| Holiday Emblem Concert band [Score] - Intermediate Belwin
Arranged by Robert W. Smith. Concert Band. Concert Band. Belwin Pop Concert Band...(+)
Arranged by Robert W. Smith. Concert Band. Concert Band. Belwin Pop Concert Band. Christmas; Winter. Grade 3. Conductor Score. 8 pages. Published by Belwin Music
$9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Santa On Parade Concert band - Easy Carl Fischer
Band concert band - Grade 2 SKU: CF.YPS202 Composed by Traditional German...(+)
Band concert band - Grade 2 SKU: CF.YPS202 Composed by Traditional German Carol. Arranged by Gene Milford. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+2+2+5+2+2+4+4+6+3+3+1+1+2+16+4+4+2+2 pages. Duration 1 minute, 36 seconds. Carl Fischer Music #YPS202. Published by Carl Fischer Music (CF.YPS202). ISBN 9781491152225. UPC: 680160909728. Key: Bb major. Everyone loves a parade, including Old Saint Nick, whether it is at the North Pole or marching down Main Street. Santa On Parade includes three traditional Christmas songs in march style (Jolly Old St. Nicholas, Good King Wenceslas and O, Christmas Tree) and brief quotations from four famous marches (High School Cadets, The Thunderer, National Emblem, and Stars and Stripes Forever). This crowd favorite is an excellent choice for any holiday concert!. Everyone loves a parade including “Old Saint Nick,†whether it is at the North Pole or marching down Main Street. Santa’s parade includes three traditional songs in march style: Jolly Old St. Nicholas, Good King Wenceslas and O, Christmas Tree. There are also brief quotations from four famous marches High School Cadets, The Thunderer, National Emblem, and Stars and Stripes Forever. $70.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| March On, America! Concert band - Easy Belwin
Concert Band - Grade 2 SKU: AP.42164S A Medley of Patriotic March Them...(+)
Concert Band - Grade 2 SKU: AP.42164S A Medley of Patriotic March Themes (You're a Grand Old Flag / National Emblem / The Stars and Stripes Forever). Arranged by Douglas E. Wagner. Concert Band; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Belwin Young Band. Form: March; Medley. 4th of July; Patriotic; Summer. Score. 24 pages. Belwin Music #00-42164S. Published by Belwin Music (AP.42164S). UPC: 038081479262. English. Themes from three of America's most popular patriotic marches are brought together in this solidly scored medley. Including You're a Grand Old Flag, National Emblem, and The Stars and Stripes Forever, you're certain to get a rousing response from young and old alike! (2:15) This title is available in MakeMusic Cloud. $9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Santa On Parade Concert band - Easy Carl Fischer
Band concert band - Grade 2 SKU: CF.YPS202F Composed by Traditional Germa...(+)
Band concert band - Grade 2 SKU: CF.YPS202F Composed by Traditional German Carol. Arranged by Gene Milford. Young Band (YPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #YPS202F. Published by Carl Fischer Music (CF.YPS202F). ISBN 9781491152904. UPC: 680160910403. Everyone loves a parade, including Old Saint Nick, whether it is at the North Pole or marching down Main Street. Santa On Parade includes three traditional Christmas songs in march style (Jolly Old St. Nicholas, Good King Wenceslas and O, Christmas Tree) and brief quotations from four famous marches (High School Cadets, The Thunderer, National Emblem, and Stars and Stripes Forever). This crowd favorite is an excellent choice for any holiday concert!. Everyone loves a parade including “Old Saint Nick,†whether it is at the North Pole or marching down Main Street. Santa’s parade includes three traditional songs in march style: Jolly Old St. Nicholas, Good King Wenceslas and O, Christmas Tree. There are also brief quotations from four famous marches High School Cadets, The Thunderer, National Emblem, and Stars and Stripes Forever. $11.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| March On, America! Concert band - Easy Belwin
Concert Band - Grade 2 SKU: AP.42164 A Medley of Patriotic March Theme...(+)
