Par SCHUBERT FRANZ. Octet in F major Op. post. 166 D 803 for Clarinet (in B-flat), Bassoon, Horn, Violin (2), Viola, Violincello, Double Bass “I have done little new by way of lieder. In compensation I have tried my hand at several instrumental things, for I have composed two quartets for Violins, Viola and Violincello [A minor, D 804; D minor, D 810] and an octet [F major, D 803] and will write yet another quartet [not carried out]. Indeed, in this way I hope to prepare the way to the full-scale symphony. The latest news in Vienna is that Beethoven will give a concert [on 7 May 1824] . . . I too am inclined to give a similar concert next Year, God willing. ” Thus Schubert, writing on 31 March 1824 to his friend Leopold Kupelwieser in Rome, in a lengthy letter whose first section is decidedly low-spirited. In order to prepare the way to the full-scale symphony – by which he doubtless meant the genre as a whole rather than any specific work – he wrote string quartets and a large-scale piece of chamber music for strings and winds, taking Beethoven as his guide. Urtext of the New Schubert Edition Parts (BA5617) and study score format 22. 5 x 16. 5cm (TP302) available for sale/ Répertoire / Clarinette, Basson, Cor, 2 Violons, Viole, Violonc

Par WOLFF CHRISTIAN. Violin and Double bass -/ Répertoire / Violon et Instruments Divers

Dvorák's 'String Quintet in G major? op. 77, had five movements when it was premiered on 18 March 1876. Its second movement was the 'Intermezzo? from his 'String Quartet in E minor? (1870). Later Dvorák removed this movement from the quintet, expanded it, and published it as a separate 'Notturno? for string orchestra op. 40. The 'Intermezzo? is included in its original version in the appendix of the score.This edition is based on the 'Complete Edition of the Works of Antonín Dvorák?, the principal source being the first edition of 1888, for which Dvorák subjected the work to revision.- Dvorák's famous quintet with double bass- New detailed foreword by Dvorák scholar David Beveridge (Eng/Cz/Ger)- Musical text based on the 'Complete Edition of the Works of Antonín Dvorák? (series IV, vol. 8) / Quatuor A Cordes

The long awaited Sassmannshaus method ?Early Start on the Double Bass? is now here. At last students of the largest instrument in the string family can make use of this tried and tested method for beginners, developed by Egon Sassmannshaus for the other string instruments and applied here to the double bass by Holger Sassmannshaus and J. Peter Close. This method will meet the needs of the growing number of young bass students.?Early Start on the Double Bass? encompasses everything that one would expect from a Sassmannshaus method: an easy start, progression at a suitable rate, many cross-references to the other string instruments, songs and scales in different positions from early on, as well as many duets. Lively and colourful illustrations by Charlotte Panowsky complete the edition.For more than three decades ?The Sassmannshaus Tradition? has been the household name for excellence in beginner string methods in German-speaking countries. The English editions for violin, viola and violoncello, which were introduced to the international market in 2008, have proven to be very successful, particularly in the United States.Kids to the Bass!While children learning other string instruments can start as early as the age of four, the appropriate age to begin the double bass is approximately eight (possibly even six); this allows for a faster progression than on the other string instruments, and the method consists of only three volumes. The first volume will be published separately in an English and a German edition; the following two volumes will have German and English text in each book. Original compositions by Boguslaw Furtok enrich the volumes.- Based on the tried-and-tested Sassmannshaus methods for violin, viola and cello- Volume 1: Separate editions in German and English- Volumes 2 and 3: Bilingual, German/English editions- Moderate increase in difficulty- Position playing, duets- Includes new original compositions to B. Furtok- Volume 3 with piano accompaniments to 7 piecesThe authorsHolger Sassmannshaus is a double bass player with the Niederrheinische Sinfoniker in Mönchengladbach/Krefeld. He also teaches the double bass and performs with several other ensembles.J. Peter Close is a teacher for violoncello and double bass in Munich.

Par SCHWEITZER BENJAMIN. 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 / Date parution : 2007-11-20/ Répertoire / Hautbois, Basson et Piano

Par TUEUER ERKKI-SVEN. Violon. Contrebasse - Durée: 10 min / Contemporain / Répertoire / Violon et Instruments Divers

Par REIZENSTEIN FRANZ. Flute, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, Double Bass. Reizenstein, F/ Répertoire / Flûte Traversière, 2 Hautbois, 2 Clarinettes, 2 Co

22 Pieces For Flexible String Ensemble. 21 easy, characterful ensemble pieces, plus fun warm ups Flexible scoring for violin, viola, cello, and double bass with piano or CD accompaniment - from duets in any combination to large ensembles The level approximately corresponds to the Starters books for violin, viola, and cello - some parts use open strings only, some use open strings and first fingers, and some use all fingers, catering for groups of mixed ability Pupil books for violin, viola, cello, and double bass with lively illustrations Teacher's book with score, including piano part, and a CD with performances and backing tracks for all pieces / Niveau : Facile / Recueil / Violon

for Electric Guitar, Viola, Cllo and Double Bass / electric guitar, viola, cello and double bass

Masterworks for Violin Series for Violin and Piano. Par PAGANINI NICCOLO. Contains La Campanella, Op.7 and Moto Perpetuo, Op.11. Niccolò Paganini gave the premiere performance of his Second Violin Concerto at La Scala in Milan, 1827. The success of the performance was such that the last movement of the concerto was repeated. The subtitle of this movement is \'La Campanella\' (The little bell) because of the sound the harmonics in this work produce. Paganini known for his pyrotechnics uses double harmonics and left hand pizzicato lavishly in this movement. Moto Perpetuo is one of Paganini\'s most popular works. Dozens of transcriptions exist for a variety of instruments, from marimba to double bass, as well as for orchestra, where all first violins play the solo part. The 3,032 sixteenth notes in this four-minute composition require formidable skill and endurance from the performer. / Date parution : 2022-01-14/ Recueil / Violin et Piano

Par SYDEMAN WILLIAM. Clarinet (and Bass Clarinet) and Double Bass - / Contemporain / Répertoire / Clarinettes et Autres Instruments

Par WILSON MARK / WOOD PAUL. StringTastic Beginners is the first in a fun new series designed to teach through playing, for violin, viola, cello and double bass, fully integrated so that all instruments can play and learn together. Each book contains over 40 imaginative pieces to steadily establish a secure playing technique and build confidence, from complete beginner to Initial Grade level. As well as being a fully integrated series, the first 20 tunes are presented as duets to accommodate multiple stages of progress, ideal for individual tuition as well as group and classroom settings. Every piece is supported by an exciting backing track to transport you into its unique sound world, in addition to piano-only audio for practice. Plus, the teacher?s book provides the complete piano accompaniments which work with any combination of instrumental parts. / Date parution : 2021-12-09/ Recueil / Violon

Par FRANCES-HOAD CHERYL. Commissioned by Fenella Humphreys with funding from The Marchus Trust First performed by Fenella Humphreys (violin), Ben Griffiths (double bass), Murray Grainger (accordion) and George Barton (percussion) at the Chiltern Arts Festival in September 2020. / Date parution : 2022-09-07/ Répertoire / Violon, Contrebasse, Accordéon et Percussion

Designed to give a good part to the Double Bass, but can be played by a second cello. / Ensemble A Cordes