Format : Sheet music + Audio access
SKU: HL.49045014
ISBN 9790001202114. 9.0x12.0 inches.
The Belgian composer Nicholas Lens presents extremely varied etudes, exercises and simple phrases with wonderfully telling titles from poetry and everyday world for children and adults. For the most part the studies are tonal and simple and have no constructed line. They are not based on any educational concept but leave the musical dramatization to the pupils and teachers: 'Notes and rhythms are just notes and rhythms, they do not have that many rules, they do not have any pretension, they are just tools for you to use to express what you want to share'.
SKU: HL.49008379
ISBN 9783795704339. UPC: 073999370621. 6.75x9.5x0.706 inches. German - French.
The volume concentrates on the characteristic agreements and differences in French and German music and musical development during the 20th century from an historico-aesthetic point of view. Particular attention is given to movements unique to one country such as Expressionism and Neue Sachlichkeit on the one hand and Musique concrete and Musique acousmatique on the other and the reasons for their lack of equivalent in the other country.
SKU: SP.TS572
ISBN 9781585607587.
The next book in this exciting series has arrived! The popularity of coloring books for the middle school aged to adult artist, while relatively recent, has become one of the faster growing recreational activities for artists of all skill levels. It took the innovation of the publisher you've known for many years, however, to marry the visual arts with music in this never seen before original concept and series, exclusively available from Santorella Publications. Experience the high quality you've come to expect from Santorella Publications in More Colors of Music, with over 60 musical instruments from around the world depicted with intricate background patterns. Each image is printed on heavy stock on only one side of the page to avoid bleed-through. Printed in the larger 9 x 12 size, with Santorella s lay-flat binding, the book is designed to last for years, while each page is perforated for easy removal and coloring. Every illustration, while a work of art on its own, will become a one-of-a-kind original piece with your personal touch; a work of art truly suitable for framing. The foreword from, More Colors of Music. The Colors of Music began the journey. Artist and musicians experienced a new level of meditative creativity with over 60 familiar musical instruments to color and make their own. More Colors of Music continues this journey with over 60 additional images dedicated to instruments from around the world. This collection of unusual instruments, both past and present offers an additional cultural context, reminding us how art and music not only enable us to share cultural similarities, but also explore our differences in a way which makes the world a little smaller. From the dawn of time, coloring has been one of the most basic forms of self-expression and is often the first creative process which many of us experience. Taking an existing image or pattern and making it our own is a uniquely personal experience. We decide which creative implements to use, perhaps crayons, pencils, or markers, and which colors to apply. As we color, we find we are in control of the entire process, limited only by our imagination, and when we are done, we have an artistic embodiment of our own personality, as unique and individual as each of us is to the other. It makes no difference if we are relatively skilled or unskilled; we express what is in our heart and mind each and every time we set pencil to paper. As we become more experienced and skilled, we acquire the power through technique and style to more freely express what is so clear in our imagination. In time, our creations become freely expressed works of art. Both art and music have creativity at their core. They allow the artist or musician, both young and old, to freely express feelings within while providing a sense of joy, tranquility, and meditative focus. The Colors of Music and More Colors of Music literally remind us that art and music are on the same page. This highly sought-after series, by Santorella Publications, will provide both the artist and musician with yet another creative channel for self-expression and individualism, as well as the opportunity for some much-needed downtown from the hard work of practicing and the rigors of everyday life. Experience the fun and satisfaction of The Colors of Music and More Colors of Music for yourself, and turn each page to discover the endless possibilities and opportunities for creativity and relaxation, as you nurture and cultivate your inner spirit, while feeding your soul with peace, tranquility, color, and harmony. The journey continues, so have some fun!
SKU: SP.TS571
ISBN 9781585607570.
