Louis Katzman Collection Finding Aid (PDF)

Total Page:16

File Type:pdf, Size:1020Kb

Louis Katzman Collection Finding Aid (PDF) University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Scope and Content ……………………………………………………………………………. 2 Series Notes ……………………………………………………………………………………. 2 Container List ……………………………………………………………………………………. 3 SERIES I: ARRANGEMENTS ……………………………………………………. 3 A: By Katzman ……………………………………………………………. 3 B: Not By Katzman …………………………………………………………... 19 SERIES II: SHEET MUSIC …………………………………………………………... 19 A: Individual Songs …………………………………………………………... 19 B: Collections …………………………………………………………………... 20 SERIES III: PUBLICATIONS …………………………………………………... 20 A: Advertising …………………………………………………………... 20 B: Periodicals …………………………………………………………... 21 C: Discographies/Indexes …………………………………………………... 21 D: Other …………………………………………………………………... 21 MS251-Louis Katzman Collection 1 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION SCOPE AND CONTENT The Louis Katzman Collection was a gift of Michael M. Katzman in July 2013. The bulk of the collection consists of sets of band and orchestra parts, mostly for tunes arranged by Katzman. Also present are some pieces of sheet music (individual songs and collections) in which Katzman played a role as composer or arranger, as well publications including advertising materials, discographies, and periodicals. SERIES NOTES Series I: Arrangements Contained in Box 1, and Box 2, Folders 1-19; Includes Band and Orchestra parts for tunes arranged, for the most part by Katzman. The majority of the parts in this series are published, with only a few in manuscript form. Series II: Sheet Music Contained in Box 2, Folders 20-22; Includes individual songs and compositions, as well as published collections, mostly written or arranged by Katzman. Series III: Publications Contained in Box 2, Folders 23-25, and Box 3; Includes some Advertising Brochures, Periodicals, Discographies and Indexes, as well as a couple miscellaneous items. MS251-Louis Katzman Collection 2 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION Box Folder Description CONTAINER LIST SERIES I: ARRANGEMENTS Box Folder Description A: By Katzman 1 1 African Lament (Lamento Africano) (Music by Ernesto Lecuona, Lyrics by L. Wolfe Gilbert): - Parts (Published, © 1931, Edward B. Marks Music Co.): Piano, Banjo, Bass, Drums, Flute, 1st Bb Clarinet, 1st Alto Sax, 2nd Tenor Sax, 3rd Alto Sax, 1st Bb Trumpet, 2nd Bb Trumpet, Trombone, 1st Violin (2), 2nd Violin, Viola, Cello (22 pp.). Ah! Sweet Mystery of Life (Music by Victor Herbert, Lyrics by Rida Johnson Young): - Parts (Published, © 1927, M. Witmark and Sons): Piano, Guitar, Drums, Bb Clarinets, 1st Alto Sax, 2nd Tenor Sax, 3rd Alto Sax, 1st Bb Trumpet, 2nd Bb Trumpet, Trombone, 1st Violin (2), Bass (22 pp.). - Parts (Published, © 1927): Piano (2), Banjo (2), Drums (2), 1st Alto Sax, 2nd Tenor Sax, 3rd Alto Sax, 1st Bb Trumpet, 2nd Bb Trumpet, Trombone (2), 1st Violin (4), Cello, Bass (30 pp.). 2 America the Beautiful (by Samuel A. Ward): - Parts (Published, © 1941, BMI): Conductor, Flute/1st and 2nd Bb Trumpets (2), Oboe/Bassoon, Solo Bb Clarinet (3), 1st Bb Clarinet (2), 2nd Bb Clarinet (2), 3rd Bb Clarinet (2), Eb Clarinet/Euphonium, Alto Clarinet/Bass Clarinet, 1st Alto Saxophone, 2nd Alto Saxophone, 1st Tenor Saxophone, 2nd Tenor Saxophone/Baritone Saxophone, Baritone/Db Piccolo, 1st and 2nd Horns/3rd and 4th Horns (2), Solo Cornet/1st Cornet (2), Solo Cornet/Basses, 2nd Cornet/3rd Cornet (2), 1st Trombone (2), 2nd Trombone/3rd Trombone, Bass Trombone/Bells, Basses/Drums (3) (37 pp.). - Parts (Published, © 1941, BMI Orchestra Library No. 648): Piano (3). Angel Child (by Geo Price, Abner Silver, and Benny Davis): - Parts (Published, © 1922, M. Witmark and Sons): Piano, Tenor Banjo, Drums, Flute, 1st Clarinet, C Melody Saxophone, Alto Saxophone, Tenor Saxophone, Horns, 1st Bb Trumpet, 2nd Bb Trumpet, Trombone, 1st Violin, 2nd Violin, Viola, Cello, Bass (22 pp.). 