By Chuck Sher . For Bass. A complete method book, over 200 pages, filled with in...(+)
By Chuck Sher . For Bass.
A complete method book,
over 200 pages, filled
with information and
exercises on all aspects
of bass playing, for both
acoustic and electric
bass. Method. Published
by Sher Music Company.
(A Comprehensive String Method) Written by Brenda Mitchell, Joanne Erwin, Kathle...(+)
(A Comprehensive String
Method) Written by Brenda
Mitchell, Joanne Erwin,
Kathleen Horvath, Robert
D McCashin. Instructional
book and accompaniment CD
for double bass. Series:
New Directions for
Strings. 56 pages.
Published by The FJH
Music Company Inc.
Double Bass SKU: BT.YE0007 Yorke Edition. Composed by F. Baines. B...(+)
Double Bass
SKU:
BT.YE0007
Yorke
Edition. Composed by
F. Baines. Book Only.
Yorke Edition #YE0007.
Published by Yorke
Edition (BT.YE0007).
Born in Oxford
in 1917, Francis Baines
was a well-known and much
respected professional
double bass player. He
studied at the Royal
College of Music in
London with Claude
Hobday, where he later
taught. Something of an
eccentric,he immersed
himself in early music at
a time when few people
were taking it seriously.
He owned a beautiful
Amati bass that he had
restored as a violone,
which it probably was
originally, and he was a
regular fixture as
aprincipal player in a
number of orchestras and
ensembles that dedicated
themselves to period
performing, including
those directed by Denys
Darlow, with whom he
broadcast and recorded
frequently.
Besi
des playing
thedoublebass, Francis
Baines was an exponent of
the treble viol and led
the Jaye Consort of Viols
which he founded. He also
played several kinds of
bagpipe and the
hurdy-gurdy. As a
composer he dabbled in
many styles, one of
hisgreatest claims to
fame being that of
writing for the popular
Hoffnung concerts in the
1960s.
He was
the author of a number of
papers about the history
of the double bass,
sometimes arriving at
scholarly conclusionsthat
were colourful, if not
always entirely accurate.
He discovered the
Giovannino del Violone
sonatas, subsequently
published by Yorke
Edition, although today
it is thought that they
were probably not written
for a 16' pitchinstrument
at all. His edition of
the Capuzzi double bass
concerto, published by
Boosey & Hawkes, was for
many years one of the few
solo works available for
the instrument. This,
however, he largely
re-composed because
hethought it could be
improved: towards the end
of his life he confessed
that with hindsight he
probably should have
treated it
differently.
Gro
unds was written in 1969
as a sort of party piece
and was given to
YorkeEdition in support
of a drive to enlarge the
repertoire for the
instrument in a wide
variety of styles. It was
set on the syllabus of
the Associated Board of
the Royal Schools of
Music for many
years.
Double bass SKU: BA.BA07896-85 Composed by Camille Saint-Saens. Edited by...(+)
Double bass
SKU:
BA.BA07896-85
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. Opus
78. 15 pages.
Baerenreiter Verlag
#BA07896_85. Published by
Baerenreiter Verlag
(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).
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: 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
