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| Steinbach P Irische Folksongs Bd2 Schott
Guitar solo or guitar and voice (NOTEN+CD) SKU: HL.49023856 Songs abou...(+)
Guitar solo or guitar and voice (NOTEN+CD) SKU: HL.49023856 Songs about poverty and emigration, liberty fight and supression, hereos and the love of the Green Island. Composed by Steinbach. Edited by Patrick Steinbach. This edition: Paperback/Soft Cover. Sheet music with CD. Kunter-bund-edition. Edition with CD. 60 pages. Schott Music #BUND 71149. Published by Schott Music (HL.49023856). ISBN 9783795756826. 8.5x11.75x0.183 inches. German. Seit einigen Jahren erlebt die irische Musik eine Renaissance auf nationalem und internationalem Terrain. Diese Sammlung irischer Folksongs fur Gitarre und Gesang knupft an den ersten Band an. Der Autor wahlte wieder 13 populare irische Trink- und Liebeslieder, Balladen und Emigrationssongs, die einerseits auf gute Klanglichkeit und andererseits auf leichte Spielbarkeit ausgelegt sind.Neben auflockernden und personlich gehaltenen Hintergrundinformationen zu den Liedern, der irischen Musik im allgemeinen und deren Geschichte finden sich zu allen Liedern das passende Zupfmuster zur Begleitung sowie eine eigens ausgearbeitete Solo-Gitarrenfassung. Irische Musik, so Patrick Steinbach, hat wegen ihrer Lebendigkeit, ihrer Frohlichkeit und Sentimentalitat uber all die Zeit nie ihren Reiz verloren. Horen wir hinein in die Musik der Iren, einem Volk am Rande Europas, das sich trotz Unterdruckung, Krieg und Hungersnoten niemals den Stolz und die Unbeugsamkeit noch die Liebe zum eigenen Land oder den Wunsch nach Freiheit hat nehmen lassen. $33.00 - See more - Buy online | | |
| Steinbach P Holy Ground Schott
Voice and Guitar (BR) SKU: HL.49023862 Irische Folksongs um Leben, Lan...(+)
Voice and Guitar (BR) SKU: HL.49023862 Irische Folksongs um Leben, Land und Leute. Composed by Steinbach. Edited by Patrick Steinbach. This edition: Paperback/Soft Cover. Sheet music. Kunter-bund-edition. Songbook. 96 pages. Schott Music #BUND 71156. Published by Schott Music (HL.49023862). ISBN 9783795756888. German. Dieser Pocket-Guide der irischen Folkmusik fuhrt mit uber 40 ausgewahlten Liedern auf eine Reise durch die irische Balladenwelt. Lieder uber Armut und Emigration, Freiheitskampf und Unterdruckung, Helden und Schurken, Heilige und Handwerker, Lieder uber Jugend und das Altern, die Liebe und das Feiern erzahlen ihre ganz eigene Geschichte und zeigen ein lebendiges Bild der grunen Insel. Patrick Steinbachs Infos zur Entstehung der Lieder und nutzliche Tipps zum Spielen machen den Pocket-Guide zu einem Liederbuch, das in jeden Gitarrenkoffer gehort. $5.99 - See more - Buy online | | |
| Steinbach P Irische Folksongs Bd1 Schott
Guitar solo or guitar and voice (NOTEN+CD) SKU: HL.49023855 Songs abou...(+)
Guitar solo or guitar and voice (NOTEN+CD) SKU: HL.49023855 Songs about heroism and rebellion, carousal and the love of the Green Island. Composed by Steinbach. Edited by Patrick Steinbach. This edition: Saddle stitching. Sheet music with CD. Kunter-bund-edition. Neben interessanten Hintergrundinformationen zu den Liedern, irischer Musik und Geschichte werden alle Stucke mit einem passenden Zupfmuster zur Begleitung erklart. Edition with CD. 76 pages. Schott Music #BUND 71148. Published by Schott Music (HL.49023855). ISBN 9783795756819. 8.5x11.75x0.249 inches. German. Diese ansprechende Sammlung von 13 popularen irischen Trink- und Liebesliedern, traurigen Balladen und Emigrationssongs ist besonders auf gute Klanglichkeit und leichte Spielbarkeit ausgelegt.Die Stucke konnen meist bequem in der ersten Lage der Gitarre gespielt werden. Neben interessanten Hintergrundinformationen zu den Liedern, irischer Musik und Geschichte werden alle Stucke mit einem passenden Zupfmuster zur Begleitung erklart. Jedes Lied ist zusatzlich als ausgearbeitete Solo-Gitarrenfassung notiert. Auch fur das instrumentale Zusammenspiel mit anderen Instrumenten bietet diese liebevoll gemachte Sammlung reichlich Moglichkeiten. Sie gibt einen optimalen Einblick in die gesungene Folklore. $33.00 - See more - Buy online | | |
| The Irish Piano Book Piano solo Schott
(20 Famous Tunes from Ireland). By Various. Edited by Patrick Steinbach. Arrange...(+)
(20 Famous Tunes from Ireland). By Various. Edited by Patrick Steinbach. Arranged by Wolfgang Löll. For Piano. Piano Collection. Softcover. 68 pages. Schott Music #ED21377. Published by Schott Music
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Irish Folk Tunes for Flute - Volume 2 Flute [Sheet music + Audio access] - Easy Schott
Volume 2. Composed by Various. Edited by Patrick Steinbach. This edition: Sad...(+)
Volume 2. Composed by
Various. Edited by Patrick
Steinbach. This edition:
Saddle stitching. Sheet
music with online material.
