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| RICHARD STRAUSS Horn Concerto No. 2 in E-flat major, AV132 French horn [Sheet music + CD] Music Minus One
For French Horn (in E-flat). Includes an authoritative, newly engraved solo part...(+)
For French Horn (in E-flat). Includes an authoritative, newly engraved solo part for E-flat horn, printed on high-quality ivory paper; and a compact disc containing a complete version with soloist, recorded in digital stereo, followed by a second version in full stereo of the orchestral accompaniment, minus the soloist; and a second -20% slow-tempo version of the accompaniment for practice purposes. All recordings are indexed with track-breaks for easy practice and synchronization. Published by Music Minus One.
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| How Quietly Choral 3-part SAB [Octavo] Hope Publishing Company
By Joel Raney / Joel Raney. For SAB or Three-Part Mixed choir with optional Unis...(+)
By Joel Raney / Joel Raney. For SAB or Three-Part Mixed choir with optional Unison Choir or Soloist. Scripture References: Luke 2. Christmas Hymntune, Sacred. Choral octavo. 8 pages
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| Concertino Op. 45 for Horn and Orchestra French Horn and Piano [Reduction] G. Henle
For Horn and Piano Reduction. Composed by Carl Maria von Weber (1786-1826). E...(+)
For Horn and Piano
Reduction. Composed by Carl
Maria von Weber (1786-1826).
Edited by Dominik Rahmer.
Sheet Music. Paperbound.
Henle Music Folios. With
additional Horn part in E
und F. Classical. Softcover
Piano Reduction. 44 pages.
G. Henle #HN1179. Published
by G. Henle
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| Claude Thornhill : Sorta Kinda Big band [Score and Parts] - Advanced Jazz Lines Publications
By Claude Thornhill. Arranged by Gil Evans. For big band with vocal solo. Swing....(+)
By Claude Thornhill. Arranged by Gil Evans. For big band with vocal solo. Swing. Difficult. Score and parts. Published by Jazz Lines Publications
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| Horn Concerto [No. 1] K. 412 (386b) French Horn and Piano Breitkopf & Härtel
Horn and piano (solo: hn - 0.2.0.2. - 0.0.0.0. - str) SKU: BR.EB-8698 ...(+)
Horn and piano (solo: hn - 0.2.0.2. - 0.0.0.0. - str) SKU: BR.EB-8698 Original Version and Revised Version by Mozart completed by Robert D. Levin - Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Robert D. Levin. Arranged by Christian Rudolf Riedel. Solo instruments; stapled. Edition Breitkopf. Solo concerto; Classical. Piano reduction. 56 pages. Duration 12'. Breitkopf and Haertel #EB 8698. Published by Breitkopf and Haertel (BR.EB-8698). ISBN 9790004184813. 9 x 12 inches. The two-movement, incompletely transmitted Horn Concerto in D major K. 412 was long considered as Mozarts first horn concerto; it is, however, his last, and was written between March and December 1791. Mozart undertook revisions in the autograph which contains the most important orchestral parts next to the entire solo horn part in order to adjust the work to the modest technical abilities of the planned soloist Joseph Leutgeb. Mozart revised and completed the first movement, eliminated lower notes in the solo part, rewrote difficult passages and expanded orchestral interludes to give Leutgeb additional breath rests. Mozart also made similar simplifications in the second movement as well, but his early death prevented the completion of the work. Robert D. Levin reconstructed both versions of the concerto on the basis of the autograph. Next to the version revised by Mozart (post correcturam), he now presents the original version (ante correcturam) for the first time in a musical text revised and supplemented according to rigorous philological criteria. $26.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Concert Piece for Four Horns and Orchestra, Op. 86 Brass Quartet: 4 horns G. Henle
Chamber Ensemble 4 Horns and Piano (Score) SKU: HL.51481138 Four Horns...(+)