Concert Band - Grade 2 SKU: AP.42164 A Medley of Patriotic March Themes (You're a Grand Old Flag / National Emblem / The Stars and Stripes Forever). Arranged by Douglas E. Wagner. Concert Band; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Belwin Young Band. Form: March; Medley. 4th of July; Patriotic; Summer. Score and Part(s). 236 pages. Duration 2:15. Belwin Music #00-42164. Published by Belwin Music (AP.42164). UPC: 038081479255. English. Themes from three of America's most popular patriotic marches are brought together in this solidly scored medley. Including You're a Grand Old Flag, National Emblem, and The Stars and Stripes Forever, you're certain to get a rousing response from young and old alike! (2:15) This title is available in MakeMusic Cloud. $57.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Golden Age of the March Vol. 3 [Book + CD] C.L. Barnhouse | | |
| Gems of the Concert Band Concert band Walking Frog Records
SKU: CL.WFR306 Walking Frog Records CD. Walking Frog Records. Play Along....(+)
SKU: CL.WFR306 Walking Frog Records CD. Walking Frog Records. Play Along. CD. Composed 1999. Walking Frog Records #WFR306. Published by Walking Frog Records (CL.WFR306). An incredible set utilizing recordings from the 19 volume Gems Of The Concert Band LP record series. These famous recordings were remarkable for the superlative interpretations and masterful performances of Leonard B. Smith and the Detroit Concert Band. Digitally remastered with the clarity of the original performances restored. A top notch band which produced great music... these are fabulous recordings. - Robert Peckham, Windjammers Unlimited Volume 1 - Great Performances Introduction to Act III of Lohengrin; Marche Militaire Francaise; Espana Rhapsody; Shepherd's Hey; Excerpts from Andrea Chenier; Dance of the Tumblers from Snegourotchka; Flight of the Bumblebee; Theme and Variations from Suite No. III; Marche Hongroise Rakoczy; Rhapsodic Dance; Bamboula; Clear Track Polka; Polka and Fugue from Schwanda the Bagpipe Player; Excerpts from Manzoni Requiem Volume 2 - Magnificent Marches Americans We; Chicago Tribune; Mainliner; Music Festival; Official West Point March; Spirit of Independence; The Chimes of Liberty; Valdres; World Events; Barnum and Bailey's Favorite; American Patrol; Jurisprudence; Bombasto; Boston Commandery; March of the Toys; On Jersey Shore; Second Regiment - Connecticut National Guard; The Joker; The March King; Under the Double Eagle; Gate City; Lights Out; American Red Cross March; Entry of the Gladiators; National Emblem March; Volume 3 - Music of the Masters March and Procession of Bacchus fromSylvia; Bacchanale from Samson and Delilah; Italian Polka; Slavonic Dance No. 3; Farandole from L'Arlesienne Suite; Finlandia; Golliwog's Cake Walk; The Kaffir on the Karoo; Fugue a la Gigue; Symphony No. 4 (Finale); Two Norwegian Dances; Hungarian Dance No. 5; Ecossaises; Second Hungarian Rhapsody Volume 4 - Virtuoso Soloists Carnival of Venice; Fantastic Polka; Believe Me; If All Those Endearing Young Charms; Rigoletto: Bella figlia del amore; The Bugler; Through the Air; Bugler's Holiday; Blue Bells of Scotland; Columbian Fantasy; The Bride Elect: An Awkward Complication This; Wood Up Quickstep; The Three Solitaires; The Southern Cross; Bravura Variations; My Heaven of Love; Atlantic Zephyrs; Land of the Free; Sextet: Chi mi frena... Volume 5 - Legendary Overtures Zampa Overture; La Forza del Destino Overture; Light Cavalry Overture; Oberon Overture; Raymond Overture; Ruy Blas Overture; Egmont Overture; Roman Carnival Overture; William Tell Overture. $74.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Marches of America - Bb Horn/Trumpet 3 Individual Part Hal Leonard
Arranged by Paul Lavender. Series One Marching Band. Size 5.2x6.7 inches. 12 pag...(+)
Arranged by Paul Lavender. Series One Marching Band. Size 5.2x6.7 inches. 12 pages. Published by Hal Leonard.
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| Playing with the Band Clarinet [Sheet music + CD] Carl Fischer
March Madness - for Solo Instruments and Play-Along CD with Concert Band (Clarin...(+)
March Madness - for Solo Instruments and Play-Along CD with Concert Band (Clarinet Book). By E. E. Bagley; John N. Klohr; John Philip Sousa; Julius Fucik; Teike. Arranged by Larry Clark. For Clarinet. Score and Audio CD. 24 pages. Published by Carl Fischer.
