Double Bass SKU: BT.YE0030 Composed by F. Keyper. Exam Material. Book Onl...(+)
Double Bass
SKU:
BT.YE0030
Composed by
F. Keyper. Exam Material.
Book Only. Yorke Edition
#YE0030. Published by
Yorke Edition
(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).
Pr
ogramme 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.
Pression Contre Basse [Conducteur] Breitkopf & Härtel
Double bass solo SKU: BR.EB-9268 Revised Version 2010. Composed by...(+)
Double bass solo
SKU:
BR.EB-9268
Revised
Version 2010.
Composed by Helmut
Lachenmann. Arranged by
Caleb Salgado. Solo
instruments; Folder.
Edition Breitkopf. Music
post-1945; New music
(post-2000). Score.
Composed 1969/2010. 26
pages. Duration 9'.
Breitkopf and Haertel #EB
9268. Published by
Breitkopf and Haertel
(BR.EB-9268).
ISBN
9790004185681. 12 x 9
inches.
This piece
originated as an
introduction to
instrumental
musique-concrete. In this
sort of piece it is
common for sound
phenomena to be so
refined and organised
that they are not so much
the results of musical
experiences as of their
own acoustic attributes.
Timbres, dynamics and so
on arise not of their own
volition but as
components of a concrete
situation characterised
by texture, consistency,
energy, resistance.This
does not come from within
but from a liberated
compositional technique.
At the same time it
implies that our
customary sharply-honed
auditory habit is
thwarted. The result is
aesthetic provocation:
beauty denying
habit.(Helmut
Lachenmann),,Cette
nouvelle edition est une
invitation faite aux
violoncellistes qui
souhaiteraient
redecouvrir leur
instrument et la maniere
de la faire sonner en
realisant dessus un
nouveau genre de
polyphonie: une
polyphonie d'actions.
(Francois-Xavier Feron,
Circuit, Heft 25, Juni
2015)CDs/LPs:Michael Bach
CD cpo 999 102-2 Lucas
Fels CD Montaigne Auvidis
MO 782075 Walter Grimmer
CD col legno WWE 31863
Taco Kooistra CD Attacca
Babel 9369-1 Pierre
Strauch CD Accord 202082
Michael Bach LP ABE ERZ
1003 Werner Taube LP ABE
ERZ 1003ensemble
phorminxCD WER 6682
2Michael M. KasperCD
Michael M. Kasper rounds
per minute, Ensemble
Modern Medien,
EMCD-006Michael Svoboda
(trombone)CD Wittener
Tage fur neue Kammermusik
2011Bibliography:Deltz,
Eberhard: begegnung im
grenzbereich. Zwei Werke
von Helmut Lachenmann und
Hideaki Yamanobe im
Spiegel eines Haiku von
Matsuo Basho, in: Neue
Zeitschrift fur Musik 167
(2006), Heft 1, pp.
36-41.Feron,
Francois-Xavier: Enjeux
et evolution du systeme
de notation dans
,,Pression pour un(e)
violoncelliste de Helmut
Lachenmann, in: Circuit,
Heft 25, 2015, pp.
55-65.GoGwilt, Keir:
Templates for Technique
in Mantel and Lachenmann.
Between Transcendence and
Immanence, in: The Dark
Precursor: Deleuze and
Artistic Research. Band
I: The Dark Precursor in
Sound and Writing, hrsg.
von Paulo de Assis und
Paolo Giudici, Leuven:
Leuven University Press
2017, pp.
105-113.Griffiths, Paul:
ModernMusic and After,
3rd edition, Oxford
University Press 2010,
pp. 216-219.Handschick,
Matthias: Musik als
,,Medium der sich selbst
erfahrenden Wahrnehmung.
Moglichkeiten der
Vermittlung Neuer Musik
unter dem Aspekt der
Auflosung und Reflexion
von Gestalthaftigkeit (=
Schriften der Hochschule
fur Musik Freiburg 3),
Hildesheim u. a.: Olms
2015, dort pp.