Chamber Ensemble 4 Horns and Piano (Score) SKU: HL.51481138 Four Horns and Piano Reduction. Composed by Robert Schumann. Edited by Ernst Herttrich. Sheet Music. Paperbound. Henle Music Folios. Classical. Softcover. 85 pages. G. Henle #HN1138. Published by G. Henle (HL.51481138). ISBN 9790201811383. UPC: 888680021511. 9.25x12.25x0.321 inches. “Something quite curious, I believe†– It was thus that Robert Schumann described the Concert Piece for Four Horns and large orchestra in a letter and he did indeed break new ground with this work as far as the scoring and treatment of the instruments was concerned. When it was composed in 1849, the French horn was still fairly new, enabling players to play previously unheard-of runs and free modulations, a fact which Schumann made the most of, particularly with his scoring for four horns. Even today the Concert Piece is the romantic work for horn par excellence and a benchmark for all soloists. About Henle Urtext What I can expect from Henle Urtext editions: - error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
- preface in 3 languages with information on the genesis and history of the work
- Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions
- most beautiful music engraving
- page-turns, fold-out pages, and cues where you need them
- excellent print quality and binding
- largest Urtext catalogue world-wide
- longest Urtext experience (founded 1948 exclusively for Urtext editions)
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| Horn Concerto [No. 2] in E flat major K. 417 French Horn and Piano Breitkopf & Härtel
Horn and piano (solo: hn - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.EB-10702 U...(+)
Horn and piano (solo: hn - 0.2.0.0 - 2.0.0.0 - str) SKU: BR.EB-10702 Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Henrik Wiese. Arranged by Jan Philip Schulze. Solo instruments; stapled. Edition Breitkopf. In Cooperation with G. Henle Verlag Solo concerto; Classical. Piano reduction. 40 pages. Duration 15'. Breitkopf and Haertel #EB 10702. Published by Breitkopf and Haertel (BR.EB-10702). ISBN 9790201807027. 9.5 x 12.5 inches. Wolfgang Amadeus Mozart's horn concertos: the Mozart expert Henrik Wiese edits the central work genre of Viennese classicism according to the current status of international Mozart research. Mozart wrote the Horn Concerto K. 417 - like the other works of this genre as well - for his horn-playing friend Joseph Leutgeb. The jokes which the composer made at Leutgeb's expense are wellknown. For example, he called the dedicatee a donkey in the autograph, and, as Henrik Wiese evidences in his preface, Mozart also occasionally enjoyed a bit of tomfoolery with the soloist in the musical text as well.Otherwise the editor's task was anything but amusing. The main source - the autograph score - is incomplete: missing are the close of Movement I as well as the entire slow middle movement. For these two sections, Wiese used a copy of the score from the archive of the publisher Johann Andre. The unusual circumstance that Mozart generally left the horn part almost unmarked recurs in the Concerto K. 417 and was deliberately maintained in the Urtext edition.
with parts for horn in F and Eb major. $26.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Duo Concertante, Op. 5 Clarinet, Horn, Piano Rosewood Publications
By Johann Sobeck. For clarinet, basset horn and piano. Facsimile Editions - Wind...(+)
By Johann Sobeck. For clarinet, basset horn and piano. Facsimile Editions - Winds and Piano. An excellent companion piece to the Mendelssohn concert pieces. Challenging technical parts for clarinet and basset-horn. Romantic
$9.25 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Pop Hits for the Instrumental Soloist French horn - Easy Alfred Publishing
Songbook, accompaniment/performance CD and performance part for horn in f. Serie...(+)
Songbook, accompaniment/performance CD and performance part for horn in f. Series: Pop Hits for the Instrumental Soloist. 20 pages. Published by Alfred Publishing.
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| Franz Strauss: Concerto, Op. 8
French Horn and Piano [Set of Parts] Carl Fischer
Composed by Franz Strauss. Set of performance parts for horn in F and piano. 21 ...(+)
Composed by Franz Strauss. Set of performance parts for horn in F and piano. 21 pages. Published by Carl Fischer.
