By J. Peter Close / Holger Sassmannshaus. For contrabass. This edition: Stapled....(+)
By J. Peter Close /
Holger Sassmannshaus. For
contrabass. This edition:
Stapled. Barenreiter's
Sassmannshaus.
Instructional Method.
Performance score,
Teaching material. Text
Language: English/German.
72 pages. Published by
Baerenreiter Verlag
Oboe, bassoon and piano - difficult SKU: HL.49016219 Composed by Benjamin...(+)
Oboe, bassoon and piano -
difficult
SKU:
HL.49016219
Composed
by Benjamin Schweitzer.
This edition: Saddle
stitching. Sheet music.
Misc. Score (also
performance score).
Composed 2006. 73 pages.
Duration 10'. Schott
Music #ED 20121.
Published by Schott Music
(HL.49016219).
ISBN
9790001146449. UPC:
884088202538.
9.0x12.0x0.195
inches.
The
chiaroscuro-technique
developed by painters of
the Italian renaissance
served to intensify
contrasts and effects of
optical depth. In
Klar/Obskur, I tried to
transfer the general idea
of this technique on the
rather unusual
instrumentation of two
double-reed woodwinds and
piano. On the one hand, a
clear, well articulated
playing is characteristic
for these instruments, on
the other hand, they have
an often underestimated
potential of 'twilight':
air-sounds and fragile,
shady colours have a
especially attractive
when being produced by
double-reed instruments
(which are often, and
superficially regarded as
being less capable of
differentiated sounds
than flute or clarinet).
The piano, too, has a
broad bandwidth of
possibilities between
percussive and delicate
playing to complement the
woodwinds which, in
return, can absorb and
continue the fading piano
sounds.The beginning
introduces the two
contrasting elements that
form the basic material
for the piece: a clear,
sharp chord, followed by
fragile, dim sounds. The
changes between these
elements as well as their
combination and
amalgamation produce an
enormous spectrum of
colours and gesture.
After this 'motto-like'
opening follow four quite
clearly separated short
sections, each of them
being characterised by a
well-defined texture: a
partly almost
imperceptible air-sound
passage, a short sequence
of microintervallic
notes, a burst of
virtuosity and a recourse
to the fragile sounds of
the beginning.The second,
longer main part consists
of three sections merging
subtly into each other: a
short unisono-passage,
marked elastic [federnd],
is being dissolved into
its basic elements; from
these remainders, a
confrontation of low,
'arcane' bassoon and
piano sounds and a
strongly ornamented
melodic line of the oboe
emerges, leading to a
short but powerful
climax. The piece is
concluded by an extended,
relaxed epilogue,
containing a short piano
solo and a duet of oboe
and bassoon and, finally,
a quotation of the
'elastic' character of
the middle
section.Benjamin
Schweitzer.
(For Strings - Bass Book). By Larry Clark. Arranged by Doris Gazda Larry Clark. ...(+)
(For Strings - Bass
Book). By Larry Clark.
Arranged by Doris Gazda
Larry Clark. For 2
Basses, Compatible with
Bf50, Bf51, Bf52. 32
pages. Published by Carl
Fischer
Arranged by Deborah Greenblatt. Bass Duet. For 2 double basses. Tunes for Two. C...(+)
Arranged by Deborah
Greenblatt. Bass Duet.
For 2 double basses.
Tunes for Two. Classical.
Tune book. Standard
Notation. 68 pages.
Published by Greenblatt
and Seay
Arranged by Deborah Greenblatt. Bass Duet. For 2 double basses. Tunes for Two. C...(+)
Arranged by Deborah
Greenblatt. Bass Duet.
For 2 double basses.
Tunes for Two. Classical.
Tune book. Standard
Notation. 66 pages.
Published by Greenblatt
and Seay
By J. Peter Close / Holger Sassmannshaus. For contrabass. This edition: Stapled....(+)
By J. Peter Close /
Holger Sassmannshaus. For
contrabass. This edition:
Stapled. Barenreiter's
Sassmannshaus.
Instructional Method.
Performance score,
Teaching material. Text
Language: English. 72
pages. Published by
Baerenreiter Verlag
(Foreword and Additional Editing by Joel Dibartolo). By Domenico Dragonetti Anto...(+)
(Foreword and Additional
Editing by Joel
Dibartolo). By Domenico
Dragonetti Antonio
Vivaldi. Edited by George
Vance, Joel Dibartolo,
Larry Clark, Nicholas
Hopkins. For String Bass,
String Bass and Piano.