Woodwind. Eine moderne
Sammlung mit irischen
Folkstucken fur Flote.
Edition with Online audio
file. 44 pages. Schott Music
#ED 23323. Published by
Schott Music
$21.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Irish Violin Book Violin [Sheet music + CD] Schott
(20 Famous Tunes from Ireland With a CD of performances and backin). By Various....(+)
(20 Famous Tunes from Ireland With a CD of performances and backin). By Various. Edited by Patrick Steinbach. Arranged by Heiko R?¼hmkorff. For Violin. String. Softcover with CD. 28 pages. Schott Music #ED21378. Published by Schott Music
$18.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Steinbeck Suite Organ Zimbel Press
Organ SKU: SU.80101350 For Organ. Composed by Franklin Ashdown. Ke...(+)
Organ SKU: SU.80101350 For Organ. Composed by Franklin Ashdown. Keyboard, Organ. Score. Zimbel Press #80101350. Published by Zimbel Press (SU.80101350). A five movement work inspired by the writings of John Steinbeck. It is suitable in its entirety as a concert work, or the individual movements may be played on their own for church services. Each movement has both a poetic title from Steinbeck's writings and a musical title (Praembolo, Divertimento, Miserere, Musica de los Paisanos, and Toccata). Instrumentation: Organ. Composed: 2013 Published by: Zimbel Press. $22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Guitar World Presents 200 Stompbox Reviews Guitar Hal Leonard
Guitar SKU: HL.123825 Guitar Book. Guitar Reference, Instruction. Softcov...(+)
Guitar SKU: HL.123825 Guitar Book. Guitar Reference, Instruction. Softcover. 304 pages. Published by Hal Leonard (HL.123825). ISBN 9781480366107. UPC: 884088962371. 9x12 inches. 200 stompbox reviews from the pages of Guitar World magazine! The ultimate buyer's guide for fans of distortion pedals, wah pedals, tuners, overdrive pedals, switching systems, flangers, fuzz pedals, tremolos and more! This awesome collection features the Electro-Harmonix English Muffin • Dunlop Cry Baby SW-95 Slash wah • DigiTech Scott Ian Black-13 Artist Series pedal • Coffin Case Bat Fuzz Pedal • Way Huge Aqua Puss MkII analog delay pedal • MXR Super Badass Distortion • and many more! $29.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Irish Folk Tunes for Flute Schott
Book/Media Online Flute; Recorder; Tinwhistle SKU: HL.49046943 71 Trad...(+)
Book/Media Online Flute; Recorder; Tinwhistle SKU: HL.49046943 71 Traditional Pieces, Book/Media Online. Edited by Patrick Steinbach. Woodwind Solo. Folk, Irish. Softcover Media Online. 52 pages. Schott Music #ED13360D. Published by Schott Music (HL.49046943). ISBN 9781847615374. UPC: 196288087328. 9.0x12.0x0.194 inches. Irish Folk Tunes for Flute presents 71 superb Irish traditional tunes, including jigs, reels, polkas, hornpipes, slow airs, and pieces by Carolan and are suitable for flute, recorder or tin whistle. Experienced folk musician Patrick Steinbach provides an excellent introduction explaining style and traditional ornamentation as well as notes on each of the tunes. The edition also contains recordings of all the tunes for free download. $23.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Irish Songs Forever for Guitar Guitar [Sheet music + CD] - Easy AMA Verlag
By Patrick Steinbach. For Guitar (Fingerpicking). solos. AMA Verlag. Celtic/Iris...(+)
By Patrick Steinbach. For Guitar (Fingerpicking). solos. AMA Verlag. Celtic/Irish. Level: Beginning-Intermediate. Book/CD Set. Size 8.75x11.75. 68 pages. Published by AMA Verlag.