The popularity of coloring books for the adult and young adult, while relatively recent, has become one of the faster growing recreational activities for artists of all skill levels. It took the innovation of the publisher you've known for many years, however, to marry the visual arts with music in this never before seen original concept and series, exclusively available from Santorella Publications.Experience the high quality you've come to expect from Santorella Publications in The Colors of Music, with over 60 musical instruments depicted with intricate background patterns. Each image is printed on heavy stock on only one side of the page to avoid bleed-through. Printed in the larger 9 x 12 size, with Santorella's lay-flat binding, the book is designed to last for years, while each page is perforated for easy removal and coloring. Every illustration, while a work of art on its own, will become a one-of-a-kind original piece with your personal touch; a work of art truly suitable for framing.The foreword from, The Colors of Music.From the dawn of time, coloring has been one of the most basic forms of self-expression and is often the first creative process which many of us experience. Taking an existing image or pattern and making it our own is a uniquely personal experience. We decide which creative implements to use, perhaps crayons, pencils, or markers, and which colors to apply. As we color, we find we are in control of the entire process, limited only by our imagination, and when we are done, we have an artistic embodiment of our own personality, as unique and individual as each of us is to the other. It makes no difference if we are relatively skilled or unskilled; we express what is in our heart and mind each and every time we set pencil to paper. As we become more experienced and skilled, we acquire the power through technique and style to more freely express what is so clear in our imagination. In time, our creations become freely expressed works of art.The same can be said of music. The musician chooses their instrument, then takes an existing pattern of melody and chords and adds unique colors to them to make that piece of music uniquely their own. As musicians, we practice to become more experienced in order to acquire the skills to more freely add our own brand of expression and style to the music.Both of these art forms have creativity at their core. They allow the artist or musician, both young and old, to freely express feelings within while providing a sense of joy, tranquility, and meditative focus.The Colors of Music literally reminds us that art and music are on the same page. This trend-setting series, by Santorella Publications, will provide both the artist and musician with yet another creative channel for self-expression and individualism.Amateur and professional alike will also appreciate the opportunity for some much-needed downtime from the hard work of practicing, or simply the rigors of everyday life, while still being able to enjoy the art form they love. After all, creating art and music is supposed to be fun.
SKU: GI.G-9818
ISBN 9781622773534.
“For a long time, there has been a perception that Catholics can’t or won’t sing in church. But this is not accurate: Catholics can and do sing… We all are called by Christ to love one another. If singing is a way to do that, why hold back?” --Diana Kodner Gökçe “Singing with one another,” the author reminds us, “is both prayer and an act of love. It heightens our worship, and helps us remember words of praise, thanks, petition, and most importantly, the Word of God. A great voice is not required. Singing is beneficial, and a precious gift from God.”Music is sung prayer, when we sing, we give voice to a mystery that cannot be expressed in mere words…and yet, many are hesitant to raise their voices in song when we gather together to worship. Filled with wisdom for new Catholics as well as those who have been attending liturgy all their lives, this book gives the person in the pews prayerful insight and solid foundation in the basics of the music we sing every week at Mass. Why Do We Sing? examines why but also when and how we sing in church: What is the significance of the different things we sing? What difference does it make if I sing, especially since I am not a very good singer? How do I get over my self-consciousness with singing? A book for everyone in the parish, this book seeks to help every liturgical gathering find its musical voice and more fully embrace its ability to participate fully, actively, and consciously in the liturgy. Diana Kodner Gökçe is the author of Handbook for Cantors, 3rd edition (GIA Publications, Inc.). She has taught liturgical music at Loyola University and worked as a music minister in numerous Chicagoland parishes including Holy Name Cathedral. She is currently Liturgical Music Coordinator at The Frances Xavier Warde School. To receive the quantity discount (25 or more copies—$4.00 each) call our customer service department at 1-800-GIA-1358. .
SKU: CF.YAS188
ISBN 9781491151532. UPC: 680160909032. 9 x 12 inches.