Book. 60 pages. Published
by Carl Fischer
(Very First Solos for Double Bass with Piano Accompaniment). Edited by Tony Osbo...(+)
(Very First Solos for
Double Bass with Piano
Accompaniment). Edited by
Tony Osborne. For String
Bass and Piano. Book;
Method/Instruction;
String - Bass Studies or
Collection. Faber
Edition. Elementary. 32
pages. Published by Faber
Music
Bass - Grade Elementary SKU: AP.12-0571543030 The Fully Integrated Str...(+)
Bass - Grade Elementary
SKU:
AP.12-0571543030
The Fully Integrated
String Series with Over
60 Fun Pieces Ideal for
Individual and Group
Teaching. Composed by
Mark Wilson and Paul
Wood. Method/Instruction;
String Series.
Stringtastic. Book and
Digital Download. 104
pages. Faber Music
#12-0571543030. Published
by Faber Music
(AP.12-0571543030).
ISBN 9780571543038.
English.
Stringtast
ic Book 2: Double Bass
teaches through playing
in an engaging
exploration of musical
styles. Part of the fully
integrated Stringtastic
series in which violin,
viola, cello, and double
bass can all learn and
play together in any
combination.
Learn as you play
through the world of
Stringtastic, with 62
imaginative pieces that
have been specifically
designed to establish a
secure playing technique
and build confidence one
step at a time. Following
on from Stringtastic Book
1, this book takes the
student from Grade 1
(Early Elementary) to
Grade 2 (Elementary)
level. Featuring
equal-level duets for all
instruments, the pieces
are ideal for individual
and group tuition as well
as flexible ensemble and
classroom settings.
Every piece is
supported by an exciting
backing track plus a
piano-only track for
practice---all available
to download. The
Stringtastic Book 2:
Teacher's Accompaniment
book provides the
complete piano score
which works with any
combination of the
instrumental parts.
Mark Wilson and
Paul Wood have developed
an engaging and
accessible new series of
string-playing method
books⦠The
presentation will appeal
to young learners, and
the careful,
well-conceived pedagogy
will thrill their
teachers! Furthermore,
the Stringtastic
integrated approach gives
proper deference to the
social aspect of
music-making by allowing
violinists, violists,
cellists, and bassists to
play together from the
start. I look forward to
sharing this method with
my young students and
colleagues in early music
education.
-- Dr.
Mark Elliot Bergman,
Director of Strings and
Orchestral Studies,
Sheridan College.
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann.
The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Arranged by Deborah Greenblatt. Bass Duet. For 2 double basses. Tunes for Two. C...(+)
Arranged by Deborah
Greenblatt. Bass Duet.
For 2 double basses.
Tunes for Two. Classical.
Tune book. Standard
Notation. 68 pages.
Published by Greenblatt &
Seay
Melodies for Beginners Volume 2 2 Contrebasses (duo) [Conducteur et Parties séparées] - Débutant Editions Marc Reift (Swiss import)
2 Contrabass & Piano or CD Play Back / Play Along - Grade 1 SKU: MA.EMR-47470...(+)
2 Contrabass & Piano or
CD Play Back / Play Along
- Grade 1
SKU:
MA.EMR-47470
Melodies pour
Debutants / Melodien fur
Anfanger. Composed by
Bertrand Moren. Score and
parts. Duration 18'03.
Editions Marc Reift #EMR
47470. Published by
Editions Marc Reift
(MA.EMR-47470).
Scotland /
Fleas Jumping / There Is
A Green Hill Far Away /
Cadet Rousselle /
Dangerous Liaisons /
Sadness / Toys'
Procession / Home On The
Range / The Blue Danube /
Can-Can / Farther and
Farther / Going Up / The
King of Sliding / Swanee
River...
(Cello/Bass). Arranged by Michael Story and Michael Story. For Cello/Bass. Duet ...(+)
(Cello/Bass). Arranged by
Michael Story and Michael
Story. For Cello/Bass.
Duet or Duo; Mixed
Instruments - Flexible
Instrumentation.
Instrumental Ensembles
for All. Movie. Book. 24
pages
Double Bass and Piano - Intermediate-Advanced SKU: FP.FDW03 Composed by C...(+)
Double Bass and Piano -
Intermediate-Advanced
SKU: FP.FDW03
Composed by Charles
Francois Gounod. Arranged
by Andrew Wilson-Dickson.
Sheet Music and Books.
AÂ striking arrangement
of the Gounod favourite,
arranged for Double Bass
and Piano by A.
Wilson-Dickson. Suggested
grade 5. Classical.
Collection. Forsyths
Publications #FDW03.
