SKU: PE.EP12569
ISBN 9790014139773. German.
take nine by Bernhard Gander is an 12-minute work for a 12-part ensemble scored for: BCl(Cl), CbCl, Cbsn(Bsn) : Hn, Tpt, Tba : Perc : Pf : Vln, Vla, Vlc, DB. The work is based on rhythms in 9/16 and 9/8 time, but also 8/16, 8/8, 10/16 and 10/8 beats, which may seem complex at first, but sounds transparent to the audience. The main musical inspirations of Bernhard Gander are rock and heavy metal along with the jazz classics Take Five and Blue Rondo a la Turk by Dave Brubeck and Paul Desmond.
take nine was commissioned by the Ensemble Intercontemporain and premiered on 23 March 2012 at the Centre Pompidou, Paris conducted by Pablo Heras-Casado.
The full score (EP 125569) is available for sale as part of the Peters Contemporary Library. The performance material can be hired. This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.
SKU: CF.BPS146
ISBN 9781491161593. UPC: 680160920266.
The Courageous Nine was written in recognition of nine students from North Central High School Band in Lebeau, Louisiana who came to the Louisiana Music Educators Association District Three Assessment. The piece is scored for a large group or a group with limited instrumentation. Although the work features the percussion section, care should be taken to make sure the percussion section does not overpower the band.The Courageous Nine was written in recognition of nine students from North Central High School Band in Lebeau, Louisiana who came to the Louisiana Music Educators Association District Three Assessment.  The piece is scored for a large group or a group with limited instrumentation. Although the work features the percussion section, care should be taken to make sure the percussion section does not overpower the band. .
SKU: TA.TSPB-37
ISBN 9780976434481.
Take your percussion fundamentals to the NEXT LEVEL with exercises students actually look forward to! Nine Minute Drill picks up where its predecessor, Five Minute Drill, leaves off with a series of next level exercises for practice pad and mallet keyboard. Take intermediate students through the paces with their technique, rudiments, and ultimately their musicianship. This product includes engaging play-along tracks at a variety of styles and tempos. Set up your pads or mallet instruments, press PLAY...and away you go! More fun than any metronome alone could ever be, these tracks will engage students in a way that only real musical compositions can. INCLUDED: * 22 comprehensive exercises for practice pad and mallet keyboard * Play-along tracks for each exercise at 3 different tempos * Data tracking tools so you can record your progress * Helpful tips and techniques anyone can benefit from.
SKU: HL.298905
ISBN 9781540059901. UPC: 888680955274. 9.0x12.0x0.556 inches.
This updated second edition features 100 songs from the silver screen in larger-than-usual fake book notation and all in the key of C. Songs include: Born Free • Chariots of Fire • City of Stars (from La La Land) • Endless Love • Footloose • Ghostbusters • Happy (from Despicable Me 2) • I Will Always Love You (from The Bodyguard) • Theme from Jaws • Let It Go (from Frozen) • A Million Dreams (from The Greatest Showman) • My Heart Will Go On (Love Theme from Titanic) • Nine to Five • Over the Rainbow (from The Wizard of Oz) • Shallow (from A Star Is Born) • Singin' in the Rain • Summer Nights (from Grease) • (I've Had) The Time of My Life (from Dirty Dancing) • The Wind Beneath My Wings (from Beaches) • Yellow Submarine • and more.
SKU: PR.342402020
ISBN 9781598064995. UPC: 680160616084. 8.5 x 11 inches. English. Text: William Shakespeare; Aurelius Prudentius Clemens; Aeschylus. Aurelius Clemens, William Shakespeare, Aeschylus. Texts from Aurelius Prudentius Clemens, Aeschylus, and William Shakespeare.
