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.
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.
Composed by Annette Costanzi, George Vance. Instructional book and accompaniment...(+)
Composed by Annette
Costanzi, George Vance.
Instructional book and
accompaniment CD for
String bass (Double
Bass). With bowings and
fingerings. 37 pages.
Published by Carl
Fischer.
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 Chuck Sher and Marc Johnson. For Bass. The only book ever published specifica...(+)
By Chuck Sher and Marc
Johnson. For Bass. The
only book ever published
specifically designed to
improve your soloing!.
Book and 2 CD's.
Published by Sher Music
Company.
Double bass SKU: BA.BA08841-85 Composed by Claude Debussy. Edited by Doug...(+)
Double bass
SKU:
BA.BA08841-85
Composed by Claude
Debussy. Edited by
Douglas Woodfull-Harris.
This edition: urtext
edition. Folded.
Barenreiter Urtext.
Single part. 3 pages.
Duration 10 minutes.
Baerenreiter Verlag
#BA08841_85. Published by
Baerenreiter Verlag
(BA.BA08841-85).
ISBN
9790006541256. 32.5 x
25.5 cm
inches.
Prelude a
l'apres-midi d'un faune,
often referred to as the
first composition of the
modern era, is one of
Debussy's most popular
and frequently performed
orchestral works. The
piece comes down to us in
an array of sources, and
several important ones
are drawn upon for the
first time in
Baerenreiter's new
scholarly-critical
edition. Most of the
currently available
editions are based on the
first edition from 1895
which, however, contains
many engraver errors.
When the corresponding
orchestral parts are also
taken into consideration,
countless discrepancies
are
revealed.
Baerenreiter
's Urtext edition
incorporates readings of
a printed copy of the
score from c. 1908 which
shows corrections and
emendations by the
composer. These important
changes, found in no
other source, include
metronome markings,
different pitches and
additional notes, as well
as added tempo and
articulation markings,
which all subtly enhance
Debussy's finely sculpted
work. There is even a
breath mark added to the
famous solo flute passage
which opens the
work.* Scholarly
critical edition with
many corrections in the
score and orchestral
parts * Clear
presentation of
orchestral parts in an
enlarged format.
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
(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 - Level 1 SKU: HF.FH-3356 Pieces for little ones from the ...(+)
Double bass - Level 1
SKU: HF.FH-3356
Pieces for little ones
from the age of five
up. Composed by Claus
Freudenstein. Sheet
music. 20 pages.
Friedrich Hofmeister
Musikverlag #FH 3356.
Published by Friedrich
Hofmeister Musikverlag
(HF.FH-3356).
ISBN
9790203433569. 9 x 12
inches.
1. Big
Smile; 2. Tatu tata, the
firefighters; 3. Dear
Mama; 4. A green old
dragon sneers; 5. Brother
John; 6. Come with me to
New York City (version
a); 7. Three Chinese with
a doublebass; 8. The
Bi-Ba-Boogeyman; 9. Buzz,
Buzz, Buzz; 10. Hansel
and Gretel; 11. Fox, you
stole my goosey gander;
12. Do you know, how many
stars there be? (Melodie:
Westfalen, Text: W. Hey);
13. On the wall, on the
lookout; 14. Come with me
to New York City (version
b); 15. Just look there
the frog is sick; 16. My
coloured minibass; 17.
Witching hour; 18. Bass
Knights; 19. Hey! Hey!
Let's start!
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.
(Developing the Stroke Systematically through a Variety of Exercises and Etudes)...(+)
(Developing the Stroke
Systematically through a
Variety of Exercises and
Etudes). Edited by Gaelen
McCormick. For contrabass
unaccompanied. 72 pages.
Published by Carl Fischer
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
Double bass SKU: BA.BA09079-85 Composed by Felix Bartholdy Mendelssohn. E...(+)
Double bass
SKU:
BA.BA09079-85
Composed by Felix
Bartholdy Mendelssohn.
Edited by John Michael
Cooper. This edition:
urtext edition. Stapled.
Barenreiter Urtext.
Single part. Opus 31, MWV
A 9. 7 pages.
Baerenreiter Verlag
#BA09079_85. Published by
Baerenreiter Verlag
(BA.BA09079-85).
ISBN
9790006531431. 32.5 x
25.5 cm inches. Text:
Felix Mendelssohn
Bartholdy.
Latin
text from the Vulgate
(Psalm 113). German text
by Felix Mendelssohn
Bartholdy after Psalm 115
from the Lutheran
Bible.
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
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
(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
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.
(Bass Part). Composed by Dr. Shinichi Suzuki. For Bass. This edition: Revised. B...(+)
(Bass Part). Composed by
Dr. Shinichi Suzuki. For
Bass. This edition:
Revised. Book; CD;
Method/Instruction;
String - Bass (Suzuki);
Suzuki. Suzuki Bass
School. 24 pages.
Published by Alfred Music
Double Bass Starter Contre Basse [Partition + CD] - Facile De Haske Publications
Double Bass - easy SKU: BT.DHP-1115113-400 22 Pieces in various styles...(+)
Double Bass - easy
SKU:
BT.DHP-1115113-400
22 Pieces in various
styles. Composed by
Ruud van der Meulen. Book
with CD. Composed 2011.
32 pages. De Haske
Publications #DHP
1115113-400. Published by
De Haske Publications
(BT.DHP-1115113-400).
ISBN 9789043139205.
9x12 inches.
English-German-French-Dut
ch.
In Double
Bass Starter you will
find a variety of tunes
for beginner double bass
players - young as well
as old. It is a fantastic
album, with a solid
methodical structure. A
range of styles is
featured, from classical
to jazz and pop. The
tunes can be picked or
bowed. The CD features
demo tracks together with
play-along tracks for
each piece.
In
Double Bass
Starter zijn
verschillende stukken
voor beginners op de
contrabas verzameld. Het
is zowel een geweldig
speelboek als een goed
doordachte aanvulling op
het gebruikelijke
lesmateriaal. Allerlei
stijlen passerende revue
- van klassiek tot pop.
Alle stukken kunnen zowel
pizzicato als con arco
worden
gespeeld.
In
Double Bass
Starter sind
vielfältige Stu?cke
fu?r Anfänger auf dem
Kontrabass versammelt. Es
ist zugleich ein
fantastisches Spielbuch
und sehr lehrreiches
Zusatzmaterial fu?r den
Unterricht mit einem
durchdachten methodischen
Aufbau. Allerlei Stile
kommen darin an die Reihe
- von Klassik u?ber Jazz
bis hin zu Pop. Alle
Stu?cke können sowohl
gezupft als auch
gestrichen werden.Die CD
bietet sowohl Demo- als
auch Play-Along Tracks
an.
In
Double Bass
Starter troverete una
variet di pezzi per
avviare i principianti
allo studio del
contrabbasso. Oltre al
materiale pedagogico
utile a supportare
l'insegnamento, vengono
anche trattati tutti i
generi musicali dalla
classica al jazz al
pop.
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
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