Published by Forsyths
Publications (FP.FDW03).
ISBN
9790570500789.
Goun
od's classic piece,
arranged for double bass,
with piano
accompaniment.
The
music in the beginning
tells the listener that
two of the members of the
Marionette troupe have
had a duel and one of
them has been killed. A
party of pallbearers is
organised and the
procession sets out for
the cemetery in march
time.
The piece
soon takes on a more
cheerful spirit, for some
of the troupe, wearied
with the march, seek
consolation at a wayside
inn, where they refresh
themselves and also
descant upon the many
virtues of their late
companion. At last they
get into place again and
the procession enters the
cemetery to the march
rhythm -- the whole
closing with the bars
intended to reflect upon
the briefness and
weariness of life, even
for marionettes.
Violin Duet SKU: BT.EMBZ8507 By Arpad Pejtsik. By Antonio Vivaldi. EMB Ea...(+)
Violin Duet
SKU:
BT.EMBZ8507
By Arpad
Pejtsik. By Antonio
Vivaldi. EMB Early
Chamber Music. Book Only.
Composed 1980. 40 pages.
Editio Musica Budapest
#EMBZ8507. Published by
Editio Musica Budapest
(BT.EMBZ8507).
English-German-Hungari
an.
As far as we
know Vivaldi wrote twenty
trio sonatas. Several of
these works are actually
for two parts, as the
continuo merely doubles
one of the two solo
instruments. In the
titles of four of these
trio sonatas ('Suonata da
camera, a 2 violini anco
senza basso se piace',
meaning if desired the
sonata can be played
without the bass part)
Vivaldi himself gave his
approval to the omission
of the third instrument.
In the light of this, the
present publication gives
the four works in the
form of violin duos.We
recommend these
three-movement sonatas,
in a fast-slow-fast
format, for violinists
who are already advanced
in their studies. 1.
Sonata RV 702. Sonata RV
713. SonataRV 684. Sonata
RV 77.
(Easy Piano Accompaniment, Features 1/2, I, II, Ii1/2, III, Iii1/2, IV, V, V1/2 ...(+)
(Easy Piano
Accompaniment, Features
1/2, I, II, Ii1/2, III,
Iii1/2, IV, V, V1/2 and
VI Positions). By Johann
Sebastian Bach Woody
Guthrie. Arranged by
Janice Tucker Rhoda. For
Piano, Contrabass. This
edition: Book 2. EASY.
Solo part with piano
reduction. Standard
notation. 64 pages
For Cello and Double Bass. Composed by Jean-Baptiste Breval. Edited by Tabea ...(+)
For Cello and Double
Bass.
Composed by Jean-Baptiste
Breval. Edited by Tabea
Umbreit. Henle Music
Folios.
Softcover. 24 pages. G.
Henle
#HN1480. Published by G.
Henle
Double Bass; Piano Accompaniment - easy to intermediate SKU: HL.49019606 ...(+)
Double Bass; Piano
Accompaniment - easy to
intermediate
SKU:
HL.49019606
Double
Bass and Piano.
Composed by Peter
Wittrich. This edition:
Saddle stitching. Sheet
music. String.
Kontrabass-Geschichten
fur Kontrabass und
Klavier. Classical,
Contemporary. Softcover.
Composed 2004. 64 pages.
Schott Music #KBB16.
Published by Schott Music
(HL.49019606).
ISBN
9790001187176.
Teac
hers again and again ask
for easy-to-play double
bass music suitable for
lessons or the
competition 'Jugend
musiziert'. The composer
Peter Wittrich from
Munich has undertaken
this task and composed a
varied cycle of seven
easy pieces for double
bass and piano. All
pieces have been tried
and tested in double bass
lessons and are well
positioned on the
instrument. Some can even
be played in the first
position. The collection
covers various styles,
including blues, tango
and classical. The piano
part is more demanding so
that the demands made on
the ensemble playing are
somewhat higher. An
interesting addition to
the repertoire for
lessons and concerts.
Contents: Giovannino
discovers the Blues
• Gostly Cadenza
• Walking Bass with
Johann Sebastian Bach
• Salute to Vienna
with a kiss on the hand
for Elise • Danse
grotesque • Drei
Chinesen mit dem
Kontrabass (Theme and
Variations) • Basso
doble.
for Violoncello and Continuo or Two Violoncellos. By Various. Arranged by Pejtsi...(+)
for Violoncello and
Continuo or Two
Violoncellos. By Various.
Arranged by Pejtsik,
Vigh. EMB. Size 9x12
inches. 19 pages.
Published by Editio
Musica Budapest.