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| Adam Lay Ybounden Choral SATB GIA Publications
Composed by Douglas Green. For SATB choir. Christmastide, Mary Mother of God, Qu...(+)
Composed by Douglas Green. For SATB choir. Christmastide, Mary Mother of God, Queenship of Mary, Assumption. Sacred. Easy/Medium. Text language: English. 4 pages. Published by GIA Publications
$2.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 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 | | |
| Magicke Pieces Theodore Presser Co.
Choral English Horn, Oboe, Tubular Bells, alto, bass voice, bassoon, solo Voices...(+)
Choral English Horn, Oboe, Tubular Bells, alto, bass voice, bassoon, solo Voices, soprano voice, tenor voice SKU: PR.412410740 S.A.T.B Chorus, Bass-Baritone Solo, Oboe, English Horn, Bassoon, and 3 Tubular Bells (And An Incidental Soprano and Tenor Solo Passage) (Score). Composed by Jack Beeson. Score. With Standard notation. Duration 22 minutes. Theodore Presser Company #412-41074. Published by Theodore Presser Company (PR.412410740). UPC: 680160088508. Text: Reginald Scot; Bishop Ernulf of Rochester; Anonymous; Robert Herrick. Anonymous, Robert Herrick, Ernulf of Rochester, Reginald Scot. $17.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| My First Concert: 44 Easy Guitar Pieces from 5 Centuries Guitar - Beginner Schott
Guitar - very easy to easy SKU: HL.49044752 Mein erstes Konzart: 44 le...(+)
Guitar - very easy to easy SKU: HL.49044752 Mein erstes Konzart: 44 leichte Gitarrenstucke aus 5 Jahrhunderten. Edited by Bruno Szordikowski and Peter Ansorge. This edition: Saddle stitching. Sheet music. Guitar. Die Auswahl der uberwiegend originalen Werke ist nach Epochen gegliedert und bietet so auch ein kleines Panorama der Geschichte der Gitarren- und Lautenmusik von John Dowland uber Gaspar Sanz bis zu Leo Brouwer. Children, Classical, German Edition. Softcover. 32 pages. Schott Music #ED 22050. Published by Schott Music (HL.49044752). ISBN 9783795749576. UPC: 841886023826. 9.0x12.0x0.14 inches. Giving your first concert is a special occasion for any young musician, motivating players to keep working at their instrument and music making. Making this a positive experience involves choosing pieces that are technically and musically manageable, so we have chosen 44 easy and well-known solo pieces, all tried and tested in lessons and youth music competitions. This selection of works mainly written for the guitar is arranged in periods of composition, providing a little window on the history of guitar and lute music. TEXT IN GERMAN AND ENGLISH. $17.99 - See more - Buy online | | |
| English Keyboard Music c.1600-1625 (XCVI) Keyboard Stainer and Bell
Keyboard SKU: ST.MB96 Composed by Various. Edited by Alan Brown. Library ...(+)
Keyboard SKU: ST.MB96 Composed by Various. Edited by Alan Brown. Library Volumes. Edited by Alan Brown. First published in 2014.. Pages: 240. Format: Hardback. Dimensions (mm): 330 x 254 x 26. Keyboard collection. Stainer & Bell Ltd. #MB96. Published by Stainer & Bell Ltd. (ST.MB96). ISBN 9790220223853. This volume is the first of two intended to extend the coverage of keyboard music in Musica Britannica comprehensively into the first quarter of the 17th century. (The other, MB102, includes material from the two virginal books in the Fitzwilliam Museum, Cambridge.) The present edition contains music by anonymous and a dozen or so named composers, including the complete keyboard works of Nicholas Carleton, the surviving twenty 'Miserere' canons by Thomas Woodson, and the anonymous 'Pretty ways for young beginners to look on'. The 77 complete pieces are organised by genre, including preludes, plainsong settings, voluntaries, dances and character pieces. Drawing on 22 manuscripts which mostly also transmit music by Byrd and other noted virginalists, this residue of music from these sources shows great diversity and a pleasing level of technical skill and musical interest, sufficient to enhance our wider view of English Renaissance music. $177.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Olde English Aires String Orchestra [Score and Parts] Carl Fischer
Greensleeves, Scarborough Fair - Full Score and Parts. By Anonymous. Edited by A...(+)
Greensleeves, Scarborough Fair - Full Score and Parts. By Anonymous. Edited by Amy Rosen. Arranged by Anonymous. String orchestra. For Violin I, Violin II, Violin III, Viola (Treble Clef), Viola, Cello, Double Bass, Piano. Carl Fischer Concert String Orchestra Performance Series: Medium Easy/Easy. Score and parts. 10 pages. Published by Carl Fischer.
$60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| By-by Lullay Choral SATB SATB, Piano [Octavo] GIA Publications
Composed by Jason Thoms. For SATB choir, piano reduction. Christmastide, Christm...(+)
Composed by Jason Thoms. For SATB choir, piano reduction. Christmastide, Christmas Eve, Christmas Day, Mary Mother of God. Sacred. Easy. Octavo. Text language: English. 8 pages. Published by GIA Publications
$2.20 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Johann Sebastian Bach: 6 Suites For Cello Solo
Cello [Critical Reports] Barenreiter
Composed by Johann Sebastian Bach (1685-1750), edited by Bettina Schwemer, Dougl...(+)
Composed by Johann Sebastian Bach (1685-1750), edited by Bettina Schwemer, Douglas Woodfull-Harris. For cello. Urtext of the New Bach Edition. Includes critical performing edition, critical text volume (analysis and performance notes) and facsimiles of source manuscripts (5 complete source editions). Baroque. Text language English. 327 pages. 9x12 inches. Published by Baerenreiter-Ausgaben.