In the Sun?has a lite atmospheric sound; the music is full of energy and spirit. Composed in rondo form, the main theme appears repeatedly, alternating with contrasting sections. A peaceful section with legato melodies and warm harmonies make this piece a perfect concert opener.In the Sun has a light atmosphere and was composed in rondo form. The main theme appears repeatedly alternating with contrasting sections. The music is full of energy and spirited. By contrast, the peaceful section will be a joy to feel the legato melodies and warm harmonies. Enjoy the contrast between these different expressions. This music is perfectly suitable for the opening of a concert .In the Sun has a light atmosphere and was composed in rondo form. The main theme appears repeatedly alternating with contrasting sections.A The music is full of energy and spirited. By contrast, the peaceful section will be a joy to feel the legato melodies and warm harmonies. Enjoy the contrast between these different expressions. This music is perfectly suitable for the opening of a concert .In the Sun has a light atmosphere and was composed in rondo form. The main theme appears repeatedly alternating with contrasting sections. The music is full of energy and spirited. By contrast, the peaceful section will be a joy to feel the legato melodies and warm harmonies. Enjoy the contrast between these different expressions. This music is perfectly suitable for the opening of a concert .In the Sun has a light atmosphere and was composed in rondo form. The main theme appears repeatedly alternating with contrasting sections. The music is full of energy and spirited. By contrast, the peaceful section will be a joy to feel the legato melodies and warm harmonies. Enjoy the contrast between these different expressions. This music is perfectly suitable for the opening of a concert .
SKU: CF.YAS188F
ISBN 9781491151907. UPC: 680160909407. 9 x 12 inches. Key: A major.
SKU: CF.CPS265
ISBN 9781491161289. UPC: 680160919871.
Remembrance was written in November 2018. In remembrance of what it took for us to be here... was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance. We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect--nor is it anywhere near complete--but with each generation's responsibility to carry the torch and never forget, hopefully we can make everything worth it. Performance Notes This tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece's major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates. The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord.Remembrance was written in November 2018. “In remembrance of what it took for us to be here...” was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance.We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect—nor is it anywhere near complete—but with each generation’s responsibility to carry the torch and never forget, hopefully we can make everything worth it.Performance NotesThis tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece’s major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates.The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord.
SKU: CF.CPS265F
ISBN 9781491161753. UPC: 680160920440.
SKU: HL.1141413
UPC: 097855175052. 7.0x18.0x2.75 inches.
Built for streaming, the Logitech Litra Beam desktop key light with TrueSoft technology makes it easy to achieve professional lighting effects. Direct light where you want it for a cinematic look. Easily swap between lighting techniques to express different moods. Whether you're shooting a YouTube video, streaming on Twitch or just working from home, Litra Beam ensures you always look your best. Natural Skin Tones, Radiant Look Logitech's TrueSoft technology delivers balanced full-spectrum LED light with cinematic color accuracy for a natural, radiant look across all skin tones. The Ultimate Desktop Fit Litra Beam is packed with features that make it easier than ever t oachieve professional lighting effects in any space. Its slim, elegant design can snuggle up to your monitor and fit into your desktop in ways other lights can't. Built-in cable management in the base keeps your setup looking sleek. And three 1/4-20 thread fittings allow you to attach Litra Beam to its desktop stand in multiple ways to achieve your desired lighting setup. Safe for All-Day Streaming Litra Beam has cleared even the strictest testing guidelines to ensure safe all-day streaming. So, whether you're creating a new video for YouTube of kicking off a marathon streaming session, Litra Beam helps you stay comfortable and confident on-camera – all day long. Fine-Tune Your Look On Camera Litra Beam features 5 brightness and 5 color temperature settings (2700K-6500K) to dial in the look you want. Or, you can hold down the buttons for continuous, stepless adjustment. Quick Access to Your Favorite Settings Download Logitech's free G HUB desktop app and connect via USB or Bluetooth® to control brightness and color temperature, save presets, turn light on/off, and more right from your desktop. And, if you have a Logitech G keyboard or mouse, you can use G-Keys to easily turn your light on/off, change brightness and color temperature, and more. Logitech TrueSoft Technology TrueSoft was designed to solve common challenges for today's content creator including quality of light, harsh shadows, and eye fatigue from long hours of streaming. Litra Beam was purpose-built for streaming and uses TrueSoft technology to wrap the subject in soft and diffused, accurate LED light that is gentle on the eyes for all-day professional content creation.
