Format : Set of Parts
SKU: BT.DHP-1043625-404
ISBN 9789043161763. 9x12 inches. English-German-French-Dutch.
Study and Play is ideal for developing your playing in an enjoyable and musically sound way. Each edition within this concept features audio recordings to add something extra to your study routine.When you play thisConcertino you will be able to practise at a slower study tempo, as well as the normal tempo, so that you can work on your violin playing in a more concentrated way whilst improving your insight into the music. You cancontinue to study in this goal-orientated way until you have achieved the desired result.
The title of this piece suggests a concert situation: playing a solo partwith accompaniment. There are thousands of such works for theviolin but many of these cannot be tackled until you have been playing for a considerable time. Concertino in Russian Style Opus 35 enables you to gain necessary experience for this type of playing: namely having sufficientmusical and technical control over your instrument whilst having the support of an accompanist during performance. This carefully chosen concertino will enrich your repertoire. Dit fraaie concertino in Russische stijl van Alexei Janschinow is leerzaam én prachtig om te spelen. Kortom, een fraaie aanvulling op uw repertoire. Deze boeken zijn gemaakt binnen het Study and Play-concept, dat de leerlinghelpt om zijn/haar spel op een plezierige en verantwoorde manier te ontwikkelen. Bij elke uitgave onder deze noemer worden begeleidingsopnames meegeleverd die iets extraââ¬â¢s toevoegen aan de studie-methode. Deze opnames bieden demogelijkheid om te studeren in zowel het gewone tempo als een rustig oefentempo. De verzorgde set bestaat verder steeds uit een vioolpartij en pianopartij.Study and Play ist das ideale Konzept, um auf vergnügliche und sinnvolle Weise ein gutes Spiel zu entwickeln. Jedem Buch mit diesem Konzept sind Begleitaufnahmen beigefügt, welche die tägliche ÃÅbungsroutine individuellergänzen. Mit Hilfe dieser Aufnahmen kann das Concertino im langsameren ÃÅbetempo sowie auch im normalen Tempo gespielt werden, sodass man sich zunächst ganz auf das Violinspiel konzentrieren kann und dabei die Musik kennenlernt. So kann zielgerichtet geübt werden, bis das gewünschte Ergebnis erreicht wird.
Der Titel dieses Stückes beschreibt die Situation in einem Konzert: Es wird ein Solo mit Begleitung gespielt. Solche Werke gibt es zutausenden für Violine, viele können jedoch erst nach vielen Jahren Spielerfahrung gemeistert werden. Mit Concertino in Russian Style Opus 35 kann man wichtige Erfahrungen mit genau dieser Art des Spiels sammeln, nämlichausreichend musikalische und technische Beherrschung über das Instrument zu erlangen und gleichzeitig mit der Unterstützung eines Pianisten spielen zu können. Dieses sorgfältig ausgewählte Concertino ist auf jeden Fall eineBereicherung Ihres Repertoires. Study and Play est le concept idéal pour développer votre jeu dans un environnement plaisant et solidement structuré. Chaque recueil basé sur ce concept est accompagné des enregistrements audio qui apportent un plus votreroutine de travail. Ces enregistrements vous permettent de jouer ce Concertino tant dans le tempo normal que dans un tempo dââ¬â¢Ã©tude plus lent afin que vous puissiez vous concentrer plus amplement sur votre technique de jeutout en ayant un meilleur aperçu de la structure de la pièce. Vous pouvez continuer travailler dans cette optique jusquââ¬â¢ ce que vous ayez atteint le résultat souhaité.
Le titre de la pièce évoque le contexte dââ¬â¢unconcert : lââ¬â¢interprétation dââ¬â¢une partie soliste avec accompagnement. On compte des milliers dââ¬â¢oeuvres similaires pour violon mais un grand nombre dââ¬â¢entre elles ne peuvent être abordées sans expérience et pratique musicalesconsidérables. Concertino in Russian Style Opus 35 vous permet dââ¬â¢acquérir lââ¬â¢expérience nécessaire lââ¬â¢interprétation de ce genre de pièces, cââ¬â¢est- -dire être capable de dominer les aspects techniques et musicaux propres votre instrument tout en ayant le soutien dââ¬â¢un accompagnateur lors de lââ¬â¢interprétation. Choisi avec soin, ce Concertino enrichira votre répertoire. Study and Play è il concetto ideale per sviluppare il vostro modo di suonare in un contesto piacevole e solidamente strutturato. Le registrazione di accompagnamento vi permettono di suonare sia a tempo normale che più lento,al fine di migliorare la concentrazione sullo studio della tecnica e avere un migliore approccio con le varie parti del brano. Le parti dellââ¬â¢accompagnamento al pianoforte incluse nelle pubblicazioni (versione cartacea) vipermettono di suonare con un pianista accompagnatore.
