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| Riders of the Purple Sage: The Opera based on the novel by Zane Grey (Piano/Vocal Score) Opera Schirmer
Opera in 3 Acts for mixed voices (2[1.2/pic] 2 [1.2/Eh] 2 2- 4 2 2 1-tmp 2-hp,...(+)
Opera in 3 Acts for mixed
voices (2[1.2/pic] 2 [1.2/Eh]
2 2- 4 2 2 1-tmp 2-hp, kbd-
str) - Late Intermediate
SKU: EC.8932
Composed by Craig Bohmler.
Instrumental part. E.C.
Schirmer Publishing #8932.
Published by E.C. Schirmer
Publishing
$55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Keyboard Opera Piano solo - Intermediate/advanced Willis Music
Popular Airs from 16 Operas/Early Advanced Level. Arranged by John Thompson. Wil...(+)
Popular Airs from 16 Operas/Early Advanced Level. Arranged by John Thompson. Willis. Book only. Size 9x12 inches. 48 pages. Published by Willis Music.
$2.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| STAGEA Electone Perfect Guide: Advanced Book (ELS-02/ELS-C/ELS-X/ELC-02) - Advanced Yamaha
Yamaha Electone; Digital Keyboard - Advanced SKU: YM.GPE01100795 Engli...(+)
Yamaha Electone; Digital Keyboard - Advanced SKU: YM.GPE01100795 English Edition. Instructional Guide Book. Electone Perfect Guide. Level up your Electone skills to create your original Registration data! Studies/Exercises. Softcover A4 Book. Yamaha Music Media #GPE01100795. Published by Yamaha Music Media (YM.GPE01100795). ISBN 9784636105780. About the book: The ELS-02 is the latest Electone model in the STAGEA series. Featuring the latest electronic technology, it offers a broader range of performance expression with higher quality sounds and rhythms than ever before. The Basic Book provides a complete and detailed explanation of the functions of the ELS-02 series. Starting with basic operations such as how to change Volume, it covers the basics of creating registration data, including various Displays and Voice Condition Displays. In addition, the Super Articulation Voice, first introduced in the ELS-02 series, is explained in detail. The Advanced Book, a sequel to the Basic Book, provides more detailed and advanced explanations of Rhythm Programs, Effects, Voice Edit, and other important topics and tips for creating original data. This guide is recommended for those who want to challenge making original data differently than before because it always sounds the same. Also included as an appendix is a list of Voice, Effect, and Effect Parameter useful for creating original data. We hope the perfect guides will deepen your understanding of STAGEA and enrich your Electone life. Electone and STAGEA are the trademarks of Yamaha Corporation. $25.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| STAGEA Electone Perfect Guide: Advanced Book (ELS-02/ELS-C/ELS-X/ELC-02) - Advanced Yamaha
Yamaha Electone; Digital Keyboard - Advanced SKU: YM.GPE01100797 Simpl...(+)
Yamaha Electone; Digital Keyboard - Advanced SKU: YM.GPE01100797 Simplified Chinese Edition. Instructional Guide Book. Electone Perfect Guide. Level up your Electone skills to create your original Registration data! Studies/Exercises. Softcover A4 Book. Yamaha Music Media #GPE01100797. Published by Yamaha Music Media (YM.GPE01100797). ISBN 9784636105803. This is Simplified Chinese (Mandarin) Edition. THIS IS NOT ENGLISH EDITION, which is available as another book. About the book: The ELS-02 is the latest Electone model in the STAGEA series. Featuring the latest electronic technology, it offers a broader range of performance expression with higher quality sounds and rhythms than ever before. The Basic Book provides a complete and detailed explanation of the functions of the ELS-02 series. Starting with basic operations such as how to change Volume, it covers the basics of creating registration data, including various Displays and Voice Condition Displays. In addition, the Super Articulation Voice, first introduced in the ELS-02 series, is explained in detail. The Advanced Book, a sequel to the Basic Book, provides more detailed and advanced explanations of Rhythm Programs, Effects, Voice Edit, and other important topics and tips for creating original data. This guide is recommended for those who want to challenge making original data differently than before because it always sounds the same. Also included as an appendix is a list of Voice, Effect, and Effect Parameter useful for creating original data. We hope the perfect guides will deepen your understanding of STAGEA and enrich your Electone life. $25.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| The Norman Dello Joio Vocal Collection Piano, Voice Carl Fischer
Composed by Norman Dello Joio (1913-). For voice, piano. 56 pages. Published by ...(+)
Composed by Norman Dello Joio (1913-). For voice, piano. 56 pages. Published by Carl Fischer
$17.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Anna's Final Aria (WT) Piano, Voice Carl Fischer
(From The Opera Anna Karenina). By David Carlson. For voice and piano. Published...(+)
(From The Opera Anna Karenina). By David Carlson. For voice and piano. Published by Carl Fischer
$13.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Summertime, from Porgy and Bess Piano, Voice Faber Music Limited
(Original B minor version). By George Gershwin (1898-1937). For voice, piano. Sh...(+)
(Original B minor version). By George Gershwin (1898-1937). For voice, piano. Sheet; Solo. Faber Edition. 20th Century; Broadway. Advanced; Early Advanced; Intermediate; Late Intermediate. Published by Faber Music
$4.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Thomas Pasatieri : Album Leaves, Volume 2 Piano, Voice Theodore Presser Co.