When Tim Sharp, Executive Director of the ACDA, offered Stucky the Brock Memorial Commission, it was decided that the text would commemorate the 50th anniversary of the assassination of John F. Kennedy, since the annual convention would take place in Dallas of that year. To that end, Stucky chose four different but pertinent texts to honor the occasion, although never referencing JFK by name. Take Him, Earth was premiered at the ACDA convention in March, 2013. Originally scored for chorus and chamber ensemble of nine instruments (available on a rental basis), Take Him, Earth is presented here in piano reduction. For advanced choirs. Duration: 13'.When Tim Sharp, Executive Director of the American Choral Directors Association, very kindlyoffered me the Raymond W. Brock Memorial Commission for 2013, he suggested that because thepremiere would take place at the national conference in Dallas in the 50th year since the assassinationof John F. Kennedy in that city, the text might refer in some way to that grim anniversary. Hesuggested, too, that I consider using a chamber ensemble or chamber orchestra to accompany thechorus.I took these suggestions to heart, but at the same time I wanted to write something universal enoughto be appropriate on other occasions, in other settings. Thus the score is dedicated to PresidentKennedy’s memory, but otherwise he is never referred to by name. Instead, I assembled a group oftexts that are associated with him in some way, but that also stand alone as a more general eulogy.As a refrain, there are a few lines from the early Christian burial hymn that begins “Take him,Earth, for cherishing†— lines that were earlier set to music by Herbert Howells in his classic motetcommissioned for Kennedy’s memorial service in 1963. The lines of Aeschylus “Drop, drop — inour sleep, upon the heart sorrow falls†from Agamemnon were quoted by Robert F. Kennedy uponthe death of Martin Luther King in April 1968. The celebrated “When he shall die, cut him out inlittle stars†from Act III of Shakespeare’s Romeo and Juliet was cited by RFK a few months after hisbrother’s murder.
SKU: HL.282480
ISBN 9781540034373. UPC: 888680789244. 9.0x12.0x0.868 inches.
Over 80 songs from the decade of excess where Generation X came of age. This collection features arrangements for easy piano with lyrics. Songs include: Another Brick in the Wall * Billie Jean * Caribbean Queen (No More Love on the Run) * Chariots of Fire * Don't Stop Believin' * Endless Love * Eye of the Tiger * Flashdance...What a Feeling * Girls Just Want to Have Fun * How Will I Know * I Love Rock 'N Roll * Jump * Karma Chameleon * Let's Hear It for the Boy * Like a Virgin * Missing You * Nothing's Gonna Stop Us Now * One More Night * Pour Some Sugar on Me * Right Here Waiting * Sweet Child O' Mine * Sweet Dreams (Are Made of This) * Take on Me * Time After Time * Up Where We Belong * What's Love Got to Do with It * When Doves Cry * With or Without You * and more.
SKU: HL.274792
UPC: 888680740771. 5.0x5.0x0.115 inches.
An absolutely stuffed 1980s choral medley with Top Ten hits, head-banging choruses and radical harmonies throughout? No way! Mark Brymer's nine-song throwback to the music of the Reagan years is, like, totally righteous, dude. Features: It's Still Rock and Roll to Me, Take On Me, Goody Two Shoes, (There's) Always Something There to Remind Me, The Reflex, She Drives Me Crazy, She Blinded Me with Science, The Safety Dance and Walking on Sunshine.
SKU: JK.01979
UPC: 093285019799.
A n Invitation to Worship by Tabernacle Organist Clay Christiansen is a book of organ preludes intended to help prepare the hearts of listeners to receive the peace of the gospel. These renditions are a refreshing new take on familiar hymn favorites. The majority of arrangements in this book are intermediate in difficulty, leaving just a couple of pieces at a more advanced level. Use these beautiful renditions for prelude, postlude, and solo performance. Click here to view all Jackman Music titles including the great work of Clay Christiansen.Piec es included in this volume:Come, Listen to a Prophet's VoiceHigh on the Mountain TopI Feel My Savior's LoveI Know That My Redeemer LivesJesus, Once of Humble BirthOn This Day of Joy and GladnessSweet Is the WorkWe Thank Thee, O God, for a ProphetWe'll Sing All Hail to Jesus' NameComposers: VariousArranger: Clay ChristiansenDifficult y: Intermediate to Advanced.