SKU: HL.286506
ISBN 9781540040237. UPC: 888680896942. 9.0x12.0 inches.
The Hal Leonard Anglo Concertina Method is designed for anyone just learning to play a 20- or 30-button Anglo concertina. This comprehensive beginner's guide gives students an overview of the instrument, including proper playing technique and button orientation. From there, it moves to easy applications in music reading and fingering considerations. Using familiar melodies and popular Irish tunes, this easy-to-use guide will get you playing like a pro in no time! Lessons include over twenty lessons and audio tracks along with: detailed button charts for each song; reading standard music notation; Wheatstone and Jeffries fingerings; 20-button considerations; holding the concertina; using the air button; example recordings, and more. Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.
SKU: BT.DHP-1115209-400
ISBN 9789043142304. 9x12 inches. English-German-French-Dutch.
Study and Play is ideal for developing your playing in an enjoyable and musically sound way. Each edition within this concept features a CD to add something extra to your study routine. When you play this Concertino Op. 96 the CD allows you to practise at a slower study tempo, as well as the normal tempo, so that you can improve your insight into the music. The carefully edited volume also contains a violin part and a piano part. Of course, the superb CD is also great to play along with if thereâ??s no pianist available. You will find this is a fun and instructive enrichment of your repertoire.Study and Play is het ideale concept om je spel op een plezierige en verantwoorde manier te ontwikkelen. Bij elke uitgave onder deze noemer wordt een cd meegeleverd die iets extraâ??s toevoegt aan je studiemethode. In het geval van dit Concertino op.96 biedt de cd je de mogelijkheid om te studeren in zowel het gewone tempo als een rustig oefentempo, waardoor je je inzicht in de muziek kunt verbeteren. De verzorgde set bestaat verder uit een vioolpartij en pianopartij. Natuurlijk is de sublieme cd ook geschikt om mee samen te spelen als er geen pianist beschikbaar is. Dit is beslist een leuke en leerzame verrijking van je repertoire.Study and Play ist das ideale Konzept, um auf vergnügliche und sinnvolle Weise ein gutes Spiel zu entwickeln. Jedem Buch mit diesem Konzept ist eine CD beigefügt, welche die tägliche Ã?bungsroutine individuell ergänzt.Mit Hilfe der CD kann dieses Concertino Op. 96 im langsameren Ã?bungstempo sowie auch im normalen Tempo gespielt werden, so dass man sich zunächst ganz auf das Violinspiel konzentrieren kann und dabei die Musik kennen lernt. Diese sorgfältig ausgearbeitete Ausgabe enthält auÃ?erdem eine Violin- und eine Klavierstimme. Die exzellente CD eignet sich selbstverständlich auch bestens zum Mitspielen, wenn kein Pianist zur Verfügung steht. DiesesConcertino Op. 96 ist eine ebenso reizvolle wie lehrreiche Erweiterung des Repertoires. Study and Play est le concept idéal pour développer votre jeu dans un environnement plaisant et solidement structuré. Chaque recueil basé sur ce concept est accompagné dâ??un compact disc qui apporte un plus votre routine de travail. Le compact disc vous permet de jouer ce Concertino Op. 96 tant dans le tempo normal que dans un tempo dâ??étude plus lent afin que vous puissiez vous concentrer sur votre technique de jeu tout en ayant un meilleur aperçu de la structure de la pièce. Ce recueil réalisé avec soin propose, hormis la partie de violon, la partie dâ??accompagnement de piano pour tous ceux qui disposent dâ??un pianiste accompagnateur. Si tel nâ??est pas le cas, utilisezsimplement le superbe accompagnement enregistré sur le compact disc. Concertino Op.96 constitue un enrichissement ludique et pédagogique de votre répertoire. Study and Play è il concetto ideale per sviluppare il vostro modo di suonare in un contesto piacevole e solidamente strutturato. Il CD vi permette di suonare sia a tempo normale che più lento, al fine di migliorare la concentrazione sullo studio della tecnica e avere un migliore approccio con le varie parti del brano. Le parti dellâ??accompagnamento al pianoforte incluse nelle pubblicazioni (versione cartacea) vi permettono di suonare con un pianista accompagnatore.
