SKU: HL.14074275

SKU: BT.YE0030

An easy virtuoso work published here for the first time and now much performed. Recorded Slatford/Academy of St Martin-in-the-Fields (EMI). AMEB (Australian Syllabus) 2004. Orchestral material on hire from Yorke Edition (notSpartan).

Programme Note:

As a young professional player in the 1960s, my work as a double bassist with chamber ensembles and small orchestras took me all over the world. This presented an unparalleledopportunity to scour libraries and archives wherever I went. Long before the advent of the photocopier and e-mail, research was far more challenging than it is today. Eastern Europe was particularly difficult to access, withmanycollections kept under lock and key for all but a few hours a week. One quickly found colleagues who were keen to share information gleaned in passing, even though they had no specific interest in one's own particularspecialism (it is so often the peripheral topics that fascinate as much as the main subject under investigation, and one can quickly be side-tracked into political and social issues that have only slender bearing on the job inhand!).

In the early 1970s James Brown, the then sub-principal oboist of the English Chamber Orchestra with whom I was working at the time, stumbled across a small collection of double bass manuscripts at the RoyalDanish State Library in Copenhagen. They were by Franz Anton Leopold Keÿper (b. c.1756, d. Copenhagen 7 June 1815), a double bassist of Dutch origin who worked as principal of the Royal Chapel Orchestra in Copenhagen.Keÿper's son was the bassoonist Franz Jacob August Keÿper (1792-1859). The collection included a number of concertos, some chamber music, and various naïve fragments. Although hardly the work of a Mozart or Haydn,the style is characteristic of the period. For an instrument such as the double bass, whose 18th century solo repertoire is largely written for tunings that are no longer in everyday use, Keÿper's music is easily approachablein its.

SKU: BR.PB-4879-07

Sibelius composed this short (only five minutes long) Romance in C Op. 42 in 1903; the work was first performed in Turku in March 1904. The Romance is not a concerto movement in disguise, but features the dark, dense string writing typical of Sibelius. Early modern; Late-romantic. Study Score. 8 pages. Duration 5'. Breitkopf and Haertel #PB 4879-07. Published by Breitkopf and Haertel (BR.PB-4879-07).

ISBN 9790004206768. 5.5 x 7.5 inches.

Sibelius composed this short (only five minutes long) Romance in C Op. 42 in 1903; the work was first performed in Turku in March 1904. The Romance is not a concerto movement in disguise, but features the dark, dense string writing typical of Sibelius. Fast alle Orchesterbearbeitungen sind Jahre nach den Originalkompositionen fur Singstimme und Klavier entstanden.

Trotz der Tatsache dass sie rasch hingeworfen sind zeigt sich in allen Liedern Sibelius' Meisterschaft als Orchesterliederkomponist. Manchmal vermag er eine dustere dramatische Atmosphare (in ,,Pa verandan vid havet) zu erzeugen manchmal gelingen ihm leuchtend farbige Impressionen (in ,,Soluppgang) oder zart transparente Gewebe (in ,,Varen flyktar hastigt) - immer jedoch sind die Lieder ganz aus deren poetischer Idee heraus gestaltet und differenziert nachgezeichnet. In den meisten Fallen beschrankte sich Sibelius auf ein relativ kleines Orchester. In ,,Varen flyktar hastigt sind neben den Streichern nur zwei Floten und vier Horner besetzt. Nearly all of the orchestral arrangements were made years after the original compositions for voice and piano.

Yet even though the arrangements were made in a very short period of time Sibelius handled the combination of solo voice and orchestra in all songs with equal mastery sometimes creating dark and dramatic atmospheres (in Pa verandan vid havet) sometimes radiant colorful impressions (in Soluppgang) or light-colored transparent textures (in Varen flyktar hastigt) and always basing his ideas on the poetic idea of the song while discovering refined ways of supporting it.