$22.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Carolan's Dream (Flute / Piano / Violin) Flute and Piano [Sheet music + CD] Schott
15 Pieces for Flute/Violin (Fiddle) and Piano Book/CD. By Turlough O'carolan. Ar...(+)
15 Pieces for Flute/Violin (Fiddle) and Piano Book/CD. By Turlough O'carolan. Arranged by Wolfgang Loll, Patrick Steinbach. This edition: ED20201. Instrumental Folio. BOOK W/CD. 36 pages. Published by Schott.
$24.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Kanons Nach Glocken-inschriften 30 - Easy Schott
2 to 12 equal and mixed voices a cappella (Score) - easy SKU: HL.49013309 ...(+)
2 to 12 equal and mixed voices a cappella (Score) - easy SKU: HL.49013309 Composed by Rudolf Hartl. This edition: Paperback/Soft Cover. Sheet music. Bausteine fur Musikerziehung und Musikpflege. Classical. Choral Score. 24 pages. Schott Music #B 169. Published by Schott Music (HL.49013309). ISBN 9790001105163. German. $16.99 - See more - Buy online | | |
| The Irish Flute Book Flute [Sheet music + CD] Schott
(20 Famous Tunes from Ireland With a CD of Accompaniments and Perf). Edited by P...(+)
(20 Famous Tunes from Ireland With a CD of Accompaniments and Perf). Edited by Patrick Steinbach. For Flute, Recorder, Tinwhistle. Woodwind. Softcover with CD. 28 pages. Schott Music #ED21646. Published by Schott Music
$20.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Celtic Classics Guitar Heritage Music Press
By Patrick Steinbach. For guitar. Guitar. Published by Heritage Music Press. (30...(+)
By Patrick Steinbach. For guitar. Guitar. Published by Heritage Music Press. (30/1313H)
$8.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto Pathetique for Piano and Orchestra (Reuss) Orchestra Lucks Music Library
Orchestra (2+1.2.2.2/2.2.3.0,timp,p erc,hp,str,pf solo) SKU: TM.01817SC C...(+)
Orchestra (2+1.2.2.2/2.2.3.0,timp,perc,hp,str,pf solo) SKU: TM.01817SC Composed by Franz Liszt. Score. Lucks Music Library #A3219. Published by Lucks Music Library (TM.01817SC). Concert version - Steinbach. $35.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Irish Reel Book Guitar [Sheet music + CD] - Easy AMA Verlag
By Patrick Steinbach. For Acoustic Instruments. Solos. AMA Verlag. Celtic/Irish....(+)
By Patrick Steinbach. For Acoustic Instruments. Solos. AMA Verlag. Celtic/Irish. Level: Beginning-Intermediate. Book/CD Set. Size 9.x11.75. 180 pages. Published by AMA Verlag. ISBN 3899220234.
$29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Geschichte der Musik Barenreiter
SKU: BA.BVK02042 Vom Mittelalter bis in die Gegenwart. Composed by...(+)
SKU: BA.BVK02042 Vom Mittelalter bis in die Gegenwart. Composed by Paul Griffiths. Hardback. Coproduction Metzler/Barenreiter. Book. 301 pages. Baerenreiter Verlag #BVK02042_00. Published by Baerenreiter Verlag (BA.BVK02042). ISBN 9783761820421. 22 x 15 cm inches. Translation: Corinna Steinbach / Stephanie Staudacher. Koproduktion Metzler/Barenreiter. $20.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Traditional Irish Songs for Acoustic Guitar (German Language) Guitar notes and tablatures [Sheet music] - Easy AMA Verlag
By Patrick Steinbach. For Guitar (Fingerpicking). Solos. AMA Verlag. Celtic/Iris...(+)
By Patrick Steinbach. For Guitar (Fingerpicking). Solos. AMA Verlag. Celtic/Irish. Level: Beginning-Intermediate. Book. Size 8.75x11.75. 64 pages. Published by AMA Verlag. ISBN 3927190195.