SKU: HL.48025035
ISBN 9783793142607. UPC: 196288020790. 9.0x12.0x0.171 inches.
With Berlin Music, Brett Dean wrote a threefold homage: to the classical duo consisting of violin and piano; to the violin virtuoso Midori, for whom the piece was written; and to the city of Berlin, where he lived between the mid-1980s and 2000 and whose rich cultural life he owes much to his development as a musician and composer. The first four, relatively short movements of the five-movement work form a suite of character pieces, which is followed by a longer final movement. In summary, this turns out to be the actual main movement from which all motifs and harmonies emerged in a compositional manner. This includes tuning down the G side by a whole tone - an apparently small difference, but one that has a major effect on the timbre and resonance of the instrumentand suddenly makes previously impossible interval sequences playable. In addition, the violin in the third movement (a moto perpetuo in which Dean bows to Ravel's violin sonata) has to play with a practice damper, while the pianist changes the instrument and plays on a standing piano that is dampened by a pedal and placed next to the concert grand Expressing nervous energy in tight college spaces.
SKU: CF.WF229
ISBN 9781491153789. UPC: 680160911288.
Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman.IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,” at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe” and the “premier oboist of Europe.”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 ...
SKU: AP.49032
ISBN 9781470645489. UPC: 038081564029. English. American Folk Song.
The American folk song Wayfaring Stranger has been given a fresh treatment by educator and arranger Michael Kamuf. In this setting, all instruments get a chance to play the melody while varying accompaniments create different moods and textures. This is the perfect vehicle to teach expressive playing and will make a great addition to any concert or festival program. (2:50) This title is available in MakeMusic Cloud.
SKU: AP.49032S
ISBN 9781470645496. UPC: 038081564036. English. American Folk Song.
The American folk song Wayfaring Stranger has been given a fresh treatment by educator and arranger Michael Kamuf. In this setting, all instruments get a chance to play the melody while varying accompaniments create different moods and textures. This is the perfect vehicle to teach expressive playing and will make a great addition to any concert or festival program. (2:50) This title available in MakeMusic Cloud.
SKU: ST.C463
ISBN 9790570814633.
This volume contains contrasting works by Federico Ruiz spanning quite a large and rich period of his compositional output that goes from his early Micro-Suite (1971), to lilting, sweet and rhythmic Venezuelan waltzes passing by the mysterious, intimate, and intense Nocturno (1994) plus pieces originally composed for film, and theatre. Real eclecticism in styles, moods and atmospheres that show Ruiz??s talents and scope.The Nocturno is a deep, intriguing, substantial piece presenting a satisfying length which moves from different paths of the mind and the heart written in an abstract, chromatic idiom, that does not dissociate itself from the Venezuelan waltz and the joropo. One could perhaps say that there is a deconstruction of the latter. For the interpretation, the composer has suggested to me that it is allowed to have some flexibility in the tempo. Ruiz kindly dedicated it to me, and I have had the pleasure of performing it in many concerts.Although all highly expressive, the Three Venezuelan Waltzes present in this collection as well as the piece titled Aliseo, are works that are close to the colourful Venezuelan folk tradition. Federico Ruiz had given me two of them when we first met: ??Tu Presencia?? (1981) and ??Eloísa?? (1989) and then I attended a performance of the play ??Office Number One?? by Miguel Otero Silva with a fantastic actor, Elba Escobar in the role of Carmen Rosa and, I just fell in love and was very moved by the incidental music that I later discovered, by reading the programme, had been written by Federico Ruiz. Later that evening, I called him and asked to please make a piano score of the