(2)$62.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Fifteenth-Century Liturgical Music: II - Four Anonymous Masses Stainer and Bell
Choir SKU: ST.EC22 Edited by Margaret Bent. Library Volumes. Edited by Ma...(+)
Choir SKU: ST.EC22 Edited by Margaret Bent. Library Volumes. Edited by Margaret Bent. First published in 1979. Pages: 161. Format: Paperback. Dimensions (mm): 254 x 177 x 14. Choral Score. Stainer & Bell Ltd. #EC22. Published by Stainer & Bell Ltd. (ST.EC22). ISBN 9790220206450. English composers in the first half of the 15th-century created the unified mass cycle, and even though most of the repertoire is anonymous, a distinctly 'national' style can be recognised. The four works in this volume were probably composed between 1420 and 1440, and each possesses a long, troped Kyrie of a kind not found in continental sources. $125.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Trumpet Tunes of the English Baroque Trumpet, Piano - Intermediate Schott
Trumpet - intermediate SKU: HL.49003109 Trumpet and Piano. Edited ...(+)
Trumpet - intermediate SKU: HL.49003109 Trumpet and Piano. Edited by Gwilym Beechey. Arranged by Gwilym Beechey. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 34 pages. Schott Music #ED12312. Published by Schott Music (HL.49003109). ISBN 9790220115080. UPC: 073999867374. 9.0x12.0x0.128 inches. $18.99 - See more - Buy online | | |
| Three Stones Wilhelm Hansen
Soprano (Score) SKU: HL.283655 Soprano. Composed by Bent Sorensen....(+)
Soprano (Score) SKU: HL.283655 Soprano. Composed by Bent Sorensen. Music Sales America. Classical. Softcover. 8 pages. Duration 240 seconds. Edition Wilhelm Hansen #KP01892. Published by Edition Wilhelm Hansen (HL.283655). ISBN 9788759877098. Three Stones for female Voice was composed by Bent Sorensen in 2006. Dedicated Lore Lixenberg. Text: Anon. Programme note: Three stones is written on request by Lore Lixenberg to whom the little piece is dedicated. It is three very small songs for solo voice, but the singer is also - while singing - playing on 'traces of instruments' - Antique cymbal, violin and stones. The texts for all three songs are anonymous - the second song use an anonymous english love poem. In the first and the third songs the text istaken from estruscan writing on stones. What the text is about, nobody knows. Enigmas written in stone! Bent Sorensen. $10.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Schubert & Schumann Song Arrangements Orchestra [Study Score / Miniature] Boosey and Hawkes
Orchestra (Study Score) SKU: HL.48024129 For Chamber Orchestra. Co...(+)
Orchestra (Study Score) SKU: HL.48024129 For Chamber Orchestra. Composed by Franz Schubert and Robert Schumann. Arranged by Benjamin Britten. Boosey & Hawkes Scores/Books. Classical. Softcover. 32 pages. Boosey & Hawkes #M060132568. Published by Boosey & Hawkes (HL.48024129). ISBN 9781784542344. UPC: 888680708894. 7.25x10.25 inches. Britten's arrangements of Schubert's The Trout (op 32/D550) for small orchestra, and Schumann's Spring Night (op 39 no 12) for chamber orchestra, dating from 1942, are settings of anonymous English translations. The new edition includes the original German words (Schubart, Eichendorff), as many performers and audiences will prefer the songs in the original language. In his preface, Nicholas Clark, Librarian at the Britten-Pears Foundation, speculates on why the songs were set in English and on the possibility that the translator was Peter Pears, commenting that “the English language settings allowed [Britten] to edge away from existing versions of the songs, to assist him in imprinting his own unique mark on both works.” The Trout is scored for 2 clarinets & strings; Spring Night for flute, oboe, 2 clarinets, bassoon, 2 horns, 2 trumpets, trombone, triangle, harp (or piano) and strings. $23.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Adam Lay Ybounden Choral SSATBB SSATBB, Piano - Intermediate GIA Publications
SSATBB choir, piano reduction - Intermediate SKU: GI.G-8398 Composed by C...(+)
SSATBB choir, piano reduction - Intermediate SKU: GI.G-8398 Composed by Charles Snider. Christmastide, Christmas Vigil, Christmas Night, Mary Mother of God. Christmas. Sacred. Octavo. 4 pages. GIA Publications #8398. Published by GIA Publications (GI.G-8398). English. Text Source: Anonymous, English, 15th c. Bring new life to your Lessons and Carols service through the ancient beauty of this 15th-century English text, which reflects on the mystery of the sin of Adam that led to Mary’s queenship—thanks be to God! A pronunciation guide and paraphrase are provided. $2.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| How To Play Bagpipe Method and Songbook with CD Bagpipe [Sheet music + CD] Santorella Publications
How To Play Bagpipe Method and Songbook with CD for bagpipe. This edition: Paper...(+)
How To Play Bagpipe Method and Songbook with CD for bagpipe. This edition: Paperback. Instructional. How to Play series. Method. Book and CD. Text Language: English. 48 pages. Published by Santorella Publications
$14.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Three Stages Vocal Score Satb(pelle Gudmundsen-holmgreen) Choral SATB - Advanced Wilhelm Hansen
SATB Choir (Vocal Score) - Grade 5 SKU: HL.14043777 Composed by Pelle Gud...(+)