$19.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Irish Folk Tunes for Flute Flute [Sheet music + CD] Schott
By Various. Edited by Patrick Steinbach. Schott. Book with CD. 52 pages. Schott ...(+)
By Various. Edited by Patrick Steinbach. Schott. Book with CD. 52 pages. Schott Music #ED13360. Published by Schott Music
$21.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| What The Morning Bell Tells Me from Symphony No. 3 for 12-part Trombone Choir Trombone ensemble - Advanced Cherry Classics
12-part Trombone Choir - Advanced SKU: CY.CC3171 Composed by Gustav Mahle...(+)
12-part Trombone Choir - Advanced SKU: CY.CC3171 Composed by Gustav Mahler. Arranged by Ohad Wand. Classical. Score and Parts. Cherry Classics #CC3171. Published by Cherry Classics (CY.CC3171). ISBN 9790530111413. 8.5 x 11 in inches. Mahler composed his 3rd Symphony in the summers of 1893 and 1894 in Steinbach on the Attersee near Salzburg. He spent most of his days those two summers composing in a tiny hut built to his specifications where he could compose in the meadow on the shore of the lake - undisturbed. Movement 5, What The Morning Bell Tells Me includes the voices of women's chorus, children and alto soloist and is a relatively short 4-minute bright rowdy episode, full of laughing voices, bells and angels. Ohad Wand arranged this great music for 12-part Trombone Choir while studying at the Eastman School and it was subsequently beautifully recorded by the Eastman Trombone Choir, directed by Dr. John Marcellus. $50.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| PARSIFAL: Kingsors Zaubergarten und die Blumenmaedchen Lucks Music Library
(3.2+1.3.2/4.2.3.1,timp,s tr) SKU: TM.01683SC Composed by Richard Wagner....(+)
(3.2+1.3.2/4.2.3.1,timp,str) SKU: TM.01683SC Composed by Richard Wagner. Score. Lucks Music Library #A2242. Published by Lucks Music Library (TM.01683SC). Concert version - Steinbach. $35.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| PARSIFAL: Kingsors Zaubergarten und die Blumenmaedchen Lucks Music Library
(3.2+1.3.2/4.2.3.1,timp,s tr) SKU: TM.01683SET Composed by Richard Wagner...(+)
(3.2+1.3.2/4.2.3.1,timp,str) SKU: TM.01683SET Composed by Richard Wagner. Set Type: D. Set of parts. Lucks Music Library #A2242. Published by Lucks Music Library (TM.01683SET). Concert version - Steinbach. $185.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto Pathetique for Piano and Orchestra (Reuss) Orchestra Lucks Music Library
Orchestra (2+1.2.2.2/2.2.3.0,timp,p erc,hp,str,pf solo) SKU: TM.01817SET ...(+)
Orchestra (2+1.2.2.2/2.2.3.0,timp,perc,hp,str,pf solo) SKU: TM.01817SET Composed by Franz Liszt. Set Type: D. Set of parts. Lucks Music Library #A3219. Published by Lucks Music Library (TM.01817SET). Concert version - Steinbach. $70.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Hope Remains Within Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, ...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 2.5 SKU: CF.YPS217F Composed by Zachary Cairns. Sws. Yps. Full score. 24 pages. Duration 4 minutes, 48 seconds. Carl Fischer Music #YPS217F. Published by Carl Fischer Music (CF.YPS217F). ISBN 9781491156551. UPC: 680160915095. 9 x 12 inches. Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.). Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.). $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Hope Remains Within Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, ...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 2.5 SKU: CF.YPS217 Composed by Zachary Cairns. Folio. Yps. Set of Score and Parts. 8+8+4+8+8+4+2+6+4+4+4+8+8+8+8+6+6+6+4+6+4+2+2+4+6+10+24 pages. Duration 4 minutes, 48 seconds. Carl Fischer Music #YPS217. Published by Carl Fischer Music (CF.YPS217). ISBN 9781491156544. UPC: 680160915088. 9 x 12 inches. Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.). Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.). $75.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,” at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe” and the “premier oboist of Europe.”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.”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.”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 | | |
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| The Irish Violin Book Violin [Sheet music + CD] Schott
Dans ce volume, le musicien folk Patrick Steinbach a compilé les plus beaux air...(+)