161-167.Hiekel, Jorn
Peter: Helmut Lachenmann
und seine Zeit, Laaber:
Laaber 2023, S. 169-172,
231-232.Jahn, Hans-Peter:
simultan eine Erinnerung,
in: Neue Zeitschrift fur
Musik 167 (2006), Heft 1,
pp. 12-15.Lessing,
Wolfgang: Musizieren als
Prozess. Zur didaktischen
Dimension von Helmut
Lachenmanns Pression, in:
Musik inszeniert.
Prasentation und
Vermittlung
zeitgenossischer Musik
heute, hrsg. von Jorn
Peter Hiekel (=
Veroffentlichungen des
Instituts fur Neue Musik
und Musikerziehung
Darmstadt, Band 46),
Mainz u. a.: Schott 2006,
pp. 73-83.ders.:
Verweigerung von
Gewohnheit.
Instrumentaldidaktische
Annaherungen an Pression
von Helmut Lachenmann,
in: Darstellen und
Mitteilen. Ein Handbuch
der musikalischen
Interpretation, hrsg. von
Ursula Brandstatter,
Martin Losert, Christoph
Richter und Andrea Welte,
Mainz: Schott 2010, pp.
111-122.ders.:
Interpretation, Verstehen
und Vermittlung, in: Ans
Licht gebracht. Zur
Interpretation Neuer
Musik, hrsg. von Jorn
Peter Hiekel (=
Veroffentlichungen des
Instituts fur Neue Musik
und Musikerziehung
Darmstadt, Band 53),
Mainz u. a.: Schott 2013,
pp. 24-39.Mosch, Ulrich:
Das Unberuhrte beruhren
Anmerkungen zur
Interpretation von Helmut
Lachenmanns Werken
Pression und Allegro
sostenuto, in: Musik
inszeniert. Prasentation
und Vermittlung
zeitgenossischer Musik
heute, hrsg. von Jorn
Peter Hiekel (=
Veroffentlichungen des
Instituts fur Neue Musik
und Musikerziehung
Darmstadt, Band 46),
Mainz u. a.: Schott 2006,
pp. 25-46.Musik als
Bildkritik Gesprach
zwischen Gottfried Boehm,
Helmut Lachenmann und
Matteo Nanni, in: Helmut
Lachenmann: Musik mit
Bildern? Hrsg. von Matteo
Nanni und Matthias
Schmidt (= eikones, hrsg.
von Nationalen
Forschungsschwerpunkt
Bildkritik an der
Universitat Basel),
Munchen: Wilhelm Fink
2012, pp.
237-269.Neuwirth, Markus:
Strukturell vermittelte
Magie.
Kognitionswissenschaftlic
he Annaherungen an Helmut
Lachenmanns Pression und
Allegro sostenuto, in:
Musik als
Wahrnehmungskunst.
Untersuchungen zu
Kompositionsmethodik und
Horasthetik bei Helmut
Lachenmann, hrsg. von
Christian Utz und Clemens
Gadenstatter (=
musik.theorien der
gegenwart 2),
Saarbrucken: Pfau 2008,
pp. 73-100.Orning, Tanja:
The Polyphonic Performer.
A Study of Performance
Practice in Music for
Cello Solo by Morton
Feldman, Helmut
Lachenmann, Klaus K.
Hubler and Simon
Steen-Andersen, Diss.
Oslo 2014, Oslo:
NMH-publikasjoner (mit
DVD).Sparrer,
Walter-Wolfgang: Wider
den geolten Gleichlauf.
Von der Notwendigkeit
strukturierender
Verfahrensweisen bei der
Interpretation von Musik.
Modell I: Kompositionen
fur Violoncello solo von
J. S. Bach, Isang Yun und
Helmut Lachenmann, in:
Musikalische Produktion
und Interpretation, hrsg.
von Otto Kolleritsch,
Wien/Graz 2003 (= Studien
zur Wertungsforschung,
Band 43), pp. 75-100.Utz,
Christian: Erinnerte
Gestalt und gebannter
Augenblick. Zur Analyse
und Interpretation
post-tonaler Musik als
Wahrnehmungspraxis
Klangorganisation und
Zeiterfahrung bei Morton
Feldman, Helmut
Lachenmann und Brian
Ferneyhough, in: Ans
Licht gebracht. Zur
Interpretation Neuer
Musik, hrsg. von Jorn
Peter Hiekel (=
Veroffentlichungen des
Instituts fur Neue Musik
und Musikerziehung
Darmstadt, Band 53),
Mainz u. a.: Schott 2013,
pp. 40-67.