SATB Choir (Vocal Score) - Grade 5 SKU: HL.14043777 Composed by Pelle Gudmundsen-holmgreen. Music Sales America. Hymns & Chorals. Softcover. Composed 2013. 100 pages. Edition Wilhelm Hansen #WH30793. Published by Edition Wilhelm Hansen (HL.14043777). ISBN 9788759815878. UPC: 888680695682. 8.5x11.75x0.265 inches. English. Three Stages - Quodlibet for 12 Voices was composed by Pelle Gudmundsen-Holmgreen in 2003. Commissioned by and written for Ars Nova Copenhagen. Text by William Shakespeare, Thomas Nashe, anonymous (English), Clement Janequin, Steen Steensen Blicher, street cries. Additional cries from Danish Street Cries (1860-1985) edited and collected by Vagn Holmboe. $48.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Exceptional Classics for Guitar Guitar Classical guitar [Sheet music] Santorella Publications
By Various. Arranged by Robert Tarchara. For guitar. This edition: Paperback. Co...(+)
By Various. Arranged by Robert Tarchara. For guitar. This edition: Paperback. Collection. Classical. Book. Text Language: English. 48 pages. Published by Santorella Publications
$12.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Classics for the Guitar in Tab Guitar notes and tablatures Classical guitar Santorella Publications
Classics for The Guitar In Tab composed by Various. Arranged by Jared Walker. Fo...(+)
Classics for The Guitar In Tab composed by Various. Arranged by Jared Walker. For guitar. This edition: Paperback. Collection. Classical. Book. Text Language: English; Standard notation and tablature. 128 pages. Published by Santorella Publications
(1)$17.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Classical Masterpieces for Guitar Guitar notes and tablatures Classical guitar [Textbook] Santorella Publications
By Various. Arranged by Robert Tarchara. For guitar. This edition: Paperback. Co...(+)
By Various. Arranged by Robert Tarchara. For guitar. This edition: Paperback. Collection. Classical. Book. Text Language: English; Standard notation and tablature. 32 pages. Published by Santorella Publications . Textbook. Classical.
$9.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Greensleeves To A Ground Treble (Alto) Recorder, Piano - Intermediate Schott
14 Divisions. Composed by Anonymous. Edited by Kathryn Bennetts and Peter Bo...(+)
14 Divisions. Composed by
Anonymous. Edited by Kathryn
Bennetts and Peter Bowman.
Arranged by Yeo Yat-Soon.
This edition: Saddle
stitching. Sheet music.
Schott Student Edition.
Classical. Softcover. 20
pages. Schott Music #SE1041.
Published by Schott Music
$13.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Student Singer Voice solo [Sheet music + CD] Hal Leonard
(25 Songs in English for Classical Voice With a CD of Piano Accomp). Edited by R...(+)
(25 Songs in English for Classical Voice With a CD of Piano Accomp). Edited by Richard Walters. Vocal Collection. Softcover with CD. 72 pages. Published by Hal Leonard
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Greensleeves to a Ground Descent (Soprano) Recorder, Piano - Intermediate Schott
14 Divisions. Composed by Anonymous. Edited by Kathryn Bennetts and Peter Bowm...(+)
14 Divisions. Composed by
Anonymous. Edited by Kathryn
Bennetts and Peter Bowman.
Arranged by Yeo Yat-Soon.
This edition: Saddle
stitching. Sheet music.
Schott Student Edition.
Classical. Softcover. 20
pages. Schott Music #SE
1048. Published by Schott
Music
$13.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Dawning Light Zimbel Press
Eight Women's Voices SKU: SU.80101375 For Eight Women's Voices. Co...(+)
Eight Women's Voices SKU: SU.80101375 For Eight Women's Voices. Composed by Carson Cooman. Vocal/Choral, Vocal Chamber Music, Vocal/Choral, Secular Choral. Choral Score. Zimbel Press #80101375. Published by Zimbel Press (SU.80101375). The Dawning Light (2015), commissioned and premiered by Lorelei Ensemble, uses as its text traditional songs and poems of the Inuit-Yupik (Eskimo) in anonymous English translations. Two outer vocalise (wordless) movements frame the five texted movements. The movements may also be performed individually or in any subset combinations. Originally composed for eight women's voices, the music may also be performed by larger (choral) forces. Instrumentation: Eight Women's Voices. Duration: 20' Composed: 2015 Published by: Zimbel Press. $17.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Student Singer Voice solo [Sheet music + Audio access] Hal Leonard
25 Songs in English for Classical Voice - High Voice Edition. Composed by Variou...(+)
25 Songs in English for Classical Voice - High Voice Edition. Composed by Various. Edited by Richard Walters. Vocal Collection. Classical. Softcover Audio Online. 72 pages. Published by Hal Leonard
$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Uji River (Anonymous Japanese Poem) Choral CD [CD] Alfred Publishing
Asian Folk Melody, arr. With English text, by Ruth Morris Gray. For Choir. Chora...(+)
Asian Folk Melody, arr. With English text, by Ruth Morris Gray. For Choir. Choral Octavo. Choral Designs. Multicultural. CD. Published by Alfred Publishing.
(1)$24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Bob Burroughs : The Wexford Carol Choral SATB SATB, Keyboard [Part] Carl Fischer
For SATB Voices with Keyboard Accompaniment. By Anonymous. Arranged by Bob Burro...(+)
For SATB Voices with Keyboard Accompaniment. By Anonymous. Arranged by Bob Burroughs. Choir (SATB, keyboard). For SATB Chorus, Keyboard. Choral. Choral Part(s). 7 pages. Published by Carl Fischer.