Dans ce volume, le musicien folk Patrick Steinbach a compilé les plus beaux airs irlandais et, en plus, fournit beaucoup d'informations sur la performance ainsi que sur le style et le contexte culturel de la musique irlandaise. Tous les morceaux sont enregistrés sur le CD qui l'accompagne, mais il est également possible d'acheter l'accompagnement de piano approprié (Le Piano Book irlandais, ED 21377). Motiver répertoire des cours de violon ou juste pour le fun! / Violon
17.76 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Irish Songs Forever
(STEINBACH PATRICK) Guitar [Sheet music + CD] AMA Verlag
Par STEINBACH PATRICK. Le meilleur tirés du répertoire de la chanson de l'île...(+)
Par STEINBACH PATRICK. Le meilleur tirés du répertoire de la chanson de l'île verte. Informations générales sur chaque chanson, paroles de ligne et de la poésie de mélodie, une guitare qui accompagne le patron ainsi qu'une version solo pour guitare. Tunes comprennent : une Nation Once Again - tous pour Me Grog - quatre champs de Green - Henry Joy - je vais raconter Ma Ma - À Dublin Fair City - Johnny, je difficilement savait Yeh - seulement nos rivières Run Free - rouge est le Rose - le Groenland Whale pêches - The Praties - The Shores de Amerikay - The Wild Rover - et Whiskey In The Jar. En anglais et en allemand. / Niveau : Débutant à Intermédiaire / Celtic/Irish - Solos / Recueil / Guitare
33.87 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Het Deurken (VAN
STEENBEECK RIK) Piano, Voice [Sheet music] Metropolis Music Publishers
Par VAN STEENBEECK RIK. / Répertoire / Chant et Piano
11.13 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Stonefish: Marching Band:
Score & Parts Marching band [Score and Parts] Arrangers' Publishing Company 39.99 GBP - Sold by Musicroom UK | |
| Guitar World Presents 200
Stompbox Reviews: Guitar
Solo: Instrumental Album Hal Leonard
200 stompbox reviews from the pages of Guitar World magazine! The ultimate buyer...(+)
200 stompbox reviews from the pages of Guitar World magazine! The ultimate buyer's guide for fans of distortion pedals wah pedals tuners overdrive pedals switching systems flangers fuzz pedals tremolos and more! This awesome collection features the Electro-Harmonix English Muffin - Dunlop Cry Baby SW-95 Slash wah - DigiTech Scott Ian Black-13 Artist Series pedal - Coffin Case Bat Fuzz Pedal - Way Huge Aqua Puss MkII analog delay pedal - MXR Super Badass Distortion - and many more!
29.99 GBP - Sold by Musicroom UK | |
| Irish Folk Tunes for
Flute Flute [Sheet music + Audio access] Schott
Volume 1. Par . 71 Airs traditionnels irlandais ? jigs, reels, polkas, hornpipes...(+)
Volume 1. Par . 71 Airs traditionnels irlandais ? jigs, reels, polkas, hornpipes et airs lents ? de même que des pièces de Carolan, pour la flûte, la flûte à bec ou le flûtiau de métal. Musicien expérimenté de la musique folk, Patrick Steinbach fournit ici une excellente introduction sur les styles et les ornements traditionnels ainsi que des commentaires sur chacune des 71 pièces. De plus, l'édition contient des enregistrements de toutes les pièces en téléchargement gratuit. / Date parution : 2022-02-15/ Recueil / Flûte Traversière ou Flûte à Bec
22.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| The Irish Violin Book Violin [Sheet music + Audio access] - Easy Schott
20 Airs Célèbres Irlandais. Dans ce volume, le musicien folk Patrick Steinbach...(+)
20 Airs Célèbres Irlandais. Dans ce volume, le musicien folk Patrick Steinbach a compilé les plus beaux airs irlandais, et donne en complément de nombreuses indications sur l'interprétation, le style et le milieu culturel de la musique irlandaise. / Niveau : Facile / Recueil / Violon
16.10 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Toirdhealbhach Ó
Cearbhalláin: Carolan's
Concerto: Chamber
Ensemble: Flute and Piano [Sheet music + CD] - Intermediate Schott
15 Easy to Intermediate pieces from 18th-century Ireland-The latest addition to ...(+)
15 Easy to Intermediate pieces from 18th-century Ireland-The latest addition to the fast-growing 'Baroque Around the World' series is an Irish album consisting of fifteen haunting melodies by the legendary 18th-century Irish harpist Turlough O'Carolan. The selection of easy to intermediate standard has been made by Patrick Steinbach; the pieces range in style from the Corelli-influenced 'Carolan's Concerto' through the rumbustious 'Carolan's quarrel with the landlady' to the composer's moving final air 'Carolan's dream'. Arrangements for flute (violin oboe) and keyboard with optional cello or bassoon are by Jeremy Barlow who has edited three other volumes in 'Baroque Around the World' of English French and Swedishmusic.