3 Anitra’s Dance (from Peer Gynt Suite) (by Edvard Grieg): - Parts (Published, © 1940, BMI Orchestra Library; w/ Pencil notes): Piano (2), Harmonium or Harp (2), Drums or Timpani (2), Flute (2), Oboe (2), 1st Bb Clarinet (2), 2nd Bb Clarinet, 2nd Bb Clarinet/Horns, Bassoon (2), 1st Alto Saxophone (2), 2nd Tenor Saxophone (2), Horns, 1st Bb Trumpet (2), 2nd Bb Trumpet (2), 1st MS251-Louis Katzman Collection 3 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION Box Folder Description Trombone (2), 1st Violins A and B (Conductor) (2), 1st Violins A and B (2), 2nd Violin (2), Viola (2), Cello (2), Bass (2) (49 pp.). (1 3) Arabique (from Rimsky Korsakov’s Scheherazade): - Parts (Published and Manuscript, © 1925, Alfred and Co.): Piano, Banjo, Drums, 1st Alto Saxophone, Tenor Saxophone, 3rd Alto Saxophone, 1st Bb Trumpet, Trombone, 1st Violin (2), Bass (23 pp.). At the End of the Road (That Leads to Home Sweet Home) (by James F. Hanley): - Parts (Published, © 1924, Shapiro, Bernstein, and Co. Inc.): Piano, Flute, 1st Alto Saxophone, 2nd and 3rd Saxophone, Tenor Saxophone, Horns, 1st Bb Trumpet, 2nd Bb Trumpet, Trombone, 1st Violin (2), 2nd Violin, Viola, Cello, Bass (17 pp.). Ave Maria (by Bach-Gounod): - Parts (Published, © 1941, BMI Orchestra Library No. 405): Piano/Conductor (3 pp.). 1 4 Back Where the Daffodils Grow (by Walter Donaldson): - Parts (Published, © 1924, Shapiro, Bernstein, and Co. Inc.): Piano, Banjo, Drums, Flute, 1st Bb Clarinet, 1st Alto Saxophone, 2nd and 3rd Alto Saxophone, Tenor Saxophone, Horns, 1st Trumpet, 2nd Trumpet, Trombone, 1st Violin or C Melody Sax (2), 2nd Violin, Viola, Cello, Bass (26 pp.). Barcarolle (from Offenbach’s Tales of Hoffman): - Parts (Published, © 1940, BMI Orchestral Library): Piano, Organ or Harp, Drums, Flute, 1st Bb Clarinet, 2nd Bb Clarinet, Bassoon, 1st Alto Sax, 2nd Tenor Sax, Horns, 1st Bb Trumpet, 2nd Bb Trumpet/Oboe, 1st Trombone, 1st Violin A (Conductor), 1st Violin A, 1st Violin B and C, 2nd Violin, Viola, Cello, Bass (23 pp.). - Parts (Published, © 1940, BMI Orchestral Library; w/ Pencil notes): Piano (3), Organ or Harp (2), Drums/Horns (2), Flute (2), Oboe, 1st Bb Clarinet (2), 2nd Bb Clarinet (2), Bassoon (2), 1st Alto Saxophone (2), 2nd Tenor Saxophone (2), 1st Bb Trumpet (2), 2nd Bb Trumpet, 2nd Bb Trumpet/Oboe, 1st Trombone (2), 1st Violin A (Conductor) (2), 1st Violin A (2), 1st Violin B and C (2), 2nd Violin (2), Viola (2), Cello (2), Bass (2) (47 pp.). 5 Bebe (Music by Abner Silver, Lyrics by Sam Coslow): - Parts (Published, © 1923, M. Witmark and Sons): Piano, Banjo, Drums/Bass, Flute, 1st Bb Clarinet, C Melody Saxophone, 1st and 2nd Alto Saxophones, Bb Tenor Saxophone, Horns in F, 1st Trumpet in Bb, 2nd Trumpet in Bb, Trombone, 1st Violin, 2nd Violin, Viola, Cello (28 pp.). Black Eyes (Ochi Chorniya) (by Andrei Budinov): - Parts (Published, © 1940, BMI Orchestral Library No. 29): Piano/Conductor (2 pp.). - Parts (Published, © 1932, Alfred Music Co. Inc.): Piano, Banjo, Drums, 2nd Tenor Saxophone, 1st Bb Trumpet, 2nd Bb Trumpet, Trombone, 1st Violin (2), Bass (18 pp.). MS251-Louis Katzman Collection 4 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION Box Folder Description (1 5) (With You Dear. In) Bombay (by Charlie Chaplin): - Parts (Published, © 1925, M. Witmark and Sons): Piano, Banjo, Drums, Flute, 1st Bb Clarinet, 1st Alto Saxophone, 2nd Tenor Saxophone, 3rd Alto Saxophone, 1st Bb Trumpet, Trombone, 1st Violin or C Melody Saxophone, Bass (20 pp.). [On the flip side of some of these pages are parts from an arrangement of The Farmer Took Another Load Away! Hay! Hay! (written by Edgar Leslie, Charles O’Flynn, and Larry Vincent) by Arthur Lange]. 