$10.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Solo Performer, Volume 1 French Horn and Piano [Book] Eighth Note Publications
Composed by Various. Arranged by David Marlatt. For F Horn and Piano. Brass - Fr...(+)
Composed by Various. Arranged by David Marlatt. For F Horn and Piano. Brass - French Horn Method or Collection. Eighth Note Publications: Solo Performer Series. Renaissance. Book. Published by Eighth Note Publications
$25.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto for horn and chamber orchestra - Full score Fennica Gehrman
French horn, orchestra SKU: FG.55011-740-2 Composed by Kalevi Aho. Classi...(+)
French horn, orchestra SKU: FG.55011-740-2 Composed by Kalevi Aho. Classical. Score. Fennica Gehrman #55011-740-2. Published by Fennica Gehrman (FG.55011-740-2). ISBN 9790550117402. One of the most ambitious of Kalevi Aho's composition projects has been to write a concerto for each of the main instruments in the Romantic symphony orchestra. In 2011, with the Horn Concerto (the eighteenth in the series) this project was approaching its conclusion. In the Horn Concerto the soloist does not stand in front next to the conductor but moves around several times during the course of the work. The horn's first entries are heard from backstage. After that the soloist becomes visible and plays from behind the orchestra, moving gradually from left to right while playing. In the end, the hornist leaves the stage again. This gives the work a ritualistic character - as if the solo horn brings something from afar to the audience and orchestra and, when all is said and done, disappears from view. The concerto contains a number of sections of varying character, slower and faster. The fast sections are rather virtuosic for the orchestra as well. For the tarantella-like passage in the second half of the work, the soloist has moved to a position behind the winds of the orchestra, where an exchange commences with the orchestra's hornist. After that, the soloist moves to the rearmost part of the stage and, by the time of the final notes, is already offstage. The concerto for horn and chamber orchestra can be performed by a group with around twenty performers (1(+picc).1.1(+cl.b).1-1000-01-str(44331)). The duration is c. 27 minutes. Solo part available for sale (ISMN 9790550117396). Orchestral material available for hire from the publisher. Recording: BIS-2036 SACD / Annu Salminen (horn), Lapland Chamber Orchestra & John Storgards. $40.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Concerto for horn and chamber orchestra - Solo part Fennica Gehrman
French horn SKU: FG.55011-739-6 Composed by Kalevi Aho. Classical. Score....(+)
French horn SKU: FG.55011-739-6 Composed by Kalevi Aho. Classical. Score. Fennica Gehrman #55011-739-6. Published by Fennica Gehrman (FG.55011-739-6). ISBN 9790550117396. One of the most ambitious of Kalevi Aho's composition projects has been to write a concerto for each of the main instruments in the Romantic symphony orchestra. In 2011, with the Horn Concerto (the eighteenth in the series) this project was approaching its conclusion. In the Horn Concerto the soloist does not stand in front next to the conductor but moves around several times during the course of the work. The horn's first entries are heard from backstage. After that the soloist becomes visible and plays from behind the orchestra, moving gradually from left to right while playing. In the end, the hornist leaves the stage again. This gives the work a ritualistic character - as if the solo horn brings something from afar to the audience and orchestra and, when all is said and done, disappears from view.
The concerto contains a number of sections of varying character, slower and faster. The fast sections are rather virtuosic for the orchestra as well. For the tarantella-like passage in the second half of the work, the soloist has moved to a position behind the winds of the orchestra, where an exchange commences with the orchestra's hornist. After that, the soloist moves to the rearmost part of the stage and, by the time of the final notes, is already offstage.
The concerto for horn and chamber orchestra can be performed by a group with around twenty performers (1(+picc).1.1(+cl.b).1-1000-01-str(44331)). The duration is c. 27 minutes. Full score available for sale (ISMN 979-0-55011-740-2). Orchestral material available for hire from the publisher.
Recording: BIS-2036 SACD / Annu Salminen (horn), Lapland Chamber Orchestra & John Storgards. $19.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| T-Bone Concerto Concert band [Score and Parts] Amstel Music
Complete - Score and Parts. By Johan De Meij. Amstel Concert Bands. Published by...(+)
Complete - Score and Parts. By Johan De Meij. Amstel Concert Bands. Published by Amstel Music.