SKU: CF.MXE219
ISBN 9781491157794. UPC: 680160916399. 9 x 12 inches.
Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about HoffmeisterAs awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterA3despite scruples about treading on hallowed groundA3I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak MozartAs language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialA3MozartAs friend Hoffmeister had regrettably attempted such A!improvementsA(r)A3I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were MozartAs A!blueprintsA(r) of imagined chamber works. Hence my task was to A!flesh outA(r) the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composerAs dialect, various apt solutions presented themselves. The search for the A!rightA(r) one then became a most absorbing study. On the eve of releasing my BognerAs CafA recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888A+-1959), author of Mozart (1935), had taken note of the four-hand piano works as A!a kind of keyboard chamber music.A(r) Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: A!The F major Sonata (K. 497) removes us to another worldA3the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.A(r) That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called A!the crowning work of its kindA(r) by Alfred Einstein, the Sonata is laden with examples of MozartAs mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltoA3an F-major tune as sunny and confident as an aria from Figaro itself. This movementAs declamatory A!opera chorusA(r) persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The A!love duetA(r) between flute and first viola seems to anticipate the impassioned A!duettingA(r) between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the AndanteAs middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8a time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the A!Swiss clockA(r) section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my A!newA(r) Mozart Quintet endeavorsA3and most of all, to violist Katherine Murdock for that dare in 1990. A3Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020.Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeisteris awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterodespite scruples about treading on hallowed groundoI grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozartis language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialoMozartis friend Hoffmeister had regrettably attempted such iimprovementsioI always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozartis iblueprintsi of imagined chamber works. Hence my task was to iflesh outi the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composeris dialect, various apt solutions presented themselves. The search for the irighti one then became a most absorbing study. On the eve of releasing my Bogneris CafE recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888n1959), author of Mozart (1935), had taken note of the four-hand piano works as ia kind of keyboard chamber music.i Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: iThe F major Sonata (K. 497) removes us to another worldothe world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.i That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called ithe crowning work of its kindi by Alfred Einstein, the Sonata is laden with examples of Mozartis mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltooan F-major tune as sunny and confident as an aria from Figaro itself. This movementis declamatory iopera chorusi persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The ilove dueti between flute and first viola seems to anticipate the impassioned iduettingi between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andanteis middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8+time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the iSwiss clocki section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my inewi Mozart Quintet endeavorsoand most of all, to violist Katherine Murdock for that dare in 1990. oCompiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020.Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister's awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter--despite scruples about treading on hallowed ground--I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart's language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic material--Mozart's friend Hoffmeister had regrettably attempted such improvements--I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart's blueprints of imagined chamber works. Hence my task was to flesh out the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer's dialect, various apt solutions presented themselves. The search for the right one then became a most absorbing study. On the eve of releasing my Bogner's Cafe recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888-1959), author of Mozart (1935), had taken note of the four-hand piano works as a kind of keyboard chamber music. Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: The F major Sonata (K. 497) removes us to another world--the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music. That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinu Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called the crowning work of its kind by Alfred Einstein, the Sonata is laden with examples of Mozart's mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto--an F-major tune as sunny and confident as an aria from Figaro itself. This movement's declamatory opera chorus persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E<= Major, K. 495, written only five weeks before. The love duet between flute and first viola seems to anticipate the impassioned duetting between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante's middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the Swiss clock section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martinu Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my new Mozart Quintet endeavors--and most of all, to violist Katherine Murdock for that dare in 1990. --Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020.PrefaceIn 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister’s awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter—despite scruples about treading on hallowed ground—I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart’s language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings.With zero tolerance for alteration of melodic or harmonic material—Mozart⠙s friend Hoffmeister had regrettably attempted such “improvements†—I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart’s “blueprints†of imagined chamber works. Hence my task was to “flesh out†the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer’s dialect, various apt solutions presented themselves. The search for the “right†one then became a most absorbing study.On the eve of releasing my Bogner’s Café recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888–1959), author of Mozart (1935), had taken note of the four-hand piano works as “a kind of keyboard chamber music.†Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: “The F major Sonata (K. 497) removes us to another world—the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.†That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet.Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinů Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called “the crowning work of its kind†by Alfred Einstein, the Sonata is laden with examples of Mozart’s mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue.The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto—an F-major tune as sunny and confident as an aria from Figaro itself. This movement’s declamatory “opera chorus†persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro.The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E≤ Major, K. 495, written only five weeks before. The “love duet†between flute and first viola seems to anticipate the impassioned “duetting†between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante’s middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement.In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the “Swiss clock†section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability.I am most grateful to the adventuresome Martinů Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my “new†Mozart Quintet endeavors—and most of all, to violist Katherine Murdock for that dare in 1990.—Compiled from the writings of Robert Stallmanby Hannah Woods Stallman,February 2, 2020.
