Double Bass Solo 2 by Keith Hartley. For Double bass solo. Double Bass. Double B...(+)
Double Bass Solo 2 by
Keith Hartley. For Double
bass solo. Double Bass.
Double Bass Solo. Double
bass solos. 40 pages.
Published by Oxford
University Press
(Volume 1: Nos. 1-3) Composed by Johann Sebastian Bach (1685-1750), edited by H....(+)
(Volume 1: Nos. 1-3)
Composed by Johann
Sebastian Bach
(1685-1750), edited by H.
Samuel Sterling. BWV
1007-1009. For double
bass. Format: double bass
solo book. Baroque. 20
pages. 9x12 inches.
Published by C.F. Peters.
Composed by J. Peter Close; Holger Sassmannshaus. Stapled. Barenreiter's Sassman...(+)
Composed by J. Peter
Close; Holger
Sassmannshaus. Stapled.
Barenreiter's
Sassmannshaus.
Instructional.
Performance score. 72
pages. Published by
Baerenreiter Verlag
(BA.BA9660).
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
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
Composed by John Cage (1912-1992). For contra bass. Format: performance part. Wi...(+)
Composed by John Cage
(1912-1992). For contra
bass. Format: performance
part. With standard
notation. 20th century.
Composed 1983-1985. 9x12
inches. Published by C.F.
Peters.
With CDs of Performances and Accompaniments. Edited by Catherine Elliott. Bo...(+)
With CDs of Performances
and
Accompaniments. Edited by
Catherine Elliott. Boosey
&
Hawkes Chamber Music.
Classical. Softcover with
CD.
60 pages. Boosey &
Hawkes
#M060132261. Published by
Boosey & Hawkes
By Rebecca Saunders. For 2 double basses. For two double basses with five string...(+)
By Rebecca Saunders. For
2 double basses. For two
double basses with five
strings (printed in score
format on single sheets,
11.5 x 16.25 ). Modern.
Duration circa 8.5
minutes
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.
By Christoph Wolff. For contrabass. This edition: Photoprint Edition. Photoprint...(+)
By Christoph Wolff. For
contrabass. This edition:
Photoprint Edition.
Photoprint editions are
made to order. Printed on
high quality paper and
cover stock, they are
made on a Canon digital
printer from clean
digital masters. Most of
the photoprint editions
are saddle stitched, but
larger books have wire
spiral binding. Published
by C.F. Peters.
By Christoph Wolff. For contrabass. This edition: Photoprint Edition. Photoprint...(+)
By Christoph Wolff. For
contrabass. This edition:
Photoprint Edition.
Photoprint editions are
made to order. Printed on
high quality paper and
cover stock, they are
made on a Canon digital
printer from clean
digital masters. Most of
the photoprint editions
are saddle stitched, but
larger books have wire
spiral binding. Duration
ca.9'. Published by C.F.
Peters.
By John Cage (1912-1992). Contemporary Large Ensemble/Orchestra. For contrabass....(+)
By John Cage (1912-1992).
Contemporary Large
Ensemble/Orchestra. For
contrabass. Modern.
Double bass 3 part.
Composed Composed: 1961.
Published by Edition
Peters
Double Bass SKU: HL.51483307 For String Orchestra Double Bass Part...(+)
Double Bass
SKU:
HL.51483307
For
String Orchestra Double
Bass Part. Composed
by Antonin Dvorá,
Antonin Dvorak, and k.
Edited by Peter Jost.
Henle Music Folios.
Classical. Softcover. 12
pages. G. Henle #HN3307.
Published by G. Henle
(HL.51483307).
UPC:
196288206828.
9.25x12.0x0.062
inches.
The
serenade flourished in
Mozart's era, but with
Brahms the genre
experienced a new surge
in popularity in the 19th
century. Dvorák's
cheerful and relaxed op.
22 came into being in
1875, during a very happy
time for him both
professionally and
privately. Heput his
personal stamp on the
five-movement composition
by incorporating stylized
Slavonic dances. The
spirited finale
captivates by restating
themes from the previous
movements. Since its
premiere in 1876 the
work, with its melodic
richness and particular
harmonic modulations, has
enjoyed great acclaim
from audiences and
critics alike. Today it
is among Dvorák's most
popular and most
frequently performed
compositions. As well as
the autograph and printed
editions, the composer's
copy of the printed score
with autograph
corrections and additions
has been consulted for
Henle's Urtext
edition.
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)
By Francois Couperin (1668-1733) and Peter Ilyich Tchaikovsky (1840-1893). Arran...(+)
By Francois Couperin
(1668-1733) and Peter
Ilyich Tchaikovsky
(1840-1893). Arranged by
Diana Steiner. For Bass.
Bowed String Students,
Solo & Orchestra.
Simplified classics.
Classical. 1st position.
Part
(contrabass). By Ludwig van Beethoven (1770-1827). Edited by Peter Hauschild. Fo...(+)
(contrabass). By Ludwig
van Beethoven
(1770-1827). Edited by
Peter Hauschild. For
orchestra (contrabass).
This edition: Urtext.
Orchester-Bibliothek
(Orchestral Library).
Individual part. 20
pages. Published by
Breitkopf and Haertel