1 6 California Here I Come (by Al Jolson, Bud De Sylva, and Joseph Meyer): - Parts (Published, © 1924, M. Witmark and Sons): Piano, Drums, Flute, 1st Bb Clarinet, 1st Alto Saxophone, Tenor Saxophone, Horns, 1st Bb Trumpet, 2nd Bb Trumpet, Trombone, 1st Violin (2), 2nd Violin, Viola, Cello, Bass (25 pp.). Camel Walk, The (by Chris Smith, Tim Bryan, Cecil Mack, and Bob Schafer): - Parts (Published, © 1925, Broadway Music Corp.): Piano, Banjo, Drums, 1st Bb Clarinet, 1st Alto Saxophone, 2nd Tenor Saxophone, 3rd Alto Saxophone, 1st Bb Trumpet, 2nd Bb Trumpet, Trombone, 1st Violin or C Melody Sax (2), Cello, Bass (23 pp.). Carry Me Back to My Carolina Home (Music by Abner Silver, Lyrics by Benny Davis): - Parts (Published, © 1922, M. Witmark and Sons): Piano, Banjo, Flute, 1st Bb Clarinet, Horns/Oboe, C Melody Saxophone, Alto Saxophone, Tenor Saxophone, 1st Bb Trumpet, 2nd Bb Trumpet, Trombone, 1st Violin (2), Viola/2nd Violin, Cello, Bass (20 pp.). 7 Celeste Aida (from Verdi’s Aida): - Parts (Published, © 1941, BMI Orchestral Library): Conductor, Piano (2), Harmonium or Harp, Drums or Tympani, Flute, Oboe, 1st Bb Clarinet, 2nd Bb Clarinet/2nd Tenor Saxophone, Bassoon, 1st Alto Saxophone, 3rd Alto Saxophone, Horns, 1st Bb Trumpet, 2nd Bb Trumpet, Trombone, 1st Violin, 2nd Violin, Viola, Cello, Bass, Tacet indication sheet (40 pp.). Chimes of Spring (Music by Paul Lincke, Lyrics by L. Wolfe Golbert): - Parts (Published, © 1931, Edward B. Marks Music Co): Piano, Banjo (2), Drums (2), Flute, 1st Bb Clarinet/2nd Violin, 1st Alto Saxophone (2), 2nd Tenor Saxophone (2), 3rd Alto Saxophone (2), 1st Bb Trumpet, 2nd Bb Trumpet, Trombone (2), 1st Violin (2), Viola, Cello, Bass (2) (34 pp). 8 Clavelitos
Recommended publications
  • Dedications-Booklet-Web.Pdf
    played a ‘try-out’ concert prior to the recording. All of world. This is an atmospheric piece with extended the material on this album was inspired by people I melodic movement. love and admire, even if I never met them personally. It’s the principles they stand for that matter”. “Til Charlotte” is a composition by Lars Andre- as Haug and is the only tune on the album not The album begins with “The Mad Code”. This piece composed by Steffen. Lars Andreas wrote it while was originally written for solo piano for the 2020 staying at Steffen’s flat in Nürnberg. He dedicated Beethoven year celebrations. This version of the piece it to Steffen’s teenage daughter Charlotte. A small was fully orchestrated for the Zurich Jazz Orchestra. point of trivia is that Steffens arrangement of the Musically, the piece is extremely compact and chal- piece was completed on the train, returning from one lenging with fast changing, almost mad emotional of the many concerts the ZJO performed at Moods states trying to stretch the limit of what can be done in Zurich. with a jazz orchestra. Beethoven was known for his outbursts and wild mood swings, especially toward The final track, closing out this album is “Walzer”, the end of his life, and this arrangement represents a longtime repertoire piece of Steffen’s duo with this impeccably. The following track titled “Monsieur clarinettist Claudio Puntin. The fully orchestrated Pf.” recalls a German police officer known to Steffen 3-part version for the Zurich Jazz Orchestra makes with a great sense of humour.