SKU: BT.DHP-1115233-400
ISBN 9789043136204. 9x12 inches. English-German-French-Dutch.
The Concertino op. 12 by the German violinist, composer and violin educator Ferdinand Küchler (1867-1937) is a three-movement work that is ideal for the development of playing in first and third position. The first movement is both powerful and playful in character, and its themes that follow on from each other rapidly, producing a concise sonata form. The second movement has been written in a three-part song form (A-B-A). The A section has a cantabile atmosphere, whereas section B is more dramatic. The third movement is a rondo (with a refrain and episodes). The refrain is joyful in spirit, and the episodes present variation.Het Concertino op. 12 van Ferdinand Küchler (1867-1937) is een driedelig werk. Voor de leerling is dit het ideale werk om aan de eerste en derde positie te werken. Het eerste deel is krachtig en speels tegelijk. Het tweededeel is in de vorm van een driedelige lied geschreven (A-B-A). Het derde deel is een rondo.Das Concertino op. 12 von Ferdinand Küchler (1867-1937) ist ein dreisätziges Werk, mit dem Schüler ausgezeichnet an ihrem Spiel in der ersten und dritten Lage arbeiten können. Der erste Satz ist kraftvoll und verspielt zugleich; der zweite Satz wurde in der Form eines dreistimmigen Liedes geschrieben (A-B-A). Der dritte Satz ist ein Rondo. Le Concertino opus 12 de Ferdinand Küchler (1867-1937) est un Å?uvre en trois mouvements, destinées aux élèves maîtrisant le jeu en première et troisième position. Le premier mouvement est puissant et ludique, le deuxième a été écrit sous la forme d'une mélodie en trois parties (ABA). Le troisième mouvement est un rondo. Il Concertino op. 12 di Ferdinand Küchler (1867-1937) è un brano in tre movimenti, ideale per praticare la prima e terza posizione. Il primo movimento è al contempo potente e gioioso, il secondo in forma di un canto a voci (A-B-A), mentre il terzo movimento è un rondò.
SKU: 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 ...
SKU: BT.AMP-288-010
9x12 inches. English-German-French-Dutch.
In 2008, composer Philip Sparke published the latest volume of his instrumental books, Super Solos. Young German flautist Meinhard Drescher was so taken with these solos that his father secretly commissioned the composer toarrange three of the solos (Little Overture, Berceuse and Moto Perpetuo) into a mini-concerto for flute and concert band, which was presented to Meinhard as a 16th birthday present. Concertino Classico is in the standardquick-slow-quick concerto form and can be played by flute, clarinet or alto saxophone. Dur: 7:15 (Grade 4)In 2008 publiceerde Philip Sparke zijn lesboek Super Solos, het derde deel in een serie voor fluit, klarinet, altsaxofoon, trompet, hoorn, trombone en euphonium. Een jonge Duitse fluitist was zo enthousiast over deze solowerken,dat zijn vader een arrangement van drie van de stukken in het geheim bij de componist in opdracht gaf. En dit hier is het resultaat! Een â??miniconcertâ?? uit Little Overture, Berceuse en Molto Perpetuo.2008 veröff entlichte Philip Sparke sein Etu?denbuch Super Solos, den dritten Band einer Reihe fu?r Flöte, Klarinette, Altsaxophon, Trompete, Horn, Posaune und Euphonium. Ein junger deutscher Flötist war so begeistert von den Soli, dass sein Vater heimlich beim Komponisten ein Arrangement von dreien der Stu?cke in Auftrag gab. Das Ergebnis ist dieses Mini-Konzertâ?? aus Little Overture, Berceuse und Molto Perpetuo. Mit dem entsprechenden Band von Super Solos können Sie jedes Instrument das Solo in Concerto Classico spielen lassen.En 2008, Philip Sparke publiait ses Super Solos, troisième et dernier volume dâ??une collection de solos instrumentaux (pour Fl te, Clarinette, Saxophone Alto, Trompette, Cor, Trombone et Euphonium), plébiscités par les jeunes musiciens du monde entier, et plus particulièrement par le jeune fl tiste allemand, Meinhard Drescher. la demande du père de ce dernier, Philip Sparke a extrait trois pièces du recueil - Little Overture â?¢ Berceuse â?¢ Moto Perpetuo - pour en faire un « mini-concerto » pour Fl te traversière et Orchestre dâ??Harmonie. Meinhard Drescher reçut ce concerto comme cadeau pour son seizième anniversaire. Il en assura la création le 18 octobre2009.Concertino Classico est structuré selon le schéma classique du concerto : vif - lent - vif. La partie solo peut également être confiée la Clarinette ou au Saxophone Alto.
