SKU: HL.51487451

UPC: 196288158110. 6.75x9.5x0.294 inches.

Thanks to its skilful combination of Romantic melody and sparkling virtuosity, Koussevitzky’s Double Bass Concerto op. 3 has been one of the most popular works of its genre since its Moscow premiere in 1905. No wonder, for the virtuoso double bass player Koussevitzky had composed it for his very own instrument. As early as 1906/07 a first piano reduction was published in Moscow, followed by a second in 1910 in Leipzig. However, both contain so many mistakes in the solo part that there is still uncertainty about the correct musical text in many passages to this day. The double bass player Tobias Glöckler has therefore prepared his Urtext edition using several sources: as well as the manuscript performance material and the piano reductions published during the composer's lifetime, he has also studied recordings with Koussevitzky as soloist - thereby finally producing a thoroughly-researchedUrtext edition of the orchestral score and piano reduction of this classic of the double bass literature. As with all double bass concertos published by Henle Publishers, this edition also contains the piano reduction by Christoph Sobanski in two keys (E minor and F sharp minor) for performance with solo or orchestral tuning.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

SKU: HL.14032192

ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).

Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard.

SKU: BA.BA07383

ISBN 9790006504275. 41.8 x 29.5 cm inches.

World Premiere 02/06/1997, Cologne.

SKU: HL.114464

UPC: 884088872670. 8.5x11.0x0.525 inches.

Quotes of the beloved spiritual “Hold On” are combined with excerpts from “Freedom's Plow” by Langston Hughes in this powerful and dramatic work commissioned by the St. Louis Symphony. Themes of the struggle for liberty and justice throughout America and the world make this a magnificent concert closer for festival and community performances with keyboard, bass and drums or the optional orchestral accompaniment! Available separately: SATB divisi, Orchestra score and parts (fl, ob, cl, bn, hn, tpt 1-3, tbn 1-2 [btbn], bells, perc 1-2, vn 1-2, va, vc, db). Duration: ca. 5:00.

SKU: BP.2142B

Full score and parts for piccolo; flute 1 and 2; oboe 1 and 2; clarinet in B-flat 1 and 2; bassoon 1 and 2; horn in F 1, 2, 3 and 4; trumpet in C 1 and 2; trumpet in C 3 and 4 (optional); trombone 1, 2 and 3; tuba; timpani; bass drum; suspended cymbal; crash cymbal; harp; optional organ; violin 1 and 2; viola; cello; double bass.

SKU: HL.14032247

UPC: 888680688790. 9.25x14.25x3.722 inches.

Carl Nielsen Collected Works Section II: Vol. 5. 1998 edition. Instrumentation: Flutes 1-3, Oboes 1-2, Clarinets 1-2, Bassoons 1-2, Horns 1-4, Trumpets 1-2, Trombones 1-2, Bass Trombone, Tuba, Timpani, Percussion, Triangle, Drum, 8 Violin 1, 7 Violin 2, 6 Viola, 5 Cello, 4 Double Bass.