$2.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| English Renaissance Dances Brass ensemble [Score and Parts] Editions Marc Reift (Swiss import)
By Anonymous. Brass Ensemble. For brass quintet: 2 trumpets, horn, trombone and ...(+)
By Anonymous. Brass Ensemble. For brass quintet: 2 trumpets, horn, trombone and tuba. Swiss import. Level: 3. Score and parts. Published by Editions Marc Reift. (EMR 5202)
$22.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
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| Bent Sørensen: Three
Stones: Soprano: Vocal
Work [Vocal Score] Wilhelm Hansen
Three Stones for female Voice was composed by Bent Sørensen in 2006. Dedicate...(+)
Three Stones for female Voice was composed by Bent Sørensen in 2006. Dedicated Lore Lixenberg. Text: Anon.Programme note: 'Three stones is written on request by Lore Lixenberg to whom the little piece is dedicated. It is three very small songs for solo voice but the singer is also - while singing - playing on 'traces of instruments' - Antique cymbal violin and stones. The texts for all three songs are anonymous - the second song use an anonymous english love poem. In the first and the third songs the text is taken from estruscan writing on stones. What the text is about nobody knows. Enigmas written in stone!'Bent Sørensen
11.50 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Schubert & Schumann Song
Arrangements: Chamber
Ensemble: Study Score [Sheet music] Boosey and Hawkes
Hawkes Pocket Scores HPS 1562-Britten?s arrangements of Schubert?s The Trout (o...(+)
Hawkes Pocket Scores HPS 1562-Britten?s arrangements of Schubert?s The Trout (op 32/ D550) for small orchestra and Schumann?s Spring Night (op 39 no 12) for chamber orchestra dating from 1942 are settings of anonymous English translations. The new edition includes the original German words (Schubart Eichendorff) as many performers and audiences will prefer the songs in the original language. In his preface Nicholas Clark Librarian at the Britten-Pears Foundation speculates on why the songs were set in English and on the possibility that the translator was Peter Pears commenting that ?the English language settings allowed [Britten] to edge away from existing versions of the songs toassist him in imprinting his own unique mark on both worksThe Trout is scored for 2 clarinets & strings; Spring Night for flute oboe 2 clarinets bassoon 2 horns 2 trumpets trombone triangle harp (or piano) and strings.
23.99 GBP - Sold by Musicroom UK | |
| Pelle
Gudmundsen-Holmgreen:
Three Stages: SATB: Vocal
Score Choral SATB [Vocal Score] - Advanced Wilhelm Hansen
Three Stages - Quodlibet for 12 Voices was composed by Pelle Gudmundsen-Holmgree...(+)
Three Stages - Quodlibet for 12 Voices was composed by Pelle Gudmundsen-Holmgreen in 2003.Commissioned by and written for Ars Nova Copenhagen. Text by William Shakespeare Thomas Nashe anonymous (English) Clèment Janequin Steen Steensen Blicher street cries. Additional cries from 'Danish Street Cries' (1860-1985) edited and collected by Vagn Holmboe.
32.50 GBP - Sold by Musicroom UK | |
| Philip Lawson: Rejoice
and Be Merry: Mixed
Choir: Vocal Score Choral SATB SATB Hal Leonard
An anonymous English text is the basis for this buoyant concert or Christmas wor...(+)
An anonymous English text is the basis for this buoyant concert or Christmas work. Featuring mixed meters and contemporary harmonies this work provides both challenges and rewards to the singers. Performance Time: Approx. 3:10.
8.75 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| N. Temperley: Christmas
Is Coming: Vocal Score Choral [Vocal Score] Stainer and Bell
Both a dedicated carol singer and an authority on the history of English music ...(+)
Both a dedicated carol singer and an authority on the history of English music Nicholas Temperley here offers a unique book of 37 carols dating from the fifteenth century to the present.For over fifty years he has sung edited and composed carols each Christmas and in Christmas is Coming the fruit of his enthusiasm is combined with his wealth of knowledge to produce an outstanding and original new collection. As John Rutter observes in his Foreword the book does not pointlessly duplicate what can be found in many other carol books but has a personality and purpose of its own.Twenty-two fresh and practical arrangements include carols from Austria France Germany Mexico Poland and the USA alongside music both rare and familiar from the rich heritage of the English carol tradition. As well as eight of his personal favourites from J. S. Bach to Charles Ives the author includes seven new compositions of his own settings of medieval and traditional texts that reveal his skill as a choral composer whose command of style ranges from the humorous to the profound.In addition to sample programmes and translations there are invaluable notes on the performance and history of individual items plus an historical summary of the genre as a whole: everything in fact to make Christmas is Coming an indispensable companion for singers who wish to enrich the seasonal repertoire for concerts churches and traditional Yuletide carolling.
11.45 GBP - Sold by Musicroom UK | |
| Anonymous: Prayer of
Thanksgiving: SATB: Vocal
Score Choral SATB SATB, Piano [Vocal Score] Schirmer
Based on an old Dutch melody printed by Adrianus Valerius in Nederlandtsche Gede...(+)
Based on an old Dutch melody printed by Adrianus Valerius in Nederlandtsche Gedenck-clank Harlem 1626 Prayer Of Thanksgiving has been arranged here by Eduard Kremser for SATB choir with Piano accompaniment.The English verison is by Dr. Th. Baker.