composition, so I could have the desired piece in my hands. That is how ??Carmen Rosa? waltz (1987) came to exist in a piano version.??Eloisa?? is another Venezuelan waltz with more jazzy harmonies where precision in the rhythm and elegant playing is also essential, as it is in most of his pieces.??Tu Presencia?? was dedicated to his mother, Margarita. It is written with the structure of the Venezuelan waltz, which consists of a nostalgic subject that leads to a faster, happier middle section where the typical graceful rhythm is given by the left-hand accompaniment figure of a dotted crotchet followed by a quaver and a crotchet.The craft and magic found in the five movements of the Micro-Suite is based on a dodecaphonic row by Ernst Krenek. They remind us of the idiom of the Second Viennese School. These real miniatures seem to tell short stories. The ??Preludio?? is full of humour. I imagine dancing figures given by the jumps all over the keyboard and extreme dynamics; the phrases give the impression of a conversation with many questions and answers. The ??Invención?? is a kaleidoscopic piece where the hands mirror each other. The ??Passacaglia?? is the longest movement, at just over a minute where the prime motif is repeated three times on the bass line. For its construction Federico Ruiz uses as well the retrograde and the retrograde inversion of the twelve-tone series. It must be played expressively with dynamic contrasts between pianissimo and louder events. The ??Scherzo?? has repetitive motifs of a minor third in both hands and the ??Final?? displays virtuosic passages for the pianist.Aliseo was originally written for the film ??Aire libre? (1995), by Luis Armando Roche. It contains elements of diverse types of Venezuelan joropo. In the film, the character of Aliseo Carvallo is played by the composer himself who performs this piece on a harpsichord to welcome scientists Alexander von Humboldt and Aimé Bonpland one day at the turn of the 1800??s, as a sample of the new music from the South American land. It presents the refinement of the late European classical era in fusion with Venezuelan folk music.
SKU: HL.9971498
ISBN 9781617742866. UPC: 884088545369. 4.75x5 inches.
Hola Amigos! Experience authentic music styles of the Afro-Spanish-Caribbean by Puerto Rican-born author & bi-lingual educator, Alejandro Jimenez. Connect with educational philosophies and cultural backgrounds of the Spanish Caribbean to understand how they influenced the music of that area. Learn how song, dance, rhythmic instruments and drama all come together to help build confidence and promote personal expression. Originally developed and used in urban, multi-cultural settings here in the United States, the works featured in Picante are for all general music classes. Students form their own Latin Music ensembles and explore the highly rhythmic beat of the plena from Puerto Rico, the regueton which is popular among urban Latino youth, the fast two-step beat of the merengue from the Dominican Republic, the bomba from Puerto Rican folk music, and the son from Cuban dance music. These different styles influenced what we now call Salsa music. The kid-friendly ensembles have been written for Grades 5-9 and are presented from easy to more difficult. A variety of short, easily-learned ostinato rhythm patterns are played on Latin percussion and Orff instruments and added one at a time, followed by the Spanish and English lyrics. These voice parts are also made up of short ostinato patterns that, when layered in, create easily-sung harmonies in an instant! You can perform all or some of the voice parts, so do what best fits your situation. A helpful teaching sequence, dance steps and objectives linked to the National Standards are provided for each song, and all ensemble parts are reproducible! The piano/vocal printed score represents the form of each song as recorded on the companion CD, and is only a suggested guide to follow. Encourage your students to be creative and make up their own song form! Available separately: Teacher Edition (with reproducible pages), Performance/Accompaniment CD, Classroom Kit (Teacher and P/A CD). Suggested for grades 5-9.
SKU: BR.EB-9394
ISBN 9790004188682. 9 x 12 inches.