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| Marches of America - Snare Drum Individual Part [Part] Hal Leonard
Arranged by Paul Lavender. Series One Marching Band. Size 5.2x6.7 inches. 12 pag...(+)
Arranged by Paul Lavender. Series One Marching Band. Size 5.2x6.7 inches. 12 pages. Published by Hal Leonard.
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| Marches of America - Eb Baritone Saxophone Individual Part Hal Leonard
Arranged by Paul Lavender. Series One Marching Band. 12 pages. Published by Hal ...(+)
Arranged by Paul Lavender. Series One Marching Band. 12 pages. Published by Hal Leonard.
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| Andrew Balent March Spectacular Individual Part Carl Fischer
By Arthur Pryor Kenneth J. Alford. For Oboe. Carl Fischer Band Books Series. Cla...(+)
By Arthur Pryor Kenneth J. Alford. For Oboe. Carl Fischer Band Books Series. Classical. Concert Band Method. Standard notation. 16 pages
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| National Emblem Concert band [Score] C.L. Barnhouse
March. By E. E. Bagley. Arranged by Loras J. Schissel. Concert Band. Extra full ...(+)
March. By E. E. Bagley. Arranged by Loras J. Schissel. Concert Band. Extra full score. Composed 2000. Published by C.L. Barnhouse.
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| Marches of America - Tuba Individual Part Hal Leonard
Arranged by Paul Lavender. Series One Marching Band. Size 5.2x6.7 inches. 12 pag...(+)
Arranged by Paul Lavender. Series One Marching Band. Size 5.2x6.7 inches. 12 pages. Published by Hal Leonard.
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| National Emblem (March) Concert band [Score] - Easy Carl Fischer
(March). By Edwin Eugene Bagley (1857-1922). Arranged by Andrew Balent. Concert ...(+)
(March). By Edwin Eugene Bagley (1857-1922). Arranged by Andrew Balent. Concert Band. For Concert Band. Carl Fischer Young Band Series. Grade 2-2.5. Full Score. Standard notation. 20 pages
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| God Bless America and Other Patriotic Favorites - Violin Violin [Sheet music] - Intermediate Hal Leonard
For violin. Format: violin solo songbook (no accompaniment). Americana. 32 pages...(+)
For violin. Format: violin solo songbook (no accompaniment). Americana. 32 pages. 9x12 inches. Published by Hal Leonard.
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| Authentic Dixieland Trumpet Trumpet [Sheet music] Alfred Publishing
For Trumpet. Jazz Ensemble Collection. Jazz. Book. 24 pages. Published by Alfred...(+)
For Trumpet. Jazz Ensemble Collection. Jazz. Book. 24 pages. Published by Alfred Publishing.
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| Patriotic Favorites Instrumental Solos (Clarinet) Clarinet [Sheet music + Audio access] - Easy Alfred Publishing
Clarinet Solos. Arranged by Bill Galliford and Ethan Neuburg. Instrumental Ser...(+)
Clarinet Solos. Arranged by
Bill Galliford and Ethan
Neuburg. Instrumental Series;
Play-Along. Instrumental
Solos Series. Patriotic.
Book. 28 pages. Alfred Music
#00-48682. Published by
Alfred Music
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| Marches of America - Quad Toms Individual Part Hal Leonard
Arranged by Paul Lavender. Series One Marching Band. Size 5.2x6.7 inches. 12 pag...(+)
Arranged by Paul Lavender. Series One Marching Band. Size 5.2x6.7 inches. 12 pages. Published by Hal Leonard.
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| Patriotic Favorites Instrumental Solos (Trombone) Trombone [Sheet music + Audio access] - Easy Alfred Publishing
Trombone Solos. Arranged by Bill Galliford and Ethan Neuburg. Instrumental Ser...(+)
Trombone Solos. Arranged by
Bill Galliford and Ethan
Neuburg. Instrumental Series;
Play-Along. Instrumental
Solos Series. Patriotic.
Book. 28 pages. Alfred Music
#00-48692. Published by
Alfred Music
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| Marches of America - Trombone Individual Part Hal Leonard
Arranged by Paul Lavender. Series One Marching Band. Size 5.2x6.7 inches. 12 pag...(+)
Arranged by Paul Lavender. Series One Marching Band. Size 5.2x6.7 inches. 12 pages. Published by Hal Leonard.