11.25 GBP - Sold by Musicroom UK | |
| An Anthology Of English
Music For Harp: Harp:
Instrumental Album Harp Stainer and Bell
Book 1-Edited by David Watkins Professor of Harp at the Guildhall School in Lon...(+)
Book 1-Edited by David Watkins Professor of Harp at the Guildhall School in London. BR>CONTENTSANONYMOUS: Toy; Watkin AleBULL John: Praeludium; Praeludium (dor)BYRD William: PavanaDOWLAND John: Lachrimae antiquae pavan; My Lady Hunsdon's puffeFARNABY Giles: Giles Farnaby's dreame; His rest (Galliard); Tell mee DaphneGIBBONS Orlando: Lady Hatton's GalliardJOHNSON Robert: Alman (1); Alman (2)MORLEY Thomas: AlmanPEERSON Martin: Alman; Fall of the Leafe
9.75 GBP - Sold by Musicroom UK | |
| LIBER FRATRUM
CRUCIFERORUM LEODIENSIUM Orgue Ut Orpheus
Contents: 54 compositions by William Brown (Wilhelmo Brouno), Christian Erbach(?...(+)
Contents: 54 compositions by William Brown (Wilhelmo Brouno), Christian Erbach(?), Andrea Gabrieli, Claudio Merulo, Vincenzo Pellegrini, Peter Philips, Gerardus Scroncx, Paul Siefert, Jan Pieterszoon Sweelinck and Anonymouses Editor: Jean Ferrard Publication Date: 2008 Description Among the sources of seventeenth century keyboard music, the Book of the Crosiers of Liège occupies an exceptional position since it contains some unica of composers as important as Jan Pieterszoon Sweelinck and Peter Philips. It is also a remarkable manuscript in that this is one of the earliest appearances in organ music of accurate indications regarding registrations. Since its first edition in 1910, as the last volume of Alexandre Guilmant’s Archives des Maîtres de l’Orgue, musicological research has established new concordances, made some new attributions and proposed a few hypotheses which must still be confirmed. In this way, the principal document concerning the organ in Liège and its music will again be accessible as a whole, with editorial remarks and commentaries, that seek to provide the reader with the most recent findings of musicological research as well as a rigorous and practical musical text. [Introductory texts in English and French] / Partitions classique / Piano - instruments à clavier / Orgue / Ut Orpheus
120.80 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Greenberg: An English
Medieval And Renaissance
Songs Book: Voice: Mixed
Songbook Piano, Voice Dover Publications
This treasury of part songs and sacred music for one to six voices will delight ...(+)
This treasury of part songs and sacred music for one to six voices will delight all lovers of medieval and Renaissance music. Containing a wealth of both religious and secular music from the 12th to the 17th centuries the collection covers a broad range of moods. Approximately half the songs are secular some from the popular tradition and others from the courtly poets and musicians surrounding such musically inclined monarchs. Some of the music contained is printed for the first time. Edited by Noah Greenberg
13.20 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Snell Keith - Belwin
Master Duets - Trombone
Easy I - Trombone 2 Trombones (duet) Alfred Publishing
A proven source of graded duets for both the student and teacher of brass and wo...(+)
A proven source of graded duets for both the student and teacher of brass and woodwind instruments. Each volume contains works from the Renaissance, Baroque and Classical periods, folk songs and traditional tunes, and a selection of original compositions by Keith Snell in a variety of styles. A useful source of repertoire. Contains: Allegro (Handel) * Andante (Telemann) * Andantino (Diabelli) * Appalachian Folk Song (American Traditional) * Aria (Speer) * Ballad (Tennessee Folk Tune) (Traditional) * Chorale (Speer) * Concert Duet in Four Movements (Snell) * Elizabethan Dance (Farnaby) * Etude (Snell) * Gavotte (Handel) * March (Anonymous) * March from Judas Maccabeus (Handel) * Minuet (Handel) * Mourish Dance (Susato) * Musette from English Suite No. 2 (Bach) * New England Chanty (American Traditional) * Old Tin Cans (American Folk Song) * Processional (Snell) * Renaissance Dance (Anonymous) * Ronde (Susato) * Toccata (Snell) * Waltz (Snell) * Wildwood Flower (American Folk Song).
11.60 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Hywel Davies: Hey! Now
Now Now: SATB: Vocal
Score Choral SATB [Vocal Score] - Intermediate Boosey and Hawkes
Text: Anonymous 15th Century-This carol written for the choir Canticum is an u...(+)
Text: Anonymous 15th Century-This carol written for the choir Canticum is an upbeat setting of a rarely-used 15th-century English text and would be an exciting new addition to any mixed-voice choir’s Christmas repertoire. A ‘sung-whisper’ repeating phrase in the basses through most of the carol adds an air of mystery and momentum as the text which uses some early English language describes the coming of Jesus.
3.75 GBP - Sold by Musicroom UK | |
| Suo Gân Choral SATB SATB, Organ Novello & Co Ltd.