By Thomas Pasatieri. For voice, piano. Standard notation. 44 pages. Published by...(+)
By Thomas Pasatieri. For voice, piano. Standard notation. 44 pages. Published by Theodore Presser Company
$19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Electone STAGEA Perfect Guide: Basic Book Yamaha
Electone SKU: YM.GPE01100796 (ELS-02/ELS-C/ELS-X/EL C-02) Simplified C...(+)
Electone SKU: YM.GPE01100796 (ELS-02/ELS-C/ELS-X/ELC-02) Simplified Chinese (Mandarin) Edition. Studies/Exercises. Electone Perfect Guide. Educational. Book. Yamaha Music Media #GPE01100796. Published by Yamaha Music Media (YM.GPE01100796). ISBN 9784636105797. This is Simplified Chinese (Mandarin) Edition. THIS IS NOT ENGLISH EDITION, which is available as another book. About the book: The ELS-02 is the latest Electone model in the STAGEA series. Featuring the latest electronic technology, it offers a broader range of performance expression with higher quality sounds and rhythms than ever before. The Basic Book provides a complete and detailed explanation of the functions of the ELS-02 series. Starting with basic operations such as how to change Volume, it covers the basics of creating registration data, including various Displays and Voice Condition Displays. In addition, the Super Articulation Voice, first introduced in the ELS-02 series, is explained in detail. The Advanced Book, a sequel to the Basic Book, provides more detailed and advanced explanations of Rhythm Programs, Effects, Voice Edit, and other important topics and tips for creating original data. This guide is recommended for those who want to challenge making original data differently than before because it always sounds the same. Also included as an appendix is a list of Voice, Effect, and Effect Parameter useful for creating original data. We hope the perfect guides will deepen your understanding of STAGEA and enrich your Electone life. $16.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Electone STAGEA Perfect Guide: Basic Book Yamaha
Electone SKU: YM.GPE01100794 (ELS-02/ELS-C/ELS-X/EL C-02) English Edit...(+)
Electone SKU: YM.GPE01100794 (ELS-02/ELS-C/ELS-X/ELC-02) English Edition. Studies/Exercises. Electone Perfect Guide. Educational. Book. Yamaha Music Media #GPE01100794. Published by Yamaha Music Media (YM.GPE01100794). ISBN 9784636105773. About the book: The ELS-02 is the latest Electone model in the STAGEA series. Featuring the latest electronic technology, it offers a broader range of performance expression with higher quality sounds and rhythms than ever before. The Basic Book provides a complete and detailed explanation of the functions of the ELS-02 series. Starting with basic operations such as how to change Volume, it covers the basics of creating registration data, including various Displays and Voice Condition Displays. In addition, the Super Articulation Voice, first introduced in the ELS-02 series, is explained in detail. The Advanced Book, a sequel to the Basic Book, provides more detailed and advanced explanations of Rhythm Programs, Effects, Voice Edit, and other important topics and tips for creating original data. This guide is recommended for those who want to challenge making original data differently than before because it always sounds the same. Also included as an appendix is a list of Voice, Effect, and Effect Parameter useful for creating original data. We hope the perfect guides will deepen your understanding of STAGEA and enrich your Electone life. $16.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Decouvrir L'opera Francais (livre Avec Cd He33755) Airs Pour Mezzo-soprano Ou Heugel
Voice (Music For Voice) SKU: HL.48188907 Pour Mezzo Soprano Ou Contral...(+)