My lecture of the Winterreise does not demand a new expressive interpretation, but instead systematically exercises the freedom which all interpreters allow themselves intuitively, such as: instrumental dilation i. e. acceleration of the pace, transposition into other keys and elaboration of characteristic color timbres. In addition, there are further ways of reading; the music; jumping around in the text, repeating certain lines, interrupting the continuity, comparing different expressions of the same phrase ... All these new possibilities are subjected to my compositional discipline and form autonomous formal processes which are imposed on Schuberts original. The transformation of the piano tones into a multifaceted orchestra full of resonance is only one of many aspects.(Hans Zender)CDs:Hans Peter Blochwitz (Tenor), Ensemble Modern, Conductor: Hans Zender CD BMG 9026-68067-2 Christoph Pregardien (Tenor), Klangforum Wien, Conductor: Sylvain Cambreling CD Kairos 0012002KAIJulien Pregardien (Tenor), Deutsche Radio Philharmonie Kaiserslautern, Conductor: Robert Reimer2 CD's P.RHEI (2016)Bibliography:Adam-Schmidmeier, Eva-Maria von: Schubert interpretieren. Hans Zender: Schuberts Winterreise. Eine komponierte Interpretation im Unterricht, in: Musik und Unterricht Heft 96 (2009), pp. 50-56.Gruhn, Wilfried: Wider die asthetische Routine. Hans Zenders Version von Schuberts Winterreise, in: Neue Zeitschrift fur Musik 1/1997.Hebling, Harald: Kompositorische Schubertrezeption im 20. Jahrhundert, Magisterarbeit Universitat Wien 2003, especially pp. 148-157.Nonnenmann, Rainer: Vom Nutzen und Nachteil der Musikhistorie fur das Musikleben. Zur Kritik aktualisierender Interpretation am Beispiel von Hans Zenders Schuberts ,Winterreise, in: Musik und Asthetik 7, Heft 26 (April 2003), pp. 65-90.ders.: Schuberts ,Winterreise . Komponierte Interpretation von Hans Zender / Ballett von John Neumeier, in: Osterreichische Musikzeitung 60 (2005), Heft 3, p. 42f.ders.: Fremd bin ich eingezogen, fremd zieh ich wieder aus. Versuch zur Rettung der Vergangenheit Schuberts Winterreise. Eine komponierte Interpretation fur Tenor und kleines Orchester (1993) von Hans Zender, in ders.: Winterreisen. Komponierte Wege von und zu Franz Schuberts Liederzyklus aus zwei Jahrhunderten, 2 Bande (= Taschenbucher zur Musikwissenschaft, Band 150/151), Wilhelmshaven: Florian Noetzel 2006, pp. 143-205.Petersen, Birger: Neue Musik. Analysen, Berlin: Simon Verlag fur Bibliothekswissen 2013, pp. 11-24.Revers, Peter: ... Schnee, du weisst von meinem Sehnen. Aspekte der Schubert-Rezeption in Hans Zenders Winterreise (1993), in: Dialekt ohne Erde. Franz Schubert und das 20. Jahrhundert, hrsg. von Otto Kolleritsch, Wien-Graz 1998 (Studien zur Wertungsforschung, Band 34), pp. 98-120.Schafer-Lembeck, Hans-Ulrich: Gegenstrebige Fugungen. Hans Zenders Musik und seine komponierte Interpretation von Schuberts Winterreise, in: Neue Musik vermitteln. Analysen Interpretationen - Unterricht, hrsg. von Hans Bassler, Ortwin Nimczik und Peter W. Schatt, Mainz: Schott, 2004, pp. 295-307.Stahmer, Klaus Hinrich: Bearbeitung als Interpretation - Zur Schubertrezeption Gustav Mahlers, Hans Zenders und Friedhelm Dohls, in: Franz Schubert und Gustav Mahler in der Musik der Gegenwart, Mainz 1998.Zender, Hans: warum wieder die Winterreise? Hartmut Regitz im Gesprach mit dem Komponisten, in: ballet.tanz - international.aktuell, Heft 12 (2001), p. 18.World premiere: Frankfurt am Main, September 21, 1993.