The Welsh traditional song Suo Gân is here arranged for SATB Chorus and Organ A...(+)
The Welsh traditional song Suo Gân is here arranged for SATB Chorus and Organ Accompaniment by Stephen Cleobury. Written by an anonymous composer, in Welsh it literally means 'Lullaby'. This beautiful arrangement is sure to be a favourite with audiences and choirs alike. It features lyrics in both English and Welsh.This traditional Welsh song has been a favourite within the repertoire for many years, after having been first documented by folklorist Robert Bryan. With versions sung by Charlotte Church, Katherine Jenkins and the Choir of King's College, Cambridge, Suo Gân is one of the most recognisable and well-loved tunes in the Welsh and English repertoire. This new arrangement by Stephen Cleobury will be a welcome addition to any choir's performance, with the combination of such a new take on an established classic with simple beautiful music. / Choeur Mixte (SATB) Et Orgue
4.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Stephen Main: Blessed Be
that Maid Mary: Mixed
Choir a Cappella: Vocal
Score Choral SATB [Vocal Score] Walton Music
The text for “Blessed Be That Maid Mary” comes from an anonymous 15t...(+)
The text for “Blessed Be That Maid Mary” comes from an anonymous 15th century English author and makes liberal use of a common literary device of the time: mixing English and Latin phrases together. Set with a gentle melody like a lullaby the Christmas work evokes warmth and a sense of quiet wonder. Duration: ca. 4:15
1.95 GBP - Sold by Musicroom UK | |
| Stephen Cleobury: Suo
Gân: SATB: Vocal Score Choral SATB SATB, Organ [Vocal Score] - Easy Novello & Co Ltd.
The Welsh traditional song Suo G n is here arranged for SATB Chorus and Organ Ac...(+)
The Welsh traditional song Suo G n is here arranged for SATB Chorus and Organ Accompaniment by Stephen Cleobury. Written by an anonymous composer in Welsh it literally means 'Lullaby'. This beautiful arrangement is sure to be a favourite with audiences and choirs alike. It features lyrics in both English and Welsh. This traditional Welsh song has been a favourite within the repertoire for many years after having been first documented by folklorist Robert Bryan. With versions sung by Charlotte Church Katherine Jenkins and the Choir of King's College Cambridge Suo G n is one of the most recognisable andwell-loved tunes in the Welsh and English repertoire. This new arrangement by Stephen Cleobury will be a welcome addition to any choir's performance with the combination of such a new take on an established classic with simple beautiful music.
3.25 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Snell Keith - Belwin
Master Duets - Flute Easy
I - Flute Ensemble 2 Flutes (duet) Alfred Publishing
A proven source of graded duets for both the student and teacher of brass and wo...(+)
A proven source of graded duets for both the student and teacher of brass and woodwind instruments. Each volume contains works from the Renaissance, Baroque and Classical periods, folk songs and traditional tunes, and a selection of original compositions by Keith Snell in a variety of styles. A useful source of repertoire. Contains: Adagio (Mozart) * Allegretto (Haydn) * Bouree (Telemann) * Concert Duet in Three Movements (Snell) * Dance (Snell) * Daniel Cowper (English Country Dance) * English Folk Tune (Traditional) * The Hunters of Kentucky (American Traditional) * Intrada (Graupner) * Legend (Snell) * March (Anonymous) * Minuet in G (Bach) * The Music Box (Snell) * Norwegian Folk Song (Traditional) * Red River Valley (American Traditional) * Scottish Folk Song (Traditional) * Sea Shanty (American Traditional) * Serenade (Turk) * Three German Dances (Haydn).
11.60 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Shinichi Suzuki: Suzuki
Organ School 1: Organ:
Instrumental Tutor Organ
The first classical Organ method for children the Suzuki Organ School is based ...(+)
The first classical Organ method for children the Suzuki Organ School is based on Dr. Shinichi Suzuki's Mother Tongue Method. The Suzuki Method® of Talent Education is based on Suzuki's view that every child is born with ability and that people are the product of their environment. According to Suzuki a world-renowned violinist and teacher the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school such as the Suzuki Organ School. The student listens to the recordings and work with their Suzuki organ teacher to develop their potential as a musician and as a person.This Suzuki Book & CD is essential for Suzuki Organ lessons. In certain pieces the authors have placed small phonetic signs above the notes to indicate differentiated non legato playing. In order to develop pedal technique pedal melodies are included between every manual piece. The included performance CD for Volume 1 is a great tool for Suzuki Organ lessons encouraging practice while featuring recordings by Lars Hagström.Titles: 'A Little Fairytale' (Rönnberg) 'Allegretto' (Czerny) 'Amaryllis' (Ghys) 'Chant Arabe' (Anonymous) 'Cuckoo' (German Folk Song) 'Go Tell Aunt Rhody' (Folk Song) 'Gossip Tune' (German Folk Song) 'Herdsman's Song' (Danish Folk Song) 'Hippopotamus' (Rönnberg) 'Hot Dog' (English Folk Song) 'Lightly Row' (German Folk Song) 'Little Playmates' (Chwatal) 'Little Snail' (Traditional) 'London Bridge' (English Folk Song) 'Lullaby' (German Folk Song) 'Mary Had a Little Lamb' (Folk Song) 'My School Day' (Folk Song) 'Paris' (French Folk Song) 'Piglet' (G. Rönnberg 'Song of the Wind' (Folk Song) 'Spain' (Traditional) 'The Fly' (Traditional) 'The Musical Box' (Rönnberg) 'Twinkle Twinkle Little Star Theme and Variations' (Suzuki). 'Allegretto ' 'Go Tell Aunt Rhody ' and 'Lullaby' are National Federation of Music Clubs Festivals Bulletin 2016--2020 selections.