SKU: BT.WH30797
ISBN 9788759815915. Danish.
Listen to Scandinavia er et samarbejdsprojekt mellem tre nordiske konservatorielærere, Brita Bremberg (Stockholm), Gro Shetelig Kruse (Oslo) og Mette Stig Nielsen (Odense), som underviser i hørelære,auditiv analyse og musikpædagogik.
Den nordiske musik fører i al almindelighed et usynligt og uhørligt liv i musikundervisningen - såvel i lærebøgerne som i klasseværelserne.Endvidere mangler der pædagogiske værktøjer og metoder til undervisning i partiturmusik fra det 20. århundrede, næsten al klassisk musikpædagogik er bygget op omkring vesteuropæiskmusikfra 1700- og 1800-tallet.
I denne bog har vi derfor udarbejdet et undervisningsmateriale, der kan bruges på gymnasier, seminarier, MGK- kurser, musikkonservatorier, universiteter og andre steder, hvor derundervises i musik, musikteori, musikhistorie og musikpædagogik. Vi håber, at den nyere og nye nordiske musik vil blive brugt til intensiv lytning, hørelære, formlære, musikanalyse bl.a. gennem detforeliggende materiale, og at musiklærere og studerende vil kunne blive inspireret af vores spørgsmål i opgaverne og vores forskellige ideer til grafisk partitur, fri tegning og improvisation..
Detmusikalske materiale er et rigt udvalg af musik fra Danmark, Norge, Sverige, Finland, Færøerne og Island, og repræsenterer musik fra årene 1900-1919, 1920-1939, 1940-1959, 1960-1979 og 1980-2003.
Det ligger udenfor mulighederne i denne bog at omtale alle de betydningsfulde komponister som de nordiske lande har fostret. Musikeksemplerne er udvalgt, så de tilsammen giver et bredt indtryk af den nordiske musik efterår 1900 og ud fra deres kunstneriske og pædagogiske potentiale.
BOGENS METODEBogen er baseret på den idé, at man ved at lytte mange gange med skiftende fokus på et musikstykke kanudvikle evnen til at.
SKU: BO.B.3430
The Geminis Concertino was written in 2005 and dedicated to Gerard Claret and the National Chamber Orchestra of Andorra (ONCA).
The work, as its name implies, is a small-scale concerto for violin and 15 string instruments. Its score is basically a chamber piece in which the solo part never takes an overly virtuoso role. Conceived as a single movement, played without interruption, its internal construction consists of three classic sections: A, bars 1-72, B, bars 73-161, and C, from bar 162 to the end of the piece. Part B begins with the two opening measures of Bela Bartok's Violin Concerto simply as a reminder of a composer and a work that has impressed me since I was very young.I should confess that the entire Geminis Concertino has a certain Bartokian air that I attribute to the love I have always professed for this composer and that lately seems to affect me much as it did in my youth.--The author. Barcelona, march 2006
Comentarios del Espanol: Concertino Geminis es una obra escrita el ano 2005, que dedique a Gerard Claret y a la Orquestra de Cambra de Andorra.
La obra, como su nombre indica, es un pequeno concierto para violin y 15 instrumentos de cuerda, sin que la parte solista tome nunca un papel excesivamente virtuosistico, ya que la partitura tiene un caracter eminentemente cameristico. Concebida en un solo tiempo y, por lo tanto, interpretada sin interrupcion, su construccion interna la constituyen los tres movimientos clasicos: A, del compas 1 al 72; B, del compas 73 al 161; y C, del compas 162 al final. La parte B comienza con los dos primeros compases del Concierto para violin de Bela Bartok, simplemente como recuerdo de un compositor y de una obra que, ya desde muy joven, me impresionaron.