$418.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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| Myron Bloom: Beginning
French Horn Solos -
Volume 2: French Horn
Solo: French horn [Sheet music + CD] Music Minus One
Myron Bloom of the Cleveland Symphony guides you through this second volume of b...(+)
Myron Bloom of the Cleveland Symphony guides you through this second volume of beginning-level French horn solos. An invaluable resource for any beginning hornist. Includes a high-quality printed music score containing the solo part annotated with performance suggestions; and a compact disc with complete versions (with soloist) followed by piano accompaniments to each piece minus the soloist.
16.99 GBP - Sold by Musicroom UK | |
| Pacific Coast Horns:
Pacific Coast Horns -
Blow Your Own Horn Vol.
2: French French horn [Sheet music + CD] Music Minus One
Volume Two picks up with more great hits as rendered by the Pacific Coast Horns!...(+)
Volume Two picks up with more great hits as rendered by the Pacific Coast Horns! Here they present nine great tunes for you to listen to then join the band as the horn soloist. Songs: Fascinatin' Rhythm · Music Man Medley · A String of Pearls · Minnie the Moocher · Sabre Dance · and more. This deluxe edition includes a printed solo part as well as 2 CDs with complete reference versions and accompaniments minus you! The CDs also contain -12% and -25% slow practice tempo tracks.
15.99 GBP - Sold by Musicroom UK | |
| Carl Maria von Weber:
Concertino Op. 45 For
Horn And Orchestra:
French Horn: French Horn and Piano G. Henle
For Horn And Orchestra-The horn is surely the most ?romantic? of instruments an...(+)
For Horn And Orchestra-The horn is surely the most ?romantic? of instruments and it is a well-known fact that it plays a prominent role in Weber?s oeuvre. Der Freischütz and Oberon would be unthinkable without their horn calls whether to signifyyearning or the clarion call of the hunt. But Weber did more than give the instrument important solo parts in his operas; he also wrote a virtuoso concert piece that to this day is regarded as one of the most difficult in thewhole horn repertoire not least because the soloist has to play three-part chords (!) in the cadenza. This Henle Urtext edition is based on the autograph the engraver?s copy (checked by Weber himself) and the first edition andso offers the best possible musical text for those wishing to learn this highly effective virtuoso piece. The Preface also for the first time provides biographical details of Sebastian Rauch the Munich horn player whocommissioned this Concertino.
15.25 GBP - Sold by Musicroom UK | |
| Daniel Bourgue: Le Cor
Methode Universelle -
Vol.4: French Horn:
Instrumental French horn [Sheet music] Leduc, Alphonse
Method for the French Horn - Vol.4 is the fourth volume out of seven of a method...(+)
Method for the French Horn - Vol.4 is the fourth volume out of seven of a method for French Horn by Daniel Bourgue. Following the knowledge and technique acquired in the first three volumes this book will help the players to progress further with the help of comments to ensure they maintain their good techniques. This fourth volume focuses on scales and articulations bars on 3/8 6/8 and their rests/rhythms low notes transpositions in G and in A and on waltzes and marches among other aspects. Some revisions are also part of this book. Daniel Bourgue is a French musician who plays theCello and the Horn and who studied harmonies and chamber music. He played around the world as a soloist and worked as a great pedagogue too.
15.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Daniel Bourgue: Le Cor
Methode Universelle -
Vol.2: French Horn:
Instrumental French horn [Sheet music] Leduc, Alphonse
Le Cor Méthode Universelle - Vol.2 is the second volume of a method for French...(+)
Le Cor Méthode Universelle - Vol.2 is the second volume of a method for French Horn by Daniel Bourgue. Following the knowledge and technique acquired in the first volume this book will help the young players to progress further with the help of comments to ensure they maintain their good reflexes. This second volume focuses on chords alterations rhythms ternary mode and paired slurs among other aspects. Revisions are also part of this book. Daniel Bourgue is a French musician who plays the Cello and the Horn and who studied harmonies and chamber music. He played around the world as a soloist andworked as a great pedagogue too.