SKU: HL.118844
ISBN 9781480340411. UPC: 884088902391. 8.5x11 inches. John Jacobson/John Higgins.
Please Santa, bring a puppy this time. I know there's one that needs me! Singing children, howling puppies and the one and only Santa Claus make a great combination for a holiday show. The local pound is overcrowded and in an uproar. Someone has eaten Buster Bulldog's supper, Harold Hound Dog can't get any sleep, and there's no room at all to run and play. It's just the pits in the pound! See how one family's trip to the pound on Christmas Eve makes dreams come true for these canine characters and children around the world. With a message of sharing, caring and plenty of canine humor, this holiday musical features five original songs and easy-to-learn rhyming dialog with over 30 speaking parts. The ENHANCED Teacher Edition with Singer CD-ROM includes piano/vocal arrangements with choreography, helpful production guide with staging and costume suggestions, teaching objectives linked to the National Standards for each song, PLUS reproducible singer parts on the enclosed CD-ROM. Available separately: Teacher/Singer CD-ROM, Preview CD (with vocals & dialog), Preview Pak (1 Preview CD and sample pages), Performance/Accompaniment CD, and Classroom Kit (Teacher/Singer CD-ROM and P/A CD).Approximate Performance Time: 20 minutes. Suggested for grades K-3.
SKU: HL.118845
ISBN 9781480340428. UPC: 884088902407. 4.75x5 inches. John Jacobson/John Higgins.
SKU: HL.118843
ISBN 9781480340404. UPC: 884088902384. 5x5 inches. John Jacobson/John Higgins.
SKU: LO.60-1356H
ISBN 9780893288037.
Long a favorite of jazz players from Wes Montgomery to Cannonball Adderley to Donald Byrd to the Manhattan Transfer, this Duke Pearson standard gets the full Robert Woods treatment. All the familiar licks and tight harmonies are here in the only published version available of this classic tune. This arrangement is in C minor, so the ranges are perfect for everyone. Please take a close look at this one!
SKU: CF.WF229
ISBN 9781491153789. UPC: 680160911288.
Intro duction 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.Introducti onGustave 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).Vogtâ €™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 ...
SKU: AP.47270S
UPC: 038081545578. English.
From a standstill, this piece takes off and never lets up. Well . . .maybe just for a brief moment in the pit stop (slow section). But then it's a wild ride to the end. Lots of fun for everyone!
SKU: AP.47270
UPC: 038081545561. English.
SKU: FP.FWS11
ISBN 9790570503995.
Eter nal Summer is Stephen Wilkinson's sequel to Sunlight on the Garden. It features songs written in the composer's eighties and nineties, elegantly set by recorder virtuoso John Turner. As simply put in a review in the Yorkshire Post, 'In the field of choral music, Stephen Wilkinson is a genius'.