World
premiere: Como (Autunno
musicale), September 30,
1970.
Arranged by Elliot Del Borgo. Bass solo songbook (no accompaniment) for string b...(+)
Arranged by Elliot Del
Borgo. Bass solo songbook
(no accompaniment) for
string bass. Series: Hal
Leonard Essential
Elements String Method.
24 pages. Published by
Hal Leonard.
Double Bass solo SKU: SU.32020090 For Double Bass solo. Composed b...(+)
Double Bass solo
SKU:
SU.32020090
For
Double Bass solo.
Composed by Dorothy
Hindman. Strings,
Contrabass. Score. Subito
Music Corporation
#32020090. Published by
Subito Music Corporation
(SU.32020090).
…the
vocabulary of this work
is filled with extended
gestures such as
artificial harmonic
glissandi, bowing behind
the bridge, left hand
hammer-ons, overly
pressed scratchy tones,
etc. The piece has all
the attributes of a great
story, beginning in a
quirky fun manner and
then becoming something
unexpected, a virtuosic
display with a wildly
exciting ending. It is
the effect of the pacing
that is the tour de
force, a one-way downhill
roller coaster
ride…the work
remains in the lower half
of the instrument for the
most part and only
ventures into the very
highest registers for
effect. The extraordinary
challenge is to execute
the variety of extended
gestures within the tempo
over eleven minutes. To
play this work
successfully requires
mastering the art of Time
Management. ~Hans Sturm,
editor. Bass WorldDouble
Bass solo Duration: 12'
Composed: 2004 Published
by: Distributed
Composer.
Double Bass SKU: BA.BA08833-85 Composed by Ludwig van Beethoven. Edited b...(+)
Double Bass
SKU:
BA.BA08833-85
Composed by Ludwig van
Beethoven. Edited by
Helga Lühning. This
edition: urtext edition.
Stapled. Single part.
Composed 1806. No. 3. 7
pages. Baerenreiter
Verlag #BA08833_85.
Published by Baerenreiter
Verlag (BA.BA08833-85).
ISBN 9790006567584.
32.5 x 25.5 cm
inches.
Sooner or
later theRomantic
Pieceswill pave their way
through all the salons:
thus the periodical
Dalibor predicted when
theRomantic Piecesop. 75
were first issued by the
publisher Simrock in
1887. Since then they
have become some of
Dvorak's most popular
works for violin and
piano. Now they are being
made available for
violists
also.
Bella and
Semjon Kalinowsky have
arranged the four pieces
on the basis of
theComplete Edition of
the Works of Antonin
Dvorak. The piano part of
the original version
remains, while the violin
part has been adapted for
viola; it has been
transcribed into the alto
clef and includes
fingering and bowing
marks.
With their
entrancing melodies and
poetry, these pieces pose
few technical challenges
and are thus easy to
play.
Double Bass SKU: BT.MUSM570367320 Composed by Sadie Harrison. Book Only. ...(+)
Double Bass
SKU:
BT.MUSM570367320
Composed by Sadie
Harrison. Book Only. 12
pages. University of York
Music Press
#MUSM570367320. Published
by University of York
Music Press
(BT.MUSM570367320).
English.
Sadie
Harrison's Ha
llristningsomra det
for solo Double Bass.
Composed and published
2016. Duration c. 10
minutes The area of
Tanumshede is situated on
the south western coast
of Sweden.
Archaeologically, it is
renowned for its unique
series of Bronze Age rock
carvings dating from
between c. 1800 to 500
BCE. Incised into over
600 panels, the
petroglyphs were
originally situated along
a 25 mile stretch of
fjord coastline and as
such there are many
depictions of Hjortspring
boats and seafaring
activities. There are
also scenes of hunting,
agricultural and
livestock farming and
warring, with many
armoured figures carrying
swords, axes and shields.