Debo confesar que entiendo que todo el Concertino Geminis adquiere un cierto aire bartokiano, que atribuyo al amor que siempre he profesado por ese autor y que ultimamente vuelve a estar presente, igual como lo estuvo en mi juventud.--El autor. Barcelona, marzo de 2006
SKU: FG.55011-554-5
ISBN 9790550115545.
Harri Wessman (b. 1949) is interested in all aspects of music that may be expressive, without in any way ignoring the possibilities of melody. He himself describes his harmonic method as a kind of contrapuntally treated jazz harmony. During recent years pedagogic music has become a more and more central area in his output with an emphasis on creating repertoire for budding musicians, from beginners to young professionals. I don't write children's music. Stylistically I write in the same way as for professionals; technically, the pieces just have to be easier to play. Concertino No. 2 for piano and chamber orchestra was commissioned by a Finnish press house Yhtyneet Kuvalehdet Oy for the inauguration of their new office building in 1987. According to the original plan the concertino was to be used in an advertising film of the company. A melody with wide arch which can be heard in the midpoint of the piece, first played by the orchestra and then repeated with the piano, was intended to be the theme song of the film. The 10 minutes duration and small orchestra (flute, oboe, clarinet and strings) makes this one movement piece suitable also for young orchestra players.
SKU: BT.DHP-1124904-010
The effective use of solo percussion, combined with an elegant orchestration, brought a warm reception at the premiere of this work from Satoshi Yagisawa’s ‘Concertino Series’. Yagisawa’s style is usually considered as rather dramatic, however, inthis piece he adds a whole new dimension to his compositional skills.Dit concertino is in opdracht geschreven voor de Japanse slagwerker Kazuko Ogawa - als aanvulling op Satoshi Yagisawa’s concertserie (trompet, trombone, marimba, saxofoon en klarinet met harmonieorkest). De wereldpremière werd uitgevoerddoor het Kasukabe Kyoei Junior and Senior High School Wind Orchestra, samen met gastslagwerker Kazuko Ogawa. Het geheel stond onder leiding van Jotaro Tsuga, die in 2009 dirigent van het betreffende orkest was. De effectievetoepassing van het solistische slagwerk en de elegante orkestratie zijn sinds de première alom geprezen. Satoshi Yagisawa’s stijl was altijd vrij theatraal, maar in dit werk hanteert hij een nieuw idioom.Grad 5 for the soloistDer wirkungsvolle Einsatz von Solo-Percussion kombiniert mit einer eleganten Orchestrierung fand schon in der Premiere dieses Werkes aus der Concertino-Reihe“ von Satoshi Yagisawa großen Anklang. Yagisawas Stil ist eigentlich als eher dramatischbekannt, doch in diesem Stück kann man eine ganz neue Seite seiner Kompositionskunst erkennen.Cette pièce vient compléter la série de concertos composés par Satoshi Yagisawa. L’écriture d’un authentique solo de percussion ainsi que l’élégante orchestration font de ce concertino une oeuvre exceptionnelle, largement appréciée par l’auditoire.Le style d’écriture de Satoshi Yagisawa est habituellement dramatique, mais il se pourrait fort bien qu’une empreinte de couleur différente nous soit offerte avec Concertino pour Percussion et Orchestre Vent !L’uso efficace della percussione solista, combinato ad un’elegante orchestrazione, ha avuto grande risconto in occasione della prima di quest’opera della “Concertino-Series†di Satoshi Yagisawa. Lo stile del compositore giapponese è sicuramentedrammatico, ma in questo brano si può scoprire un lato completamente nuovo della sua arte compositiva.