18.95 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Johann Jakob Froberger:
Keyboard and Organ Works
from Copied Sources:
Organ: Organ Barenreiter
Neue Ausgabe sämtlicher Werke 5 2-At the cutting edge of scholarship.Detailed e...(+)
Neue Ausgabe sämtlicher Werke 5 2-At the cutting edge of scholarship.Detailed explanatory notes.Johann Jacob Froberger who lived from 1617 to 1667 developed a style of composition representing a synthesis of Italian French and English influences thereby setting new standards at that time. Only Jan Peterszoon Sweelinck can match Froberger in terms of significance for 17th century keyboard music.The text to each volume of the complete edition of Froberger?s Organ and Keyboard music is published in German and English comprising a critical commentary as well as a detailed foreword explaining the scope and subdivision of the edition and the editorial techniques.Also information on performance practice on instruments of the time and on ornamentation is included as well as details on Froberger?s biography.Volume V.2 like the previously published volume V.1 contains the musical text from an anonymous 17th century copy which was returned to the Berlin Singakademie from Kiev in 2001. It is divided into works of definitive authenticity new readings and two appendices containing works of doubtful authenticity and spurious arrangements.
55.50 GBP - Sold by Musicroom UK | |
| Leos Janacek: The Diary
of One Who Disappeared:
Upper Voices: Vocal Work Piano, Voice [Sheet music] Barenreiter
for Tenor Alto Three Female Voices and Piano-Janácek?s intimate chamber-music...(+)
for Tenor Alto Three Female Voices and Piano-Janácek?s intimate chamber-music drama about the passionate love of a simple farm boy for a beautiful gypsy girl is one of his great vocal masterpieces.This cycle of 22 songs for tenor (an alto and three female voices are added in three numbers) was composed on a setting of poems that were published anonymously. It was not until 80 years later that their author was identified as the regional poet and writer Ozef Kalda.The cycle also contains theatrical elements such as the alto entrance and exit cues and lighting effects. Composed in 1917-19 the ?Diary? was premièred in Brno in 1921 from a manuscript prepared by Gustav Homola.The same manuscriptserved as a basis for the first edition which was issued by the Brno publisher Oldrich Pazd rek in 1921 as well as for this current first Urtext edition.First Urtext edition with a detailed Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editorSinging translations in German (by Max Brod) and English (by Bernard Keefe)Numbers IX to XI which include the alto and three female voices also available online
22.00 GBP - Sold by Musicroom UK | |
| Francis Pott: There Is No
Rose Of Such Virtue:
SATB: Vocal Score Choral SATB SATB [Vocal Score] Novello & Co Ltd.
(Novello New Choral Series)-There is no rose of such virtue is an anonymous medi...(+)
(Novello New Choral Series)-There is no rose of such virtue is an anonymous mediaeval text already well known through beautiful settings by Britten (in his Ceremony of Carols) John Joubert and others. The poem is ‘macaronic’ (it presents a verse in English followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting the second gives the melody to the tenors and surrounds them with hushed wordless writing for the other parts and the third explores a freely canonic relationshipbetween the tenor and soprano lines before carrying the previous verse-endings to a higher more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse where the texture of the music attenuates again to four parts and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence.Francis Pott (b. 1957) began musical life as a chorister at New College Oxford. He held open music scholarships at Winchester College and at Magdalene College Cambridge where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda’s College Oxford and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music University of West London later leading research across the University’s Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in
2.99 GBP - Sold by Musicroom UK | |
| Roger Quilter: Fair House
Of Joy In D Flat op.
12/7: Voice: Vocal Work [Vocal Score] Boosey and Hawkes
A terrific song in D flat completed in 1908 by the great English vocal composer...(+)
A terrific song in D flat completed in 1908 by the great English vocal composer Roger Quilter. He was inspired by a 16th Century traditional text by an anonymous poet which he has set to music for Voice and Piano creating an evocative and stirring work.
6.50 GBP - Sold by Musicroom UK | |
| Riu Riu Chiu: 3-Part
Choir: Vocal Score Choral 3-part [Vocal Score] Hal Leonard
Here is a setting of the anonymous 16th-century Spanish carol with a secular Eng...(+)
Here is a setting of the anonymous 16th-century Spanish carol with a secular English text. Available: 2-Part 3-Part Mixed. Performance Time: Approx. 2:00.
11.25 GBP - Sold by Musicroom UK | |
| Lennox Berkeley: Low
Lands Of Holland: Voice:
Vocal Work Piano, Voice [Sheet music] Chester
For Solo Voice and Piano.There are various versions of this anonymous ballad tha...(+)
For Solo Voice and Piano.There are various versions of this anonymous ballad that has its own traditionalmelody. Berkeley provided a folk-like setting in this song for Sophie Wyss (1897-1983) the Swiss sopranoliving in England who gave important premieres of Britten.Wyss and Berkeley gave the first performance in a BBC broadcast on 13 July 1947.He had already dedicated ‘Tant que mes yeux’ Op. 14 No.2/6 to her and withhimshe gave the first performance of that song as well as ‘Ode du premier jour de mai’ Op. 14 No.2/7 at the Fyvie Hall London on 20 February 1945. Those two songswere published performed and recorded but ‘The LowLands of Holland’ has beenneglected. It comes as close as Berkeley ever got to the English folk song tradition.This edition is based on the copyist’s score at the British Library and includes thecorrections thecomposer provided with it.