Voice (Music For Voice) SKU: HL.48188907 Pour Mezzo Soprano Ou Contralto. Leduc. Classical. Softcover. Heugel & Cie #HE33754. Published by Heugel & Cie (HL.48188907). Born in Laval, Francoise Semellaz studied in Le Mans and Paris before embarking on a successful teaching career. Currently a professor at the Lille Conservatoire, she devotes herself to classical singing. As a vocalist herself, this compilation of Discover French Opera is well-informed. Containing airs for Mezzo-Sopranos and Contraltos, the accompaniment is helpfully recorded on the CD included. Airs include those by Boieldieu, Delibes, Gounod, Massenet, Offenbach, Saint-Saens and Thomas. With a detailed preface and wide selection of Airs, Semellaz's Discover French Opera is essential to all aspiring, advanced Mezzo-Sopranos and Contraltos.. $53.20 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Discover French Opera (airs For Mezzo-soprano Or Contralto And Pian Heugel
Voice (Music For Voice) SKU: HL.48188908 Composed by Franç and oise...(+)
Voice (Music For Voice) SKU: HL.48188908 Composed by Franç and oise Semellaz. Leduc. Classical. CD. 48 pages. Heugel & Cie #HE33755. Published by Heugel & Cie (HL.48188908). UPC: 888680873905. 9.0x12.0x0.227 inches. Born in Laval, Francoise Semellaz studied in Le Mans and Paris before embarking on a successful teaching career. Currently a professor at the Lille Conservatoire, she devotes herself to classical singing. As a vocalist herself, this compilation of Discover French Opera is well-informed. Containing airs for Mezzo-Sopranos and Contraltos, the accompaniment is helpfully recorded on the CD included. Airs include those by Boieldieu, Delibes, Gounod, Massenet, Offenbach, Saint-Saens and Thomas. With a detailed preface and wide selection of Airs, Semellaz's Discover French Opera is essential to all aspiring, advanced Mezzo-Sopranos and Contraltos.. $13.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ode to the Evening Star from the opera Tannhauser for 5 Trombones - Advanced Cherry Classics
5-part Trombone ensemble - Advanced SKU: CY.CC3051 Composed by Richard Wa...(+)
5-part Trombone ensemble - Advanced SKU: CY.CC3051 Composed by Richard Wagner. Arranged by Ed Hayes. Classical. Score and Parts. Cherry Classics #CC3051. Published by Cherry Classics (CY.CC3051). ISBN 9790530110263. 8.5 x 11 in inches. Ode (or Song) to the Evening Star from Wagner's opera Tannhauser composed in 1845 is from Act III and sung by the character Wolfram (baritone voice). It is a magnificent lyrical work of immense emotional power. Ed Hayes in collaboration with Frank Harmantas has arranged this immortal music for 5-part Trombone ensemble of moderately advanced performers. $27.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto No. 5 in C Major Soprano voice, Piano - Intermediate/advanced Schott
Piano; Soprano Recorder - intermediate to advanced SKU: HL.49011203 Fo...(+)
Piano; Soprano Recorder - intermediate to advanced SKU: HL.49011203 For Soprano Recorder and Piano Reduction. Composed by John Baston. Edited by Bernard Thomas. This edition: Saddle stitching. Sheet music. Originalmusik fur Blockflote (Recorder Library). Classical. Piano Reduction with Solo Part. 16 pages. Duration 7'. Schott Music #OFB1045. Published by Schott Music (HL.49011203). ISBN 9790220117084. UPC: 073999739343. 9.0x12.0x0.075 inches. With these new editions, all six recorder concertos of John Baston are now available, each with score, piano score and parts. The thor-oughly edited scores follow essentially the first edition printed by John Walsh in London in 1729. Baston was regarded as an excellent recorder and flute player who worked with London opera orchestras in the early 18th century. His easy concertos anticipating the elegant melody of the early classical period enjoy great popularity representing a rewarding task for music school orchestras and advanced recorder players. $15.99 - See more - Buy online | | |
| Recitatiu i ària “Perfidi! In questa guisa de L’arbore di Diana (red) Soprano voice, Piano - Advanced Trito
Soprano voice and piano - advanced SKU: TI.TR01220 Composed by Vicent Mar...(+)
Soprano voice and piano - advanced SKU: TI.TR01220 Composed by Vicent Martin i Soler. Opera, Zarzuela. Piano reduction. Trito Ediciones #TR01220. Published by Trito Ediciones (TI.TR01220). ISBN 9790692049531. $13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| 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 | | |