SKU: BT.DHP-1124904-140
This concertino was written to a commission by Japanese percussionist Kazuko Ogawa as an addition to Satoshi Yagisawa’s concerto series (trumpet, trombone, marimba, saxophone, and clarinet with wind orchestra). The world premiere was performed by Kasukabe Kyoei Junior and Senior High School Wind Orchestra with guest percussionist Kazuko Ogawa, conducted by Jotaro Tsuga, director of the orchestra in 2009. The effective usage of the solo percussion and elegant orchestration has been greatly appreciated since the premiere. Satoshi Yagisawa’s style has been dramatic but in this piece a new XXXX of writing can be found.Grade 5 for the soloistDit concertino is in opdracht geschreven voor de Japanse slagwerker Kazuko Ogawa - als aanvulling op Satoshi Yagisawa’s concertserie (trompet, trombone, marimba, saxofoon en klarinet met harmonieorkest). De wereldpremière werd uitgevoerddoor het Kasukabe Kyoei Junior and Senior High School Wind Orchestra, samen met gastslagwerker Kazuko Ogawa. Het geheel stond onder leiding van Jotaro Tsuga, die in 2009 dirigent van het betreffende orkest was. De effectievetoepassing van het solistische slagwerk en de elegante orkestratie zijn sinds de première alom geprezen. Satoshi Yagisawa’s stijl was altijd vrij theatraal, maar in dit werk hanteert hij een nieuw idioom.Grad 5 for the soloistDieses Concertino wurde im Auftrag des japanischen Percussionisten Kazuko Ogawa als Ergänzung von Satoshi Yagisawas Concerto-Reihe geschrieben (Concerto für Trompete, Posaune, Marimaphon, Saxophon sowie Klarinette und Blasorchester). Die Welturaufführung wurde vom Blasorchester der Kasukabe Kyoei Junior and Senior High School gespielt; als Gast-Perkussionist spielte Kazuko Ogawa und am Pult stand Jotaro Tsuga, der Dirigent des Orchesters im Jahr 2009. Der wirkungsvolle Einsatz von Solo-Percussion kombiniert mit einer eleganten Orchestrierung fand großen Anklang seit der Premiere. Satoshi Yagisawas Stil ist eigentlich als dramatisch bekannt, aber in diesem Stück kannman eine ganz neue Seite seiner Kompositionskunst erkennen.Schwierigkeitsgrad des Solisten: Grade 5 Ce concertino est une œuvre de commande pour le percussionniste japonais Kazuko Ogawa, venant ainsi compléter la série de concertos composés par Satoshi Yagisawa (Trompette, Trombone, Marimba, Saxophone, Clarinette et Orchestre Vent). La création mondiale a eu lieu en 2009, interprétée par l’Orchestre Vent du Lycée Kasukabe Kyoei, avec Kazuko Ogawa en tant que soliste invité, placé sous la direction de Jotaro Tsuga. L’écriture d’un authentique solo de percussion ainsi que l’élégante orchestration font de ce Concertino une œuvre exceptionnelle, largement appréciée par l’auditoire. Le style d’écriture de Satoshi Yagisawa est habituellement dramatique,mais il se pourrait fort bien qu’une empreinte de couleur différente nous soit offerte avec ce Concertino pour Percussion Solo et Orchestre Vent.Grade 5 for the soloist.
SKU: BR.PB-33001
ISBN 9790004215821. 10 x 12.5 inches.
The present Concertino in E-flat major, Op. 5, was composed especially for the Leipzig trombone virtuoso Carl Traugott Queisser (1800-1846), to whom the work is also dedicated. The Concertino was first reviewed by the critic Gottfried Wilhelm Fink (1783-1846) in the Leipzig Allgemeine Musikalische Zeitung (AMZ), issue no. 38, September 1832. The critic discussed the work in detail, calling it a milestone of the trombone literature, ... its public performance should thus be determined by only true masters. The rest, however, may wish to utilize it, in silence, that is not overheard by expectant listeners, to strive with it to strengthen their powers....The Concertino's premiere can be dated to 1828, with Queisser himself as soloist, and the composer conducting. Queisser repeatedly performed the Concertino up to 1843. The work was published under catalogue number 5227 in 1832 by Breitkopf & Hartel. Sometime in the 1940s the work was lost to sight and no performances known to come from then. Together with the Concertino, Op. 4, later composed by Ferdinand David, Muller's contribution to this genre is among the most often played and most demanding of the trombone literature. The score includes, besides a preface detailing the work's genesis and reception history, also facsimile pages to round out the edition. You may browse our piano vocal score here.
SKU: BR.EB-33001
ISBN 9790004186800. 9 x 12 inches.