    [Show full text]
  • WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
    United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al.
    [Show full text]
  • Pynchon's Sound of Music
    Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage.
    [Show full text]
  • JOHANN SEBASTIAN BACH Suites BWV 1007-1012 Raaf Hekkema
    2 CD JOHANN SEBASTIAN BACH Suites BWV 1007-1012 Arranged for saxophone Raaf Hekkema 1 JOHANN SEBASTIAN BACH Suites BWV 1007-1012 Arranged for saxophone Raaf Hekkema CD 1 JOHANN SEBASTIAN BACH (1685-1750) Suite 1 (BWV 1007) [1] Prélude 2:24 Suite 3 (BWV 1009) [2] Allemande 4:17 [13] Prélude 2:58 [3] Courante 2:29 [14] Allemande 3:35 [4] Sarabande 2:26 [15] Courante 3:21 [5] Menuet I & II 2:58 [16] Sarabande 4:10 [6] Gigue 1:45 [17] Bourrée I & II 2:57 [18] Gigue 3:04 Suite 2 (BWV 1008) [7] Prélude 4:03 [8] Allemande 3:43 total time 56:03 [9] Courante 2:07 [10] Sarabande 4:23 [11] Menuet I & II 2:30 [12] Gigue 2:41 4 5 CD 2 JOHANN SEBASTIAN BACH (1685-1750) Suite 4 (BWV 1010) [1] Prélude 3:40 Suite 6 (BWV 1012) [2] Allemande 3:34 [13] Prélude 3:57 [3] Courante 3:28 [14] Allemande 7:24 [4] Sarabande 4:32 [15] Courante 3:40 [5] Bourrée I & II 4:42 [16] Sarabande 4:07 [6] Gigue 2:42 [17] Gavotte I & II 3:43 [18] Gigue 3:47 Suite 5 (BW V 1011) [7] Prélude 5:18 [8] Allemande 4:30 total time 71:08 [9] Courante 2:03 [10] Sarabande 3:45 [11] Gavotte I & II 4:01 [12] Gigue 2:06 6 7 I dedicate this CD to my wife, Simone Noortman. Not only has she been my life partner for the past twenty-plus years, she is also – although not a musician herself – my most important musical sounding board.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]
  • Writing for Saxophones: a Guide to the Tonal Palette of the Saxophone Family for Composers, Arrangers and Performers by Jay C
    Excerpt from Writing for Saxophones: A Guide to the Tonal Palette of the Saxophone Family for Composers, Arrangers and Performers by Jay C. Easton, D.M.A. (for further excerpts and ordering information, please visit http://baxtermusicpublishing.com) TABLE OF CONTENTS Page List of Figures............................................................................................................... iv List of Printed Musical Examples and CD Track List.................................................. vi Explanation of Notational Conventions and Abbreviations ......................................... xi Part I: The Saxophone Family – Past and Present ....................................................1 An Introduction to the Life and Work of Adolphe Sax (1814-1894) .........................1 Physical Development of the Saxophone Family .....................................................13 A Comparison of Original Saxophones with Modern Saxophones..........................20 Changes in Saxophone Design and Production ........................................................26 Historical Overview of the Spread of the Saxophone Family ..................................32 Part II: Writing for the Saxophone as a Solo Voice ................................................57 The “Sound-of-Sax”..................................................................................................57 General Information on Writing for Saxophone.......................................................61 Saxophone Vibrato....................................................................................................63
    [Show full text]
  • Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
    1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures.