Whilst it is possible
tointerpret most carvings
as images of quotidian
life, the meaning of some
panels is less clear. It
is likely that several
scenes depict ritual acts
overseen by gods, often
surrounded by abstract
symbols - crosses, dots
and ‘cups’,
the significance of which
is now unknown. As well
as being a source of
information about
Scandinavian Bronze Age
weapons, vehicles, tools,
ships, even hairstyles,
the carvings have also
been the subject of
debates about gender. The
society depicted on the
rocks seems
overwhelmingly
patriarchal, making the
rare carvings of probable
female figures
particularly important.
The most famous of these
is known as The Grieving
Woman, apparently weeping
over a dead warrior from
a ship. Her grief,
‘heavy as
rocks’ is heard in
the opening movement of
the piece, echoing
through the remaining
movements and giving the
work its dark, melancholy
character. The Woman
returns in the final
movement as a ghost, her
footsteps coming closer
and closer as her
‘lover’s&rsqu
o; ship is rebuilt over
and over again. Movement
III is gentler in tone, a
song for the Woman and
her lover - depicted as a
couple rolling a giant
sun surrounded by farm
animals. Movement II
represents the enigmatic
Juggler or Calendar Man
who holds 29 spheres in
his hand - perhaps
juggling the fate of The
Grieving Woman.
Double bass SKU: BA.BA10418-85 Composed by Antonin Dvorak. Edited by Jona...(+)
Double bass
SKU:
BA.BA10418-85
Composed by Antonin
Dvorak. Edited by
Jonathan Del Mar. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. Opus
88. 12 pages.
Baerenreiter Verlag
#BA10418_85. Published by
Baerenreiter Verlag
(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
composerâ€â„Â
¢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
Messa da Requiem Contre Basse - Intermédiaire/avancé Barenreiter
Double bass - Level 4 SKU: BA.BA07590-85 Composed by Giuseppe Verdi. Edit...(+)
Double bass - Level 4
SKU: BA.BA07590-85
Composed by Giuseppe
Verdi. Edited by Marco
Uvietta. This edition:
urtext edition. Stapled.
Barenreiter Urtext.
Single part. 20 pages.
Baerenreiter Verlag
#BA07590_85. Published by
Baerenreiter Verlag
(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.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„Â
¢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
Double bass SKU: M7.VHR-3903 Composed by Simone Drebenstedt. Sheet music....(+)
Double bass
SKU:
M7.VHR-3903
Composed
by Simone Drebenstedt.
Sheet music. Student's
edition. 172 pages.
Holzschuh Musikverlag
#VHR 3903. Published by
Holzschuh Musikverlag
(M7.VHR-3903).
ISBN
9783940069818.
Das
neue Schulwerk verbindet
Lieder und Aufgaben in
sehr übersichtlicher
Form. Viele Liedbeispiele
und Liedbegleitungen mit
Texten zum Singen
erleichtern den
Schülern den Zugang
zur Musik. Alle Seiten
dieses Unterrichtswerkes
sind gleich aufgebaut.
Das übersichtliche
Layout erleichtert
Lehrern und Schülern
die Orientierung. Der
Umfang des Materials ist
auf zwei Unterrichtsjahre
ausgerichtet.
(A book of orchestral excerpts). By Keith Hartley. For Double bass technique boo...(+)
(A book of orchestral
excerpts). By Keith
Hartley. For Double bass
technique book. Double
Bass. Double Bass Solo.
Double bass solos. Method
book. 32 pages
For Double Bass. Includes newly engraved solo charts printed on acid-free, ivory...(+)
For Double Bass. Includes
newly engraved solo
charts printed on
acid-free, ivory paper;
and two compact discs
featuring complete
versions of each tune,
plus a recording of the
accompaniments minus the
soloist. Also includes
slow-tempo versions of
most up-tempo pieces for
practice purposes.
Published by Music Minus
One.