15.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Daniel Bourgue: Le Cor
Methode Universelle -
Vol.3: French Horn:
Instrumental French horn [Sheet music] Leduc, Alphonse
Le Cor Méthode Universelle - Vol.3 is the third volume out of seven of the met...(+)
Le Cor Méthode Universelle - Vol.3 is the third volume out of seven of the method for French Horn by Daniel Bourgue. Following the knowledge and technique acquired in the first two volumes this book will help young players to progress further with the help of comments to ensure they maintain their good technique. This third volume focuses on scales seventh chords transpositions chromatics and enharmonics arpeggios rhythms syncopation among other aspects. Some revisions are also part of this book. Daniel Bourgue is a French musician who plays the Cello and the Horn and who studied harmonies andchamber music. He played around the world as a soloist and worked as a great pedagogue too.
15.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Robert Schumann: Concert
Piece For Four Horns And
Orchestra Op.86:
Orchestra: Brass Quartet: 4 horns G. Henle
Piano Reduction-Composed in 1849 Robert Schumann's Concert Piece For Four Horns...(+)
Piano Reduction-Composed in 1849 Robert Schumann's Concert Piece For Four Horns And Orchestra Op.86 is still considered a romantic work for Horn par excellence and a benchmark for all soloists.'Something quitecurious I believe' it was thus that Schumann described his Concert Piece For Four Horns And Orchestra in a letter and he did indeed break new ground with this work as far as the scoring and treatmentof the instruments was concerned.At the time in which the work was composed the French horn was still fairly new enabling players to play previously unheard-of runs and free modulations a fact which Schumann madethe most of particularly with his scoring for four Horns.
32.25 GBP - Sold by Musicroom UK | |
| Peter Maxwell Davies:
Horn Concerto (Horn And
Piano): French Horn:
Instrumental French Horn and Piano [Sheet music] Chester
This work was commissioned by the Royal Philharmonic Orchestra. It was first per...(+)
This work was commissioned by the Royal Philharmonic Orchestra. It was first performed on 2nd May 2000 at the Barbican Centre London by Richard Watkins. Peter Maxwell Davies: The horn writing is extremely virtuoso throughout not least in exploring the full range of the horn from the deepest notes in the bass normally exclusive to an orchestral fourth horn player to the highest most exposed sostenuto of a first horn soloist presenting herechallenges of embouchure and sheer stamina I should think fairly unprecedented.Duration c.23 minutes. Miniature score on sale CH61757 Conductor's score and orchestral parts on hire.
19.99 GBP - Sold by Musicroom UK | |
| Concert And Contest
Collection: French Horn
Solo: CD-ROM French horn Rubank Publications
The Concert and Contest Collection Accompaniment CDFull-performance and accompan...(+)
The Concert and Contest Collection Accompaniment CDFull-performance and accompaniment only recordings for this top-rated collection of solo literature. Each book offers a superb variety of solos customizedfor that instrument and most state solo/ensemble contest lists include several solos from this collection. (Solo part and piano accompaniment sold separately.) Features include:• High quality studio recordings byprofessional soloists• Accompaniment only tracks for student practice• Tempo adjustment software (most titles) allowing students to learn at their own pace
10.20 GBP - Sold by Musicroom UK | |
| Peter Maxwell Davies:
Horn Concerto: French
Horn: Score Orchestra [Study Score / Miniature] Chester
This work was commissioned by the Royal Philharmonic Orchestra. It was first per...(+)
This work was commissioned by the Royal Philharmonic Orchestra. It was first performed on 2nd May 2000 at the Barbican Centre London conducted by Peter Maxwell Davies. Duration c.23 minutes. Peter Maxwell Davies: The hornwriting is extremely virtuoso throughout not least in exploring the full range of the horn from the deepest notes in the bass normally exclusive to an orchestral fourth horn player to the highest most exposed sostenuto of afirst horn soloist presenting here challenges of embouchure and sheer stamina I should think fairly unprecedented.Solo part and piano reduction on sale (CH61758) Conductor's score and orchestral parts available for hire.