    [Show full text]
  • The Saxophone in China: Historical Performance and Development
    THE SAXOPHONE IN CHINA: HISTORICAL PERFORMANCE AND DEVELOPMENT Jason Pockrus Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Eric M. Nestler, Major Professor Catherine Ragland, Committee Member John C. Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Pockrus, Jason. The Saxophone in China: Historical Performance and Development. Doctor of Musical Arts (Performance), August 2018, 222 pp., 12 figures, 1 appendix, bibliography, 419 titles. The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai’s nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China’s musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.
    [Show full text]
  • Strauch Bros. Piano Keys, Actions and Hammers WESSELL, NICKEL
    20 PRESTO September 1, 1923 is almost ignored by many music lovers. Yet the INSTRUMENTATION FOR BANDS oboe is more than a factor indispensable for every first-class orchestra. Historically it is the oldest of AMERICAN the reed group. Species of the Egyptian oboe, whose Table Prepared for the Guidance of Organizations by sportive lilt may have enriched the very first Follies Which to Insure Good Effects. of the Cheops roof still linger at museums. Agree- PIANO SUPPLY ably to its ancient origin, the oboe sounds an eerie The Buescher Band Instrument Company has pre- beseaching note, which even in light melody, recalls pared a table of instrumentation for military bands the distant past. No other tones so vitalize 2,000 COMPANY of from 12 to 60 pieces. This table is very useful as years of pastoral poetry. An oboe player who is recommending the proper instrumentation for bands expert can make $100 to $200 a week. And there Felts, Cloths, Hammers,Punchings, of various sizes, and particularly for school bands. is a demand for them." The table is as follows: Music Wire, Tuning Pins, Player No. in band 12 13 14 15 16 18 20 22 25 28 32 36 40 44 48 52 56 60 ])b Piccolo .... 111111111111111 Oboe1 111112 2 MORE SPACE FOR SACHS Parts, Hinges, Casters Kb Clarinet* . 11111111111111111 Bb Clarinet ... 1 2 2 2 3 4 4 5 6 8 8 10 10 12 12 ] 2 14 Bassoon2 111112 2 A FULL LINE OF MATERIALS for PIANOS and ORGAN Bb Soprano Sax 111111111 Active Sales of Phonographs and Roll Cabinets Have Eb Alto Sax.3.
    [Show full text]
  • ZURICH JAZZ ORCHESTRA & STEFFEN SCHORN Three Pictures
    ZURICH JAZZ ORCHESTRA ZURICH JAZZ ORCHESTRA & & STEFFEN SCHORN STEFFEN SCHORN Three Pictures THREE PICTURES MR874611 RELEASE: The Zurich Jazz Orchestra (ZJO) was first launched in 04.05.2018 1995. And what began twenty-three years ago as a „re- hearsal band for local composers and arrangers“ is now a LABEL: top-class big band that‘s tough to beat in terms of vari- Mons Records ety and excellence.With its musical virtuosity, an innova- LC 06458 tive programme, and an extraordinary level of commit- DISTRIBUTION: ment from both its artistic director and its administrative New Arts (physical) and supporting teams, the ZJO has played its way into finetunes (digital) the top league of the European big band scene. With three albums already released (Beyond Swiss Tradition, CONTACT: 2005; New Plans, 2008; Songs, 2012) and celebrated by a [email protected] steadily growing fan base at clubs, festivals and theatres, both at home and abroad, the ZJO has now provided its www.monsrecords.de very own soundtrack to this success story. www.zjo.ch Steffen Schorn, a renowned composer and multi-instru- mentalist in one, has been on board as artistic director since 2014. It‘s been a real stroke of luck for both the big band and its leader. With their shared musical vision and exuberant energy, this combination has complemented and inspired itself onwards to the very finest! The current album Three Pictures serves as a wonderful testament to this journey together. With his composi- tions, Steffen Schorn has succeeded in creating a reper- toire that presents the ZJO in all its facets, offering every tone its space, and every rhythm its room to move.
