Classiques No.29-A transcription of Mozart's Bassoon Concerto in Bb arranged here for Double Bass and Piano. In the key of A. Double bass insert is in G.

A good performing edition of this well-known concerto published here for the first time in its original key.Hire parts available (2 Oboes/2 Horns/Strings). Bucchi Competition Rome 1986.Chosen by AMEB (Australian Syllabus).

An interesting and cleverly created cooncerto that is enjoyable and easy on the ear! Composed in 1971 by Alan Ridout here are two simple movements with strings suitable for grades 5 and 8 and are set as part of the ABRSM examinations.

Yorke Edition-Born in Oxford in 1917 Francis Baines was a well-known and much respected professional double bass player. He studied at the Royal College of Music in London with Claude Hobday where he later taught. Something of an eccentric he immersed himself in early music at a time when few people were taking it seriously. He owned a beautiful Amati bass that he had restored as a violone which it probably was originally and he was a regular fixture as a principal player in a number of orchestras and ensembles that dedicated themselves to period performing including those directed by Denys Darlow with whom he broadcast and recorded frequently.Besides playing the doublebass Francis Baines was an exponent of the treble viol and led the Jaye Consort of Viols which he founded. He also played several kinds of bagpipe and the hurdy-gurdy. As a composer he dabbled in many styles one of his greatest claims to fame being that of writing for the popular Hoffnung concerts in the 1960s. He was the author of a number of papers about the history of the double bass sometimes arriving at scholarly conclusions that were colourful if not always entirely accurate. He discovered the Giovannino del Violone sonatas subsequently published by Yorke Edition although today it is thought that they were probably not written for a 16' pitch instrument at all. His edition of the Capuzzi double bass concerto published by Boosey & Hawkes was for many years one of the few solo works available for the instrument. This however he largely re-composed because he thought it could be improved: towards the end of his life he confessed that with hindsight he probably should have treated it differently.Grounds was written in 1969 as a sort of party piece and was given to Yorke Edition in support of a drive to enlarge the repertoire for the instrument in a wide variety of styles. It was set on the syllabus of the Associated Board of the Royal Schools of Music for many years.Francis Baines died

Complete method for the Double Bass – Part 2 is the first of a series of two created by Edouard Nanny a French Double-Bass player teacher and composer. Conceived to acquire correct technique and a good sonority the Complete method for the four and five stringed Double Bass – Part 2 is perfect for intermediate players. Including scales exercises and small studies this second volume follows on Part 1 also available at Alphonse Leduc. Edouard Nanny(1872-1942) had internal recognition as a composer during his lifetime and composed two concerti and additional methods such as 'Twentyvirtuoso studies' among others.

Contents: Bourré (Bach) ? Grave (Abaco) ? Concerto (Vivaldi) ? Prelude and Allegro (d'Andrieu) ? Sonata in C Minor (Handel) ? Sonatina and Minuet (Beethoven) ? Elegy and Andante (Bottesini)? Aria from Rigoletto (Verdi) ? Adagio (Geissel) ? Vocalise (Rachmaninoff) ? Romance (Prokofiev) ? Introduction and Tarentelle (Franchi) ? Serenade (Beveridge) ? Chaconne (Russell).

Par RAVEL MAURICE. In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane”. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane” and both versions remain a 'must” for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane” from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto. - First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano - Includes Jelly D'Aranyi's fingering/ Répertoire / Contrebasse

In D major. A reliable edition of two standard classics with original cadenzas. The 18th century manuscripts have been closely researched; cuts and alterations made by previous editors have been fully restored enabling authentic performance on period instruments if desired. Grade: Advanced