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| National Emblem Concert band [Score and Parts] C.L. Barnhouse
March. Composed by Bagley. Arranged by Conaway. Young Concert Band. Comma...(+)
March. Composed by Bagley. Arranged by Conaway. Young Concert Band. Command Series. Score and set of parts. Duration 2 minutes, 55 seconds. Published by C.L. Barnhouse (CL.011-4239-00).
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| National Emblem (March) Marching band [Score and Parts] Carl Fischer
Conductor Score and Parts. By Edwin Eugene Bagley. Marching band. For Piccolo (i...(+)
Conductor Score and Parts. By Edwin Eugene Bagley. Marching band. For Piccolo (in Db), Piccolo, Flute, Oboe, Clarinet (in Eb), Clarinet I, Clarinet II, Clarinet III, Alto Clarinet, Bass Clarinet, Bassoon, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Cornet I, Cornet II, Cornet III, Horn I, Horn II, Horn III, Horn IV, Horn (in Eb) I, Horn (in Eb) II, Horn (in Eb) III, Horn (in Eb) IV, Tenor I, Tenor II, Tenor III, Euphonium, Tuba, Timpani, Drums. Score and parts. 3 pages. Published by Carl Fischer.
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| National Emblem Concert band [Score and Parts] - Intermediate Alfred Publishing
Arranged by Calvin Custer. Arr. Calvin Custer. For Concert Band. Concert Band. B...(+)
Arranged by Calvin Custer. Arr. Calvin Custer. For Concert Band. Concert Band. Belwin Concert Band. Patriotic. Level: 3 (Medium Easy) (grade 3). Conductor Score & Parts. 230 pages. Duration 3:04. Published by Alfred Publishing.
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| Marches of America - Cymbals Marching band Hal Leonard
Arranged by Paul Lavender. Series One Marching Band. 12 pages. Published by Hal ...(+)
Arranged by Paul Lavender. Series One Marching Band. 12 pages. Published by Hal Leonard.
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| Solos, Duets & Trios for Winds -- Patriotic Favorites French horn - Easy Alfred Publishing
Horn - Grade 2-3 SKU: AP.48662 Flexible Arrangements for Multiple Comb...(+)
Horn - Grade 2-3 SKU: AP.48662 Flexible Arrangements for Multiple Combinations of Wind Instruments. Arranged by Bill Galliford. Duet or Duo; Instrumental Series; Solo; Solo Small Ensembles; Trio. Solos, Duets & Trios for Winds. 4th of July; Patriotic. Book and Digital Download. 56 pages. Alfred Music #00-48662. Published by Alfred Music (AP.48662). ISBN 9781470643713. UPC: 038081559346. English. Adaptable and flexible to your unique needs, Solos, Duets & Trios for Winds is a versatile series that encourages playing in a variety of combinations. Featuring three written parts for every song, the arrangements are designed so that the top line is the melody (Part 1), the second line (Part 2) creates a duet, and the third line (Part 3) forms a trio. You can play solo parts alone or form small wind ensembles by mixing and matching instrumentation, as well as mixing the parts played. The accompanying online media includes fully orchestrated backing tracks, PDF files with piano accompaniments, and TNT 2 software, which features the ability to change the speed of the recordings without changing the pitch.
Titles: Amazing Grace * America (My Country 'Tis of Thee) * America the Beautiful * Armed Forces Medley: The Army Goes Rolling Along/Marines' Hymn/Anchors Aweigh * Battle Hymn of the Republic * Columbia, the Gem of the Ocean * Eternal Father, Strong to Save * The Liberty Bell * National Emblem * Semper Fidelis * The Stars and Stripes Forever * The Star-Spangled Banner * The Washington Post * The Yankee Doodle Boy * You're a Grand Old Flag. $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Authentic Dixieland Clarinet Jazz Ensemble [Sheet music] Alfred Publishing
Original Arrangements for Dixieland Band (Clarinet). Collections; Jazz Ensemble ...(+)
Original Arrangements for Dixieland Band (Clarinet). Collections; Jazz Ensemble Collection; Performance Music Ensemble. Jazz. Book. 24 pages. Alfred Music #00-TBB0036. Published by Alfred Music
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