14.99 GBP - Sold by Musicroom UK | |
| Irish Folk Tunes For
Flute Flute - Easy Schott
Volume 2. Après le grand succès du premier volume, le spécialiste du folklore...(+)
Volume 2. Après le grand succès du premier volume, le spécialiste du folklore irlandais Patrick Steinbach présente 70 autres mélodies traditionnelles irlandaises - dont des polkas, des marches, des gigues et des reels - de chansons folkloriques connues et des compositions de Turlough O'Carolan. Les pièces conviennent pour la flûte, la flûte à bec ou le tin whistle. Une introduction avec des explications sur le style et l'ornementation traditionnelle ainsi que des notes sur chacune des mélodies complètent le volume 2 de Irish Folk Tunes for Flute.
Pour toutes les pièces, il existe un enregistrement au format mp3, qui peut être téléchargé avec un code de bon imprimé dans le livret. / Niveau : 2-3 / Musique traditionnelle / Recueil / Flûte Traversière
22.76 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Irish Real Book + Cd All Instruments [Sheet music + CD] AMA Verlag
Irish Reel Book for all melody instruments. pour flûte, violon, banjo, mandolin...(+)
Irish Reel Book for all melody instruments. pour flûte, violon, banjo, mandoline, guitare et tous les autres instruments.by de mélodie Patrick Steinbach/ Recueil / Tout Instrument
44.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| ROCK and POP CLASSICS FOR
LOW G-UKULELE Ukulele Schott
The ukulele is becoming more and more popular, and more and more guitarists are ...(+)
The ukulele is becoming more and more popular, and more and more guitarists are getting involved with the 4-stringed little sister of the guitar.Especially for this group, the alternative tuning of the ukulele with a low G-string ( low G ) is interesting, because not only the range is enriched, but also the feeling of playing with a low string is very reminiscent of a guitar.The melody-chord playing in this songbook uses techniques of classical guitar as well as folk guitar and combines chords with the song melody to create rousing arrangements, all of which have proven themselves in lessons and have been written by the experienced author and pedagogue Patrick Steinbach to be easy to moderately difficult.PrefaceVorwortAin´t NobodyAngieBlue Suede ShoesCalifornicationCandle In The WindCan You Feel The Love TonightChild In TimeDon?t Worry Be HappyDust In The WindEleanor RigbyFields Of GoldHallelujahHeart Of GoldHe´s A PirateHey JudeHey There, DelilahKnocking On Heaven?s DoorIn The SummertimeLady In BlackLet It beLocomotive BreathMad WorldNights In White SatinNothing Else MattersRock Around The ClockSailingSound Of SilenceStreets Of LondonTears In HeavenTequilaAbout The Songs / Über die SongsChord Diagrams / Grifftabelle / Guitare tablatures / Schott
23.20 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| The Irish Piano Book Piano solo Schott
Dans ce volume, le musicien folk Patrick Steinbach a compilé les plus belles m...(+)
Dans ce volume, le musicien folk Patrick Steinbach a compilé les plus belles mélodies irlandaises. Même si la musique irlandaise n'a pas été conçu à l'origine pour le piano, il est amusant vraiment génial de jouer ces belles mélodies traditionnelles dans les arrangements pour piano facile. En outre, le volume contient des informations sur les styles et les antécédents culturels de la musique irlandaise. Toutes les pièces peuvent également être lus conjointement avec le violon, le violon dans un livre les clés correspondant est également disponible (Le Livre de violon irlandais, ED 21378). De belles pièces pour des leçons de piano ou du jeu d'ensemble. / Piano
17.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Irish Folk Tunes for
Flute: Flute:
Instrumental Album Flute [Sheet music + CD] Schott
71 Traditional Pieces-Irish Folk Tunes for Flute presents seventy-one superb Iri...(+)
71 Traditional Pieces-Irish Folk Tunes for Flute presents seventy-one superb Irish traditional tunes including jigs reels polkas hornpipes and slow airs and pieces by Carolan and are suitable for flute recorder or tin whislte. Experienced folk musician Patrick Steinbach provides an excellent introduction explaining style and traditional ornamentation and there are also notes on each of the seventy-one tunes. All pieces are recorded on the accompanying CD.
16.50 GBP - Sold by Musicroom UK Shipment: (stock) information on site | |
| Rock & Pop
Classics for "Low
G"-Ukulele
Schott
Par . The ukulele is becoming more and more popular, and more and more guitarist...(+)
Par . The ukulele is becoming more and more popular, and more and more guitarists are getting involved with the 4-stringed little sister of the guitar.