The present Concertino in E-flat major , Op. 5, was composed especially for the Leipzig trombone virtuoso Carl Traugott Queisser (1800-1846), to whom the work is also dedicated. The Concertino was first reviewed by the critic Gottfried Wilhelm Fink (1783-1846) in the Leipzig Allgemeine Musikalische Zeitung (AMZ), issue no. 38, September 1832. The critic discussed the work in detail, calling it a milestone of the trombone literature, ... its public performance should thus be determined by only true masters. The rest, however, may wish to utilize it, in silence, that is not overheard by expectant listeners, to strive with it to strengthen their powers.... The Concertino 's premiere can be dated to 1828, with Queisser himself as soloist, and the composer conducting. Queisser repeatedly performed the Concertino up to 1843. The work was published under catalogue number 5227 in 1832 by Breitkopf & Hartel. Sometime in the 1940s the work was lost to sight and no performances known to come from then. Together with the Concertino , Op. 4, later composed by Ferdinand David, Muller's contribution to this genre is among the most often played and most demanding of the trombone literature. The score includes, besides a preface detailing the work's genesis and reception history, also facsimile pages to round out the edition. You may browse our piano vocal score here.
SKU: HL.44005643
UPC: 884088041137. 9x12 inches. International (more than one language).
Concertino No. 1 in F major for cello and piano. In The Platinum Series this excellent piece has been published in an edition for clarinet. On the CD that comes with the book you will first hear the piano accompaniment alone, followed by the demo version with both clarinet and piano. It is of course more instructive and enjoyable to play with a live accompanist if you can, using the piano part that is also included. This piece is a great addition to the clarinet repertoire!Een van de bekendste werken van Jean-Baptiste Breval is het Concertino No. 1 in F major voor cello en piano. Dit is voor The Platinum Series speciaal voor de klarinet bewerkt. Op de fantastische cd zijn eerst de pianobegeleidingente horen en vervolgens de schitterende demoversies - met klarinet en een live ingespeelde piano. Natuurlijk is het nog leerzamer en aangenamer om echt samen met een pianist te musiceren. Een aanwinst voor het klarinetrepetoire!Das ursprunglich fur Cello und Klavier geschriebene Concertino Nr. 1 in F-Dur des franzosischen Komponisten Jean-Baptiste Breval. Das dreiteilige Werk setzt sich aus einem lebhaften Allegro, einem lyrischen, majestatischen Mittelteil und einem resoluten Allegretto zusammen. Anstelle des Pianisten kann auch zur beiliegenden CD gespielt werden, auf der neben der Begleitung auch eine vollstandige Demoversion zu horen ist.Die Reihe The Platinum Series enthalt bekannte klassische Werke fur verschiedene Instrumente, die nun verschiedenen Holzblasern zuganglich gemacht wurden und sich in ihrer neuen Form wunderbar als Konzertstucke eignen. Die CDs derPlatinum Series bieten Ihnen die Gelegenheit, zu einer schonen Begleitung, die live mit Klavier, Cembalo, Kammerensemble oder gar Sinfonieorchester eingespielt wurde, zu spielen. Auf der CD erklingen jeweils alle Begleitungen und Demo-Versionen. Die Stucke mit Basso continuo, der auf dem Klavier oder Cembalogespielt werden kann, enthalten jeweils eine separate Solo- und Cellostimme, sodass sie auch von einem Ensemble aufgefuhrt werden konnen. Alle sechs Ausgaben sind im Schwierigkeitsgrad mittelschwer - schwer. La collection Platinum Series rassemble des œuvres classiques composees a l'origine pour divers instrument et idealement adaptees pour des instruments a vent de la famille des bois. Chaque ouvrage de cette collection est enrichi d'un compact disc (version integrale + accompagnement) d'une grande qualite musicale. Pour vous offrir un excellent confort de jeu, les accompagnements ont ete confies au piano, au clavecin, a un ensemble de musique de chambre et quelquefois meme a un Orchestre Symphonique. Les oeuvres avec basse continue (adaptee pour le piano ou le clavecin) disposent d'une partie soliste et d'une partie pour violoncelle separees afin de pouvoir constituer unensemble instrumental. La collezione >The Platinum Series e sinonimo di alta qualita. Troverete le piu importanti pagine di musica trascritte per strumenti a fiato. Sul CD sono registrati dapprima l'intero brano col solista, e poi le sole basi musicali d'accompagnamento, realizzate con strumenti autentici che realizzano il basso continuo al clavicembalo. Da oggi potrete interpretare col saxofono le musiche di grandi compositori come Benedetto Marcello, oppure suonare al clarinetto la trascrizione del Concerto n.1 di Breval per violoncello. Per le composizioni da suonare in duo, troverete sul CD sia l'incisione completa del brano, che la sola seconda voce o il solo Basso continuo, cosi da potersuonare sia da soli che assieme ad un vostro amico.