| Princess Maleen Piano, Vocal, Voice - Advanced Furore Verlag
By Ruth Schonthal (1924-). For Opera. Work premiere: 20.05.1989 White Plains Hig...(+)
By Ruth Schonthal (1924-). For Opera. Work premiere: 20.05.1989 White Plains High School, WP, NY, Soloists; Deborah Grow: Soprano, Mark Wolff: Tenor, Stephen Lee White: Bass-baritone, Una Langdon: alto, Blaine Brown Bass-baritone, Lynn Callow: mezzo-soprano, children and adult choruses and mu. Incidental Music. Advanced. Piano/vocal score. Composed 1988/89. Duration 105'
$107.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Over 200 Irish Songs and Dances Piano, Vocal and Guitar [Sheet music] - Intermediate/advanced Music Sales
By Amy Appleby. For Piano and Voice, with Guitar chord symbols. Irish, Folk, Cel...(+)
By Amy Appleby. For Piano and Voice, with Guitar chord symbols. Irish, Folk, Celtic. Level: Intermediate to Advanced. Sheet Music. Published by Wise Publications.
(1)$19.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Cheap Opera #1 [Sheet music + Audio access] - Advanced Ricordi
Voice and Electronics - advanced SKU: BT.SY-4957 Répétitions...(+)
Voice and Electronics - advanced SKU: BT.SY-4957 Répétitions. Composed by Bernhard Lang. Book with Online Audio. Composed 2023. Ricordi #SY 4957. Published by Ricordi (BT.SY-4957). German. $223.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Blade Percussion Ensemble [Score] Tapspace Publications
By Benjamin Finley. Multipercussion Solo. For Kick drum, 2 tom toms, snare drum,...(+)
By Benjamin Finley. Multipercussion Solo. For Kick drum, 2 tom toms, snare drum, 3 semi-resonant metals (i.e., 12 china cymbal, plus low and high opera gongs) (1 player). Percussion Solos. Advanced. Score. 8 pages. Duration 6'05 . Published by Tapspace Publications
$18.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Messa A 3 Choral 3-part SSA Hinshaw Music Inc.
By Giacomo Puccini, Sr. (1712-1781). Edited by Martin Banner. For SATB Choir Opt...(+)
By Giacomo Puccini, Sr. (1712-1781). Edited by Martin Banner. For SATB Choir Optional Congregation (Accompaniment: Keyboard). Martin Banner Series. Sacred, Concert. Medium Advanced Jr. High/High School or Medium Adult. Duration 27 min
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| Decouvrir L'Opera
Francais (DIVERS AUTEURS
/ SEMELLAZ) Mezzo-Soprano voice, Piano [Sheet music + CD] Heugel
Pour Mezzo Soprano Ou Contralto. Par DIVERS AUTEURS / SEMELLAZ. Born in Laval, F...(+)
Pour Mezzo Soprano Ou Contralto. Par DIVERS AUTEURS / SEMELLAZ. Born in Laval, Françoise Semellaz studied in Le Mans and Paris before embarking on a successful teaching career. Currently a professor at the Lille Conservatoire, she devotes herself to classical singing. As a vocalist herself, this compilation of Decouvrir L'Opera Français is well-informed. Containing airs for Mezzo-Sopranos and Contraltos, the accompaniment is helpfully recorded on the CD included. Airs include those by Boië ldieu, Delibes, Gounod, Massenet, Offenbach, Saint-Saë ns and Thomas. With a detailed preface and wide selection of Airs, Semellaz 's Decouvrir L'OperaFrançais is essential to all aspiring, advanced Mezzo-Sopranos and Contraltos. / Opéra-opérette / Recueil / Mezzo-Soprano ou Contralto et Piano
46.89 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Benjamin Britten: Opera
Arias Bass - Baritone:
Baritone or Bass: Vocal
Album Baritone voice, Piano [Sheet music] Boosey and Hawkes
Benjamin Britten is widely held to be one of the greatest opera composers if the...(+)
Benjamin Britten is widely held to be one of the greatest opera composers if the twentieth century His works are regularly performed in opera houses throughout the world and many of the arias have become essential repertoire for students and professional singers. This anthology comprises six beautiful arias for Bass/Baritone Voice with Piano Accompaniment and is filled with character expression and intensity and will certainly enrich the repertoire of the advancing Bass/Baritone singer’s repertoire.