24.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Pop Hits : Instrumental
Soloists + Cd - French
Horn Solo French horn [Sheet music + CD] Alfred Publishing
The arrangements are completely compatible with each other and can be played tog...(+)
The arrangements are completely compatible with each other and can be played together or as solos. Each book contains a carefully edited part that is appropriate for the Level 2-3 player. The arrangements in the string instrument books, however, are not compatible with those in the wind instrument books due to level considerations regarding keys and instrument ranges. Titles are: Breakaway * Bridge Over Troubled Water * Everything Burns * Inside Your Heaven * The Notebook (Main Title) * The Prayer * To Where You Are * Untitled (How Can This Happen to Me?) * When You Say You Love Me * When You Tell Me That You Love Me * You Raise Me Up.
19.50 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Georg Friedrich Händel:
Samson (Horn Parts):
Opera: Parts French horn [Part] Novello & Co Ltd.
Samson an oratorio for soloists mixed chorus and orchestra by George Frideric ...(+)
Samson an oratorio for soloists mixed chorus and orchestra by George Frideric Handel libretto by Newburgh Hamilton after Milton’s Samson Agonistes. Edited by Donald Burrows.
7.99 GBP - Sold by Musicroom UK | |
| Jirí Pauer: Concerto For
Horn: French Horn:
Instrumental Work Barenreiter
Instrumental concertos with orchestral accompaniment hold a special place in the...(+)
Instrumental concertos with orchestral accompaniment hold a special place in the oeuvre of Jir Pauer (1919-2007). Apart from his Violin Concerto (1959) he wrote three more compositions of the type for wind instruments.The Bassoon Concerto (1949) Oboe Concerto (1954) and Horn Concerto (1957) were all inspired by superb Czech wind soloists motivated by the lack of new repertoire for the respective instruments.The three movements of the Horn Concerto comprise a single structure which alternates between contrasting moods and musical tableaux. It was first performed in 1958 at the Second Exhibition of New Works by Prague Composers by the soloistMiroslav Å tefek and the Czech Philharmonic conducted by Karerl Ancerl.- Horn and piano reduction (H2955) available for sale.- Full score & performance material available for hire.
28.00 GBP - Sold by Musicroom UK | |
| Potter And The Prisoner
(WILLIAMS JOHN) French Horn and Piano [Sheet music + CD] Warner Bros.Publications
Par WILLIAMS JOHN. selections from Harry Potter and the Prisoner of Azkaban
Inst...(+)
Par WILLIAMS JOHN. selections from Harry Potter and the Prisoner of Azkaban
Instrumental solo book, accompaniment CD and set of performance parts for horn in F and piano accompaniment. With fingering chart, black and white photos and color photos. The arrangements are completely compatible with each other and can be played togor as solos. Each book contains: A carefully edited removable part that is appropiate for the Level -3 player, a piano accompaniment that can be easily played by a teacher or intermediate piano student (it includes the instrumental solo part in concech, added above the piano part so the accompanist or teacher can follow the soloist), a fully orchestrated accompaniment CD with each song on the Cd includes a Demo track, which features a live instrumental performance, followed by the Play-along traitself. Double Trouble - A Window To The Past/ Recueil / Cor et Piano
11.40 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Sounds of Worship: French
Horn: Part Brookfield Press
Classic hymns have been arranged for the flexible “Sounds of” series...(+)
Classic hymns have been arranged for the flexible “Sounds of” series. For solos and ensembles this collection brings together great hymns of the faith. Whether it's a soloist using a book (accompanied by piano orfully-orchestrated accompaniment track) or two three four players...or a full orchestra Sounds of Worship is a uniquely flexible idea for church instrumentalists! Each book includes a solo line and an ensemble line. Mixand match lines with different instruments and combinations of players. Available: Conductor's Score (with Acc. CD) Flute Oboe Trumpet Clarinet Trombone Horn Alto Saxophone Tenor Saxophone Violin Cello Bass/Tuba Percussion Piano/Rhythm Accompaniment CD.
15.99 GBP - Sold by Musicroom UK | |
| Sounds of Christmas:
French Horn: Part Daybreak Music
This release from the “Sounds of Series” is indispensible to fill pl...(+)
This release from the “Sounds of Series” is indispensible to fill plenty of solo and ensemble needs! Whether it's a soloist using a book (accompanied by piano or fully-orchestrated accompaniment track) or two three four players...or a full orchestra Sound of Christmas is a uniquely flexible idea for church instrumentalists! Each book includes a solo line and an ensemble line. Mix and match lines with different instruments andcombinations of players.