SKU: BO.B.3414
English comments: Concertino for violin and string orchestra was composed in 1993. It is a pleasant score with a slightly virtuosic touch written with the idea of creating a relaxed atmosphere in which the soloist and the orchestra can display their technique and expressive capabilities. It is a work, similar in lenght to baroque concertos, and is divided into three movements, folowing the conventional form.: two fast movements around a slow one. Te first two movements -Allegro burlesco and Adagio cantabile- follow the ABA pattern. The third starts with a -cadenza- by the soloist which includes thematic material from the previous slow movement linking straight up to the -Presto- which uses as its main idea a more forceful version of the opening melodic sketch of the -Allegro burlesco- converted into three time. The work was specially creatied for the violinist Gerard Claret and the Orquestra de Cambra Nacional d'Andorra. Recordings: Hermitage Orchestra-Camerata St. Petersburg, violin: Sergey Malov, conductor: Alexis Soriano. Ensayo (ENY-2003). Jordi CervelloComentarios del Espanol:Concertino para violin y orquesta de cuerda es una obra compuesta en 1993. Se trata de una partitura amable y de cierto toque virtuosistico cuya principal preocupacion ha sido crear una atmosfera distendida en la que el solista y la orquesta puedan desplegar con espontaneidad sus capacidades tecnicas y expresivas. Es una obra de duracion similar a la de los conciertos del barroco y dividida en sus tres tipicos movimientos. Dos rapidos enmarcando uno lento. Los dos primeros -Allegro burlesco y Adagio cantabile- se desarrollan bajo el esquema ABA. El tercero inicia con una -cadenza- del solista que recoge material tematico del movimiento lento precedente para enlazar sin interrupcion con el -Presto- que utiliza como idea principal el dibujo melodico que abre el -Allegro burlesco-, pero mas decidido y a compas ternario. La obra fue compuesta expresamente para el violinista Gerard Claret y la Orquestra Nacional de Cambra d'Andorra. Grabaciones: Hermitage Orchestra-Camerata St. Petersburg, violin solista: Sergey Malov, direccion: Alexis Soriano. Ensayo (ENY-2003) Jordi Cervello.
SKU: BO.B.3059
ISBN 9788480202831.
SKU: HL.121402
ISBN 9781480352414. UPC: 884088922931. 9x12 inches.
Available for the first time: easy to advanced solo works from the Rubank archives with online performance and accompaniment recordings, printable piano accompaniments, and PLAYBACK+ audio tools. This new collection of 14 Rubank solos includes many that have long been unavailable. All are suitable for contest and festival performance (grades 2-4). Purchase includes exceptional performance tracks (recorded by pro players), accompaniment tracks for practice, and PDF piano accompaniments for use at contest. Includes: Allegro Moderato from Trio No. 1 (Haydn) • Aria and Dance (Ostransky) • Bourrée and Menuet from Sonata III (Handel) • Chansonette (Barrett) • Crépuscule (Parès) • Danse Arabe from Nutcracker (Tchaikovsky) • First Concertino (Guilhaud) • Gavotte (Gossec) • Lamento/Nocturne (Bassi) • On Quiet Waters (Koepke) • Pastorale from Concerto for Oboe (Klemcke) • Sarabanda and Rigaudon (Corelli/Handel) • Siciliana (Pergolesi) • Solvejg's Song from Peer Gynt (Grieg).
SKU: HL.49001906
ISBN 9790001024853. 9.0x12.0x0.242 inches.
Descant recorder (treble recorder/flute) and recorder quartet or string quartet (string orchestra); Guitar ad lib.
SKU: HL.49001907
ISBN 9790001024860.