Especially for this group, the alternative tuning of the ukulele with a low G-string ('low G') is interesting, because not only the range is enriched, but also the feeling of playing with a low string is very reminiscent of a guitar.
The melody-chord playing in this songbook uses techniques of classical guitar as well as folk guitar and combines chords with the song melody to create rousing arrangements, all of which have proven themselves in lessons and have been written by the experienced author and pedagogue Patrick Steinbach to be easy to moderately difficult. / Date parution : 2023-09-13/ Recueil / Ukulélé Sol Grave
24.50 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| The Irish Piano Book -
Piano Piano solo Schott
Arrangeur : Steinbach, Patrick / 20 famous tunes from Ireland / piano
16.90 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Sonata In E Flat Major
Op. 18 (STRAUSS RICHARD) Violin and Piano G. Henle
Par STRAUSS RICHARD. Die am Ende einer längeren Reihe von Werken von Sommer bis...(+)
Par STRAUSS RICHARD. Die am Ende einer längeren Reihe von Werken von Sommer bis Herbst 1887 entstandene Violinsonate zählt bis heute zu den beliebtesten Kammermusik-Kompositionen von Strauss. Klaviersatz und Modulationstechnik sprengen in den Außensätzen den intimen Rahmen der Kammermusik und deuten auf die zeitgleich entstandenen, effektvollen ersten Symphonischen Dichtungen. Entspannung zwischen den beiden auch technisch sehr anspruchsvollen Ecksätzen bietet der langsame Mittelsatz Improvisation', der wie ein Lied ohne Worte wirkt. Auch als Einzelstück erschienen, errang er in den Jahren um 1900 in Haus- und Salonmusik große Popularität. Ulrich Krämer zeichnet verantwortlich für dieEdition dieser Urtextausgabe, für die Bezeichnung der Violinstimme konnte Arabella Steinbacher, für den Klavierpart Michael Korstick gewonnen werden. Die am Ende einer längeren Reihe von Werken von Sommer bis Herbst 1887 entstandene Violinsonate zählt bis heute zu den beliebtesten Kammermusik-Kompositionen von Strauss. Klaviersatz und Modulationstechnik sprengen in den Außensätzen den intimen Rahmen der Kammermusik und deuten auf die zeitgleich entstandenen, effektvollen ersten Symphonischen Dichtungen. Entspannung zwischen den beiden auch technisch sehr anspruchsvollen Ecksätzen bietet der langsame Mittelsatz Improvisation', der wie ein Lied ohne Worte wirkt. Auch als Einzelstück erschienen, errang er in den Jahren um 1900 in Haus- und Salonmusik große Popularität. Ulrich Krämer zeichnet verantwortlich für dieEdition dieser Urtextausgabe, für die Bezeichnung der Violinstimme konnte Arabella Steinbacher, für den Klavierpart Michael Korstick gewonnen werden./ Répertoire / Violon et Piano
31.65 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Ludwig van Beethoven:
Beethoven - String
Quartet in A Minor Op.
132: Viola Viola [Sheet music + CD] Music Minus One
Music Minus One Viola Deluxe 2-CD Set-This beautiful and substantial string quar...(+)
Music Minus One Viola Deluxe 2-CD Set-This beautiful and substantial string quartet is eternally popular amongst chamber music aficionados. Beautiful harmonies and of course Beethoven's masterful ability to combine the four instruments make it a favorite. Includes a high-quality printed music score informative liner notes and two compact discs containing a complete performance with soloist then a second version with the accompaniment minus you the soloist. Performed by Linda Lawrence viola Accompaniment: The Vieuxtemps String Quartet: Masako Yanagita violin Marnie Hall violin Evalyn Steinbock violoncello
19.99 GBP - Sold by Musicroom UK | |
| Leonardo Colombati: Bruce
Springsteen - Like a
Killer in the Sun:
Reference Biography [Book] Backbeat Books
Selected Lyrics 1972-2017-Bruce Springsteen Like a Killer in the Sun original...(+)
Selected Lyrics 1972-2017-Bruce Springsteen Like a Killer in the Sun originally published in Italian is the definitive book on the work of Bruce Springsteen showing his unique narrative talent and offering an accurate critical examination of his poetics. It presents 117 among his best lyrics expounded and annotated with the philological care used for the classics of literature. In his introduction Leonardo Colombati draws the attention to the fact that Springsteen is an author grafted on the line that goes from Whitman to Steinbeck from Flannery O'Connor to Raymond Carver. The book also contains Springsteen's biography and discography plus an exclusive interview with Bruce Springsteen. Withforewords by Academy Award-winner Ennio Morricone and music critic Dave Marsh a committee member of the Rock and Roll Hall of Fame and Springsteen's biographer. Like a Killer in the Sun is a book for anyone who wants to listen to a powerful and inspired voice coming from the heart of America.