7.50 GBP - Sold by Musicroom UK | |
| Bryars G. - Cello
Concerto - Conducteur Schott
Farewell to philosophy I have a great fondness for the lower string instrument...(+)
Farewell to philosophy I have a great fondness for the lower string instruments: I am a bass player, my mother is a cellist, as are both my daughters; my own ensemble includes two violas, a cello and a bass, and for the instrumentation of my opera Medea I omit the entire violin section from the orchestra. As I have written a number of works for solo instrument or voice with orchestra I welcomed the opportunity to write a concerto for cello and orchestra and especially one which focuses particularly on the instrument’s lyrical qualities. Although the piece is in one continuous movement, and the soloist is playing almost without a break, it nevertheless falls into distinct sections which are recognisable by a shift of tempo as well as by a change in the music’s character. One of the early ideas Julian Lloyd Webber and I discussed was that it might form a companion piece to one of the Haydn concertos. Given my friendship with some members of the English Chamber Orchestra and my awareness of their repertoire, this suggested a number of particular musical references. The subtitle to the work, for example, combines the subtitles of two idiosyncratic Haydn symphonies and I allude to them in different ways but chiefly through orchestration: for The Philosopher by including a section in the concerto where the orchestration resembles that of the symphony’s first movement (pairs of English and French horns, muted violins and unmuted lower strings); for The Farewell, by the progressive reduction in the orchestration towards the end. Indeed, apart from the orchestral tutti in the last few bars, the last pages of the score are virtually for string quartet. The subtitle also refers to my own background as a philosophy graduate... The piece was commissioned by Philips Classics for Julian Lloyd Webber and is dedicated to him. The first performance was given by Julian Lloyd Webber and the English Chamber Orchestra conducted by James Judd, 21 November 1995, Barbican Hall, London.
38.40 EUR - Sold by Woodbrass Pre-shipment lead time: In Stock | |
| Cello Concerto (BRYARS
GAVIN) Cello, Orchestra [Study Score / Miniature] Schott
Farewell to philosophy. Par BRYARS GAVIN. I have a great fondness for the lower ...(+)
Farewell to philosophy. Par BRYARS GAVIN. I have a great fondness for the lower string instruments: I am a bass player, my mother is a cellist, as are both my daughters; my own ensemble includes two violas, a cello and a bass, and for the instrumentation of my opera Medea I omit the entire violin section from the orchestra. As I have written a number of works for solo instrument or voice with orchestra I welcomed the opportunity to write a concerto for cello and orchestra and especially one which focuses particularly on the instrument’s lyrical qualities. Although the piece is in one continuous movement, and the soloist is playing almost without a break, it nevertheless falls into distinct sections which are recognisable by a shift of tempo as well as by a change in the music’s character.
One of the early ideas Julian Lloyd Webber and I discussed was that it might form a companion piece to one of the Haydn concertos. Given my friendship with some members of the English Chamber Orchestra and my awareness of their repertoire, this suggested a number of particular musical references. The subtitle to the work, for example, combines the subtitles of two idiosyncratic Haydn symphonies and I allude to them in different ways but chiefly through orchestration: for The Philosopher by including a section in the concerto where the orchestration resembles that of the symphony’s first movement (pairs of English and French horns, muted violins and unmuted lower strings); for The Farewell, by the progressive reduction in the orchestration towards the end. Indeed, apart from the orchestral tutti in the last few bars, the last pages of the score are virtually for string quartet. The subtitle also refers to my own background as a philosophy graduate...
The piece was commissioned by Philips Classics for Julian Lloyd Webber and is dedicated to him.
The first performance was given by Julian Lloyd Webber and the English Chamber Orchestra conducted by James Judd, 21 November 1995, Barbican Hall, London.
Gavin Bryars/ Répertoire / Violoncelle et Orchestre
35.52 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
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