    [Show full text]
  • Ave Maria Easy Key of C Soprano Saxophone Sheet Music
    Ave Maria Easy Key Of C Soprano Saxophone Sheet Music Download ave maria easy key of c soprano saxophone sheet music pdf now available in our library. We give you 1 pages partial preview of ave maria easy key of c soprano saxophone sheet music that you can try for free. This music notes has been read 2344 times and last read at 2021-09-27 16:32:32. In order to continue read the entire sheet music of ave maria easy key of c soprano saxophone you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Soprano Saxophone Ensemble: Mixed Level: Beginning [ READ SHEET MUSIC ] Other Sheet Music Ave Maria Arranged With Bachs Cello Prelude 1 As Accompaniment Ave Maria Arranged With Bachs Cello Prelude 1 As Accompaniment sheet music has been read 4225 times. Ave maria arranged with bachs cello prelude 1 as accompaniment arrangement is for Advanced level. The music notes has 4 preview and last read at 2021-09-29 15:21:01. [ Read More ] When Mary To The Temple Went Maria Wallt Zum Heiligtum For Saxophone Sextet When Mary To The Temple Went Maria Wallt Zum Heiligtum For Saxophone Sextet sheet music has been read 3015 times. When mary to the temple went maria wallt zum heiligtum for saxophone sextet arrangement is for Early Intermediate level. The music notes has 5 preview and last read at 2021-09-29 14:36:31. [ Read More ] Franz Schubert Ave Maria Arranged For Satb Saxophone Quartet Franz Schubert Ave Maria Arranged For Satb Saxophone Quartet sheet music has been read 3510 times.
    [Show full text]
  • Catalogue and Musik” (Degenerate Music) Opened in Documentation of Sound) Should Düsseldorf
    zagreb | 2018. XVIII. SVJETSKI KONGRES SAKSOFONISTA ODRŽAVA SE POD POKROVITELJSTVOM MILANA BANDIĆA, GRADONAČELNIKA GRADA ZAGREBA | THE XVIII WSC IS HELD UNDER THE PATRONAGE OF MR MILAN BANDIĆ, MAYOR OF THE CITY OF ZAGREB gradonačelnik grada zagreba Poštovani sudionici, dragi gosti, Zagreb prvi put ugošćuje renomirani Svjetski kongres saksofonista. Domaćin ovogodišnjega 18. kongresa je naša Muzička akademija koja je u svijetu poznata po izvrsnosti svoje Zagrebačke saksofonističke škole koju je utemeljio profesor Josip Nochta. Tijekom 5 dana, na više od 400 događanja, na brojnim mjestima u gradu će se predstaviti i susresti vrhunski glazbeni profesionalci, studenti i amateri. Bit će to, uvjeren sam, praznik glazbe, prigoda za promociju različitih stilova i izričaja te za razmjenu ideja. Svojom otvorenosti za publiku Kongres će obogatiti Zagrebačko kulturno ljeto te će doprinijeti boljem pozicioniranju Zagreba i Hrvatske na svjetskoj karti kulturnog turizma. Zahvaljujem organizatorima na uspješnoj realizaciji Kongresa, osobito red. prof. art. Draganu Sremcu, umjetničkomu ravnatelju Kongresa i prodekanu za umjetnost i poslovanje Muzičke akademije Sveučilišta u Zagrebu. Svim sudionicima želim uspješno sudjelovanje i ugodan boravak u našem gradu! Gradonačelnik Grada Zagreba Milan Bandić Major of the City of Zagreb Esteemed participants, dear guests, Zagreb is hosting the renowned World Saxophone Congress for the irst time. The host of this 18th Congress is our Academy of Music, world- famous for the excellence of its Zagreb School of Saxophone, established by professor Josip Nochta. In the course of 5 days, in more than 400 events at various locations in the city, top music professionals, students and amateurs will present themselves and meet each other. I am sure that it will be a celebration of music, an opportunity to promote various styles and expressions and to exchange ideas.
    [Show full text]