUNTER. Un assortiment amusant de mélodies classiques populair...(+)
Par HEUMANN HANS-GUNTER. Un assortiment amusant de mélodies classiques populaires en arrangements faciles et très faciles pour piano/clavier. / Niveau : Assez Facile / Rép International / Recueil / Piano
11.40 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Essential Wedding Music
For Manuals Organ Kevin Mayhew 42.29 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Divers : The Easy Piano
Collection: Early
Romantic Gold Piano solo [Sheet music] - Easy Chester
Les plus grandes ?uvres pour Piano de la période Romantique, arrang&eacut...(+)
Les plus grandes ?uvres pour Piano de la période Romantique, arrangées pour les pianistes commençants. Biographies incluses / Classique / Partition /
17.50 EUR - Sold by Note4Piano Pre-shipment lead time: 24 hours - In Stock Only 1 left in stock, order soon ! | |
| 88 PIANO CLASSICS FOR
BEGINNERS Easy Piano [Sheet music] - Beginner Dover Publications
Par . Beginning pianists of all ages will cherish this excellent compilation of ...(+)
Par . Beginning pianists of all ages will cherish this excellent compilation of classics. Each piece was carefully selected and simplified to help students develop their skills. Many of the greatest composers ? J. S. Bach, Beethoven, Brahms, Mendelssohn, Mozart, Rimsky-Korsakov, Rachmaninoff, Tchaikovsky, and others ? are represented by several pieces each, some newly adapted for the piano. Composers and works not usually featured in beginner\'s books include pieces by Borodin, Gluck, Rameau, and Tallis. Well-known classics include Bach\'s Brandenburg Concerto No. 3, Debussy\'s Claire de Lune, Moussorgsky\'s Pictures at an Exhibition, Satie\'s Gymnopedie No. 1, Schumann\'s Child Falling Asleep, and \'Spring\' from Vivaldi\'s Four Seasons. Several orchestral pieces have been newly adapted for the piano, including \'Dance of the Swan\' from Swan Lake, \'Elephant\' from Carnival of the Animals, \'Largo\' from Xerxes, and \'Waltz of the Flowers\' from The Nutcracker. / Date parution : 2022-11-12/ Recueil / Piano
22.90 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| David Dutkanicz:
dov231925: Piano:
Instrumental Album Piano solo - Easy Dover Publications
Beginning pianists of all ages will cherish this excellent compilation of classi...(+)
Beginning pianists of all ages will cherish this excellent compilation of classics. Each piece was carefully selected and simplified to help students develop their skills. Many of the greatest composersâ??J. S. Bach Beethoven Brahms Mendelssohn Mozart Rimsky-Korsakov Rachmaninoff Tchaikovsky and othersâ??are represented by several pieces each some newly adapted for the piano. Composers and works not usually featured in beginner's books include pieces by Borodin Gluck Rameau and Tallis.Well-known classics include Bach's Brandenburg Concerto No. 3 Debussy's Claire de Lune Moussorgsky's Pictures at an Exhibition Satie'sGymnopedie No. 1 Schumann's Child Falling Asleep and 'Spring' from Vivaldi's Four Seasons. Several orchestral pieces have been newly adapted for the piano including 'Dance of the Swan' from Swan Lake 'Aquarium' from Carnival of the Animals 'Largo' from Xerxes and 'Waltz of the Flowers' from The Nutcracker.Dover Original.
17.30 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
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