SKU: CF.YAS171
ISBN 9781491146514. UPC: 680160904013. 9 x 12 inches. Key: G major.
Dream Engine has all of the compositional thumb prints that have made the music of Larry Clark so popular for string orchestras. It is a concert overture in classic ABA form. The opening section has a tuneful melody over spiccato accompaniments that weaves throughout the ensemble. The middle B section is slow, lyrical, lush, and beautiful as a contrast to the lighter A section. Another piece from Larry Clark to showcase your ensemble at contest/festival.One of the types of pieces I like to write for orchestra are pieces that use a contrast between staccato playing and more marcato melodic material. Dream Engine is the result. The piece is set in a concert overture form with two fast sections based on the same theme and a slow lyrical second section in the middle.The piece begins right off with a short introduction of the spiccato accompaniment figures before it leads to the first statement of the main theme. Quarter notes in the main theme should be played full bow in contrast to the lilting staccato eighth notes. The bass line should be long as well. After a full ensemble statement of the theme, the piece moves to a bridge theme that is sort of an inversion of the main theme and is taken up by the cello; then the viola is added on a harmony part to the melody. Transition material is presented next that is used throughout the piece to connect all of the sections of the piece together. The main theme returns once more before the piece transitions into the slow and lyrical B-section. The B-section should be lush and as legato as possible to be in complete contrast to the A-section. This will be an excellent chance to work on the players’ expressive playing. Make sure to have a lot of rubato and generous rises and falls to the lines to make it as musical aspossible.At the completion of the B-section, the A-material returns with different orchestration for variety. This is followed by the transition material that leads to an aggressive coda that includes a brief quote from the B-section material. If you so chose, a slight increase in the tempo at the coda is acceptable to add to excitement of the ending.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—Larry ClarkLakeland, FL 2017.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: GI.G-10833
ISBN 9781574635614.
From philosophy, auditions, and lesson planning to improvisation and literature selection, this diverse group of nationally recognized educators at all levels discuss these topics and more. Each director practically walks you through a rehearsal! Whether you are a seasoned vocal jazz director or someone looking to get started, the authors’ concepts on running an outstanding vocal jazz program has something for everyone. There are different vocal timbres that we expect to hear in different styles, and I believe that there are ways to produce a variety of sounds in a healthy way with sound technique. —Andrew Dahan Niles North High School, Skokie, IL When starting a vocal jazz ensemble, I keep the literature on the easy side so concepts of style, tone, vibrato, balance, and blend can be focused on without pounding out notes. —Roger Emerson Professional Composer and Arranger As with any language, one of the fastest ways to learn about different styles, genres, and other idiosyncrasies is to immerse ourselves in the language. —Daniel Gregerman Glenbrook South High School, Glenview, IL I think of the audition process as a necessary means to help me ‘cast’ the ensemble. —Greg Jasperse Western Michigan University My overall philosophy is that teaching jazz is extremely important. The creation of this music is unique to America, and it is imperative that we keep our youth informed. —Connaitre Miller Howard University We don’t really ever ‘finish’ a piece or arrangement, do we? We work on the repertoire and the music arrives to an artistic place. —Kate Reid University of Miami, Frost School of Music Jazz is a genre that has to be primarily learned from listening. Exposing students to a wide variety of jazz and contemporary styles is one of the most important things we need to do. —John Stafford II Kansas City Kansas Community College My jazz singers are the best music readers in the department, and I never do any sight singing with the jazz choirs. That is all done in the traditional choirs. —Janice Vlachos Fairview High School, Boulder, CO It takes a good amount of work to achieve a unified sound, however, within working on the minute details and repetition, it is those moments of victory during the rehearsals that make it all worth it. —Gaw Vang Williams Sacramento State College Vocal jazz encourages personal expression through which improvisation has become a hallmark trait of the genre. —Natalie Wilson Grass Valley Elementary School, Camas, WA.