29.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Bachtage Berlin [Sheet music] Carus Verlag
Vorträge 1970-1981. Bach, Johann Sebastian / Borris, Siegfried / Prautzsch, Lud...(+)
Vorträge 1970-1981. Bach, Johann Sebastian / Borris, Siegfried / Prautzsch, Ludwig / Wolff, Christoph / Blankenburg, Walter / Forchert, Arno / Steinbeck, J. Dietrich / Stephan, Rudolf / Nitschke, Wolfgang / Dürr, Alfred / Bruchhäuser, Wilfried W. / Holschneider, Andreas / Budde, Elmar / Finscher, Ludwig / Breig, Werner / Gardiner, John Eliot / Kühn, Hellmut / Trautmann, Christoph / Drewitz, Ingeborg / Kirkendale, Ursula (Trad.) -/ Répertoire / Livre
31.30 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| A Year In Our Land Orchestra Peters
Cantate : Texte : James Baldwin, John Dos Passos, Jack Kerouac, John Steinbeck, ...(+)
Cantate : Texte : James Baldwin, John Dos Passos, Jack Kerouac, John Steinbeck, Thomas Wolfe et Walt Whitman. / Grand Ensemble Contemporain Et Orchestre
14.56 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Reger-Studien 7 Divers [Sheet music] Carus Verlag
Festschrift Für Susanne Popp. Popp, Susanne / Reger, Max / Schaarwächter, Jür...(+)
Festschrift Für Susanne Popp. Popp, Susanne / Reger, Max / Schaarwächter, Jürgen / Shigihara, Susanne / Tal, Yaara / Burbach, Wolfgang / Becker, Alexander / Steiner, Stefanie / Krummacher, Friedhelm / Kaufmann, Michael Gerhard / Wünsch, Christoph / Vorsatz, Petra / Langen, Dietrich / Seedorf, Thomas / Voss, Egon / Becker, Markus / Steinbeck, Wolfram / Brosche, Günter / Dybsand, Øyvin / Haselböck, Lukas / Kube, Michael / Schubert, Giselher / Bittmann, Antonius / Müller, Herta / Anderson, Christopher S. / Eich, Katrin / Pfadt, Miriam / Palmer, Peter / Rathert, Wolfgang / Clercq, Jan-Bart De / Brotbeck, Roman / Barker, John Wesley / Tandberg, Svein Erik / Busch, Hermann J. / Weyer, Martin / Mauser, Siegfried (Trad.)/ Répertoire / Divers
56.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Ludwig van Beethoven:
Beethoven - String
Quartet in A Minor Op.
132: Cello Cello [Sheet music + CD] Music Minus One
Music Minus One Cello Deluxe 2-CD Set-This beautiful and substantial string quar...(+)
Music Minus One Cello Deluxe 2-CD Set-This beautiful and substantial string quartet is eternally popular amongst chamber music aficionados. Beautiful harmonies and of course Beethoven's masterful ability to combine the for instruments make it a favorite. Includes complete printed music score and two compact discs containing a complete performance with soloist then performed again minus the soloist. Performed by Evalyn Steinbock violoncello Accompaniment: Masako Yanagita 1st violin Marnie Hall 2nd violin Linda Lawrence viola
19.99 GBP - Sold by Musicroom UK | |
| Septett Op. 7 (Fk) Divers Schott 57.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Patrick Steinbach: Celtic
Classics: Guitar:
Instrumental Work Ricordi
Traditional dances and harp pieces from Ireland arranged for guitar
11.99 GBP - Sold by Musicroom UK | |
| Steinbach - Celtic
Classics - Guitare Français Durand
Musical Category : chitarra / liuto
15.99 EUR - Sold by Woodbrass Pre-shipment lead time: In Stock | |
| Opella Nova. Erster Teil
Geistlicher Konzerten
1618 Barenreiter
/ Chant/Vocal/Choeur / Partition
159.00 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Stonefish: Marching Band:
Part Marching band Arrangers' Publishing Company 35.99 GBP - Sold by Musicroom UK Shipment: (stock) information on site | |
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