17.50 GBP - Sold by Musicroom UK | |
| Keyboard Opera: Piano:
Instrumental Work Piano solo Willis Music
Popular Airs from 16 Operas/Late Intermediate to Early Advanced-Every opera cont...(+)
Popular Airs from 16 Operas/Late Intermediate to Early Advanced-Every opera contains certain themes or musical bits which seem to catch on at first hearing and remain favorites for long after. To real opera lovers there is an irresistible urge to repeat these melodies at home. Keyboard Opera contains 16 popular selections all transcribed especially for keyboard performance including My Heart at Thy Sweet Voice (Samson and Delilah (Saint-Saens) and Aragonaise from Le Cid (Massanet).
3.50 GBP - Sold by Musicroom UK | |
| Charles-Marie Widor: Mass
Op. 36: Baritone Voice:
Vocal Score [Vocal Score] Hamelle
Charles-Marie Widor (1844-1937) composed this Mass Op. 36 in 1878 for the St Su...(+)
Charles-Marie Widor (1844-1937) composed this Mass Op. 36 in 1878 for the St Sulpice church in Paris. The initial two choirs for which it was composed were comprised of around 200 and 40 voices while the score for this version is for a choir of baritones and an SATB choir. The Organ part requires an advanced-level of ability as it contains some difficult parts. Divided into five sections the entire work has been transposed one half step lower ‘to avoid the awkward key of F sharp major’. These sections are: 1. Kyrie (Moderato – F# minor) 2. Gloria (Vivace – Lento D major 3.Sanctus (Con brio A major) 4. Benedictus ( Piú lento A major) 5. Agnus Dei (Moderato F# major) This really delicate and emotive Mass Op. 36 is a piece that stands out by its majesty. Charles-Marie Widor was a great organist who did not only focus on Organ composition. From orchestra pieces to chamber music he wrote various different compositions including 10 symphonies for Organ some Operas and some Piano Concerti.
15.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Henry Purcell: Purcell
Society Volume 20: Opera:
Score Choral SATB SATB, Strings [Sheet music] - Intermediate/advanced Novello & Co Ltd.
Dramatic Music Part 2 (Paperback Edition)-Volume 20 of the ‘Purcell Societ...(+)
Dramatic Music Part 2 (Paperback Edition)-Volume 20 of the ‘Purcell Society’ series Dramatic Music Part 2 contains 16 pieces by Henry Purcell for intermediate/advanced (Grades 6-8) Voice(s) String Instruments and Continuo. The collection includes (among others) At The Close Of The Evening (The Knight Of Malta) If Thou Wilt Give Me Back My Love (A Fool's Preferment) and The Danger Is Over The Battle Is Past (The Fatal Marriage). Edited under the supervision of the Purcell Society by Ian Spink.Henry Purcell was an English composer. Although incorporating Italian and French stylistic elements into his compositions Purcell'slegacy was a uniquely English form of Baroque music. He is generally considered to be one of the greatest English composers.The Purcell Society founded in 1876 is an organization dedicated to making the complete musical works of Henry Purcell available. Between 1876 and 1965 scores of all the known works of Purcell were published in 32 volumes.