10.99 GBP - Sold by Musicroom UK | |
| Harald Genzmer:
Greensleeves GeWV 261:
Treble Recorder: Score Schott
Variations on an Old Folk Song-Commissioned by the Schott publishing house the ...(+)
Variations on an Old Folk Song-Commissioned by the Schott publishing house the present variations on the song Greensleeves were written in 2000 by Genzmer who seized on the suggestion to write a cycle of variations on this Old English melody which had often served as a theme for variations in music history as for example in the famous anonymous cycle 'Greensleeves to a ground' (around 1700). Genzmer keeps the theme simple yet with great virtuosity and original harmony. All parts are written in a linear fashion. The four variations observe almost in a classical manner the principle of increasing differentiation and acceleration of therhythm.Variation 1 uses crotchets and quavers as well as semiquaver triplets whereas Variation 2 uses semiquavers throughout and Variation 3 the somewhat faster semiquaver triplets. Variation 4 stays on this fast rhythmic level with semiquavers and semiquaver triplets. A rewarding piece for the 'Jugend musiziert' competition as well as for advanced lessons.
14.50 GBP - Sold by Musicroom UK | |
| There Is No Rose Of Such
Virtue Choral SATB Novello & Co Ltd.
There is no rose of such virtue is an anonymous mediaeval text, already well kno...(+)
There is no rose of such virtue is an anonymous mediaeval text, already well known through beautiful settings by Britten (in his Ceremony of Carols), John Joubert and others. The poem is 'macaronic' (it presents a verse in English, followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting, the second gives the melody to the tenors and surrounds them with hushed, wordless writing for the other parts, and the third explores a freely canonic relationship between the tenor and soprano lines before carrying the previous verse-endings to a higher, more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse, where the texture of the music attenuates again to four parts, and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence. Francis Pott (b. 1957) began musical life as a chorister at New College, Oxford. He held open music scholarships at Winchester College and at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist, Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda's College, Oxford, and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music, University of West London, later leading research across the University's Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in over three dozen countries worldwide, published by four major UK houses and released extensively on CD. Winner of four national composition awards, in 1997 he received first prize in the piano solo section of the S. S. Prokofiev Composing Competition, Moscow. In 2006 and 2011 he was a nominated finalist in the BASCA/BBC Annual Composer Awards. In summer 2012 he was winner of the international composing competition of the Cheltenham Festival, which sought new piano variations on the arioso song Bist du bei mir, well known in the arrangement by J. S. Bach. Francis lives with his wife and two children on the outskirts of Winchester. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. / Choeur Mixte (SATB)
4.52 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Dominick Argento:
Farewell This World!:
TTBB: Vocal Score Choral TTBB [Vocal Score] Boosey and Hawkes
from Te Deum (Verba Domini cum verbis populi)-The anonymous Middle English text ...(+)
from Te Deum (Verba Domini cum verbis populi)-The anonymous Middle English text is a beautiful poignant contemplation of mortality and Argento's setting of it casts a quiet haunting spell. The men's chorus is occasionally joined by an insistent single chime note. The complete major work Te Deum (979-0-051-32380-7) was performed at the 2017 National ACDA Conference in Minneapolis.
2.50 GBP - Sold by Musicroom UK | |
| Andrew Cusworth: Adam Lay
Ybounden: SAB: Vocal
Score Choral 3-part SAB [Sheet music] Novello & Co Ltd.
Andrew Cusworth's Adam Lay Ibounden is a work for Unaccompanied SAB Choir a set...(+)
Andrew Cusworth's Adam Lay Ibounden is a work for Unaccompanied SAB Choir a setting of an anonymous 15th century English text. A performance lasts around 1 and a half minutes. This short setting of a well-known text is only 34 bars long but is nevertheless an attractive piece for choirs of sopranos altos and baritones. Each voice is allocated the tune which provides an effective setting appropriate to sing after the traditional first lesson at a service of Nine Lessons and Carols. - Sunday by Sunday
2.25 GBP - Sold by Musicroom UK | |
| Benjamin Britten: A
Ceremony Of Carols:
Children's Choir:
Instrumental Work Harp SATB, Harp Boosey and Hawkes
Ein Kranz von Lobechören-This is an unusual setting for treble voices and harp....(+)
Ein Kranz von Lobechören-This is an unusual setting for treble voices and harp. The words of the carols are largely the product of mostly anonymous 15th and 16th century writers. They retain their originality by Britten's extensive use of old English language. The work opens and ends with the choir processing to plainsong and the sections in-between deal with the traditional stories surrounding the birth of Christ.
14.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Johann Sebastian Bach:
Cantata No. 1 - BWV 1:
Orchestra: Study Score Orchestra Barenreiter
Wie Schön Leuchtet Der Morgenstern (How Bright And Fair The Morning Star) BWV 1...(+)
Wie Schön Leuchtet Der Morgenstern (How Bright And Fair The Morning Star) BWV 1. Cantata for the Feast of Annunciation Day.The cantata ? Wie Schön Leuchtet Der Morgenstern? BWV 1 was written for 25 March 1725 when the Feast of the Annunciation of the Blessed Mary coincided with Palm Sunday. It forms the conclusion of Bach?s cantata cycle of 1724/25.The anonymous librettist retained the outer verses 1 and 7 of Philipp Nicolai?s text (1599) which is assigned to the feast of Epiphany according to old tradition but was also sung at the Annunciation of the Blessed Mary. Verses 2 to 6 form the basis for the Tenor and Bassrecitatives and the Soprano and Tenor arias.Bach?s composition has a particularly festive brilliance with his use of 2 Horns 2 Oboes Da Caccia and the two concertante solo Violins. The Violins? lively figurations clearly reflect an image of the shining morning star.- Urtext of the New Bach Edition.- Original German text with English singing translation.- Idiomatic and easy-to-play Piano reduction.- Performance material (BA10001) vocal score (BA10001-90) & study score (TP1001) available for sale.
10.00 GBP - Sold by Musicroom UK | |
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