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: BA.BA10418-85
ISBN 9790006564699. 32.5 x 25.5 cm inches. Key: G major.
Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the premiere; the 'child prodigy' Joseph Joachim; and Hubert Leonard, a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Leonard.The letter informs us that the composer invited Leonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Leonard.The recently discovered proofs reveal how Leonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Leonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Leonard's playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: HF.FH-3356
ISBN 9790203433569. 9 x 12 inches.
1. Big Smile; 2. Tatu tata, the firefighters; 3. Dear Mama; 4. A green old dragon sneers; 5. Brother John; 6. Come with me to New York City (version a); 7. Three Chinese with a doublebass; 8. The Bi-Ba-Boogeyman; 9. Buzz, Buzz, Buzz; 10. Hansel and Gretel; 11. Fox, you stole my goosey gander; 12. Do you know, how many stars there be? (Melodie: Westfalen, Text: W. Hey); 13. On the wall, on the lookout; 14. Come with me to New York City (version b); 15. Just look there the frog is sick; 16. My coloured minibass; 17. Witching hour; 18. Bass Knights; 19. Hey! Hey! Let's start!
SKU: HL.14021087
8.25x12.0x0.059 inches.
John McCabe's Pueblo for solo Double Bass. Duration: approx. 7 minutes.
Pueblo is an off-shoot of a series of compositions inspired by desert country, and it was commissioned by Leon Bosch with the aid of funds provided by North West Arts. The piece is continous, falling into several sections, and is largeley based on the high circling motif heard at the start and referred to again in the harmonics at the close. It is prefaced by the following quotation from Scenes in American Deserta by Reyner Banham, published by Thames and Hudson:
'Clouds, high and flat, were now building up in thesky, the wind was settling to silent calm, the weather was very cold, and the stream through the center of the pueblo was almost frozen across, the Indians chipping out ice to melt down for water.'
The aim in writing the piece was to express in musical terms a response to the vivid picture of a scene relating to life in the American desert conveyed by Reyner Banham's text. Although not numbered among other Desert works, this belongs to this family of compositions, along with another Banham setting, written for the King's Singers, Scenes In America Deserta. - John McCabe
SKU: BA.BA08841-85
ISBN 9790006541256. 32.5 x 25.5 cm inches.
Prelude a l'apres-midi d'un faune, often referred to as the first composition of the modern era, is one of Debussy's most popular and frequently performed orchestral works. The piece comes down to us in an array of sources, and several important ones are drawn upon for the first time in Baerenreiter's new scholarly-critical edition. Most of the currently available editions are based on the first edition from 1895 which, however, contains many engraver errors. When the corresponding orchestral parts are also taken into consideration, countless discrepancies are revealed.
SKU: BA.BA09079-85
ISBN 9790006531431. 32.5 x 25.5 cm inches. Text: Felix Mendelssohn Bartholdy.
Latin text from the Vulgate (Psalm 113). German text by Felix Mendelssohn Bartholdy after Psalm 115 from the Lutheran Bible.
SKU: BA.BA09045-85
ISBN 9790006537709. 32.5 x 25.5 cm inches. Key: B minor.
SKU: BA.BA07590-85
ISBN 9790006541652. 32.5 x 25.5 cm inches. Preface: Marco Uvietta.
For this scholarly-critical edition, the editor has consulted no less than 16 sources, many more than were ever used for any other edition of the Requiem; some of these sources were never evaluated before and one source, a hand-written vocal score, particularly relevant to the evaluation of the Liber scriptus, was newly discovered.As such, this edition offers new philological and editorial decisions regarding phrasing, articulation and dynamics and succeeds in presenting practical suggestions to solve musical problems and those concerning the interpretation of this famous work.This edition comprises a concise Critical Commentary in the score as well as a detailed one on the Barenreiter website. The most important editions published in the 19th century are compared with regard to musicological questions in the work. The genesis of some misunderstandings included in the 1913 and 1964 Ricordi editions is traced. The first version of the Liber scriptus for chorus is included in the appendix while the later version for mezzosoprano solo is to be found in the main part of the edition.
SKU: BA.BA09584-85
ISBN 9790260107878. 32.5 x 25.5 cm inches.
SKU: BA.BA07896-85
ISBN 9790006563395. 32.5 x 25.5 cm inches. Key: C minor.
In this work I gave everything I had to give. [...] What I did here I will never do again.Camille Saint-Saens was justifiably proud of his Symphony No. 3 in C minor op. 78, dedicated to the memory of Franz Liszt. Like Beethoven's Ninth, this so-called Organ Symphony was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886.In this first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected.The edition of Symphony No. 3 marks the launch of a large-scale project: the publication of Camille Saint-Saens - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series.* First scholarly-critical edition of this famous symphony based on Camille Saint-Saens aEUR Complete Edition of the Instrumental Works* Now with separate parts for all winds* Orchestral parts in a large format (25.5 cm x 32.5 cm).
SKU: HL.48186481
UPC: 888680828264. 9.0x12.0x0.065 inches.
Francois Rabbath : Trombes d?eau for double bass (AL 30 748) The international fame of bass player Francois Rabbath acknowledges both the untiring teacher, author of a Nouvelle technique de la contrebasse, which a whole generation of students, desirous of freeing themselves from the fetters of traditional teaching, has taken up, and the inspired soloist, unsparing of himself in concert. For several years now, he has become accustomed to spending a few days in the summer in Kansas City (Missouri) to give master classes and a concert there, in the framework of the ?KC BassFest?. In July 2016, a moving surprise awaited him: on the stage of the American Jazz Museum a full-length portrait was unveiled, painted by local artist Ruthie Ingram from photos taken during his recital the previous year. By way of thanks, Rabbath dedicated Trombes d?eau to her, a solo piece lasting approximately six minutes, composed at the instigation of the International Society of Bassists for the 2017 edition of the International Double Bass Competition. Conceived as a series of short variations on an impassioned theme, the work emphasises evocative glissandi and explores double stopping and artificial harmonics without ever sacrificing the essential: the pleasure of musical expression..
SKU: BA.BA07887-85
ISBN 9790006558544. 32.5 x 25.5 cm inches.
The popularity of Faure's Pavane is mostly attributed to its many arrangements but the original version for orchestra is being published here for the first time. Shortly after completing the orchestral work, Faure began work on a version for choir, which was actually premiered before the orchestral version.This new Barenreiter edition offers conductors and orchestras a reliable Urtext edition of the Pavane's original orchestral version which will surely enhance symphonic concert programmes everywhere.
SKU: BA.BA10401-85
ISBN 9790260108226. 32.5 x 25.5 cm inches. Key: D major.
SKU: BA.BA10402-85
ISBN 9790260108288. 32.5 x 25.5 cm inches. Key: G minor.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