39.95 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Georges Bizet: Carmen
Suite: Guitar Solo:
Instrumental Album Guitar Classical guitar Mel Bay
Classical Guitar Arrangements from Bizet's Opera Carmen. One might think that it...(+)
Classical Guitar Arrangements from Bizet's Opera Carmen. One might think that it would be impossible to arrange the music of Georges Bizet?s opera, Carmen, for solo classic guitar, but Néstor Ausqui has done it! While the guitar is an intimate and sweet-sounding instrument, it does not have a broad dynamic range; yet, as Dionisio Aguado proclaimed in his Nuevo Método para Guitarra of 1843, the classic guitar?s expansive palette of tone color gives it the ability to emulate ?a miniature orchestra?. These characteristics make the guitar the ideal instrument to reflect both the character and sensuality of the dances that occur throughout Bizet?s Carmen?Aragonaise, Habanera, Seguidillas, and Danse Bohéme?as well as Carmen?s sober ?Chant de la Mort?. Recommended for the advanced guitarist, Carmen Suite is written in standard notation with extensive digitation and occasional drop-D tuning. In Néstor Ausqui?s Carmen Suite, ??the guitar both sings like a human voice and accompanies itself, giving the work an irrefutable guitar identity. The characteristic feeling manifested in Spanish dance is now expressed through the guitar with a full and defined instrumental singularity.? ? Guillermo Rene? Alvarez Musicologist, Professor at the Instituto Superior de Mu?sica, Universidad Nacional del Litoral-Argentina
9.99 GBP - Sold by Musicroom UK | |
| Pamelia S. Phillips:
Singing for Dummies 2nd
Edition: Vocal: Vocal
Tutor Wiley Publishing, Inc
Learn to take your singing skills to the next level. Grasp the importance of pos...(+)
Learn to take your singing skills to the next level. Grasp the importance of posture and breath control. Prepare for auditions and performances. Sing along with the recorded exercises on the accompanying CD.Whether you're a beginning vocalist or a seasoned singer this practical guide gives you step-by-step instructions and lots of helpful tips hints exercises and advice on the mechanics of singing discovering your range developing technique singing in performance and maintaining vocal health.Be rock solid - get up-to-speed with the basics of singing and master posture breathing and toneGet moving and grooving - improve your singing bygetting the hang of tone resonance vowels and constonantsBelt your heart out - move on to more advanced techniques like working with your speaking voice and beltingFind your musical style - get great suggestions for singing in different genres including classical country jazz musical theatre opera pop or R&B
16.99 GBP - Sold by Musicroom UK Shipment: (stock) information on site | |
| Messe Op. 36 (2 Choeurs 2
Orgues) (WIDOR
CHARLES-MARIE) 2 Barytons, SATB, Orgue Acc (Duet) [Sheet music] Hamelle
Par WIDOR CHARLES-MARIE. Charles-Marie Widor (1844-1937) composed this Mass, Op....(+)
Par WIDOR CHARLES-MARIE. Charles-Marie Widor (1844-1937) composed this Mass, Op. 36 in 1878 for the St Sulpice church in Paris. The initial two choirs for which it was composed were comprised of around 200 and 40 voices, while the score for this version is for a choir of baritones and an SATB choir. The Organ part requires an advanced-level of ability as it contains some difficult parts. Divided into five sections, the entire work has been transposed one half step lower ‘ to avoid the awkward key of F sharp major'. These sections are: 1. Kyrie (Moderato & F# minor) 2. Gloria (Vivace & Lento, D major 3. Sanctus (Con brio, A major) 4. Benedictus ( Piú lento, A major) 5. Agnus Dei (Moderato, F# major) This really delicate and emotive Mass, Op. 36 is a piece that stands out by its majesty. Charles-Marie Widor was a great organist who did not only focus on Organ composition. From orchestra pieces to chamber music, he wrote various different compositions, including 10 symphonies for Organ, some Operas, and some Piano Concerti./ Répertoire / 2 Barytons, SATB, Orgue Acc (Duet)
20.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| The Book Of The Harp Divers Kevin Mayhew 16.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
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