Composed by Franz Joseph Haydn (1732-1809). Edited by Andreas Friesenhagen. This edition: urtext edition. Stapled. Urtext from: Joseph Haydn Werke, G. Henle Verlag Munchen. Single part. Hob. I:89. 7 pages. Duration 23 minutes. Baerenreiter Verlag #BA10979-85. Published by Baerenreiter Verlag (BA.BA10979-85).

Double bass

SKU: BA.BA10977-85

Composed by Franz Joseph Haydn. Edited by Andreas Friesenhagen. This edition: urtext edition. Stapled. Single part. Hob. I:92. 9 pages. Baerenreiter Verlag #BA10977_85. Published by Baerenreiter Verlag (BA.BA10977-85).

ISBN 9790006562534. 32.5 x 25.5 cm inches. Key: G major.

Urtext from the Henle Complete Edition of the Works of Joseph Haydn.

Double bass

SKU: BA.BA04694-85

Composed by Franz Joseph Haydn. Edited by Robert von Zahn. This edition: urtext edition. Stapled. Single part. Hob. I:97. 12 pages. Duration 28 minutes. Baerenreiter Verlag #BA04694_85. Published by Baerenreiter Verlag (BA.BA04694-85).

ISBN 9790006532124. 32.5 x 25.5 cm inches. Key: C major.

Urtext from the G. Henle Complete Edition of the Works of Joseph Haydn.

Double bass

SKU: BA.BA10978-85

Composed by Franz Joseph Haydn. Edited by Andreas Friesenhagen. This edition: urtext edition. Stapled. Urtext from: Henle Complete Edition of the Works of Joseph Haydn. Single part. Hob. I:91, No. 91. 11 pages. Duration 22 minutes. Baerenreiter Verlag #BA10978_85. Published by Baerenreiter Verlag (BA.BA10978-85).

ISBN 9790006559664. 32.5 x 25.5 cm inches. Key: E-flat major. Text Language: German, English.

Urtext from the Henle Complete Edition of the Works of Joseph Haydn.

Double bass

SKU: BA.BA10981-85

Composed by Franz Joseph Haydn. Edited by Andreas Friesenhagen. This edition: urtext edition. Stapled. Single part. Hob. I:90. 9 pages. Baerenreiter Verlag #BA10981_85. Published by Baerenreiter Verlag (BA.BA10981-85).

ISBN 9790006564897. 32.5 x 25.5 cm inches. Key: C major.

Urtext from the G. Henle Complete Edition of the Works of Joseph Haydn.

Double Bass

SKU: BA.BA10986-85

Composed by Franz Joseph Haydn. Edited by Sonja Gerlach and Sterling E. Murray. This edition: urtext edition. Stapled. Single part. Hob. I:77. 7 pages. Baerenreiter Verlag #BA10986_85. Published by Baerenreiter Verlag (BA.BA10986-85).

ISBN 9790006569335. 32.5 x 25.5 cm inches. Key: B-flat major.

Urtext from: Joseph Haydn Works, G. Henle Verlag Munich.

Double bass

SKU: BA.BA10987-85

Composed by Franz Joseph Haydn. Edited by Sonja Gerlach and Sterling E. Murray. This edition: urtext edition. Stapled. Single part. Hob. I:76. 7 pages. Baerenreiter Verlag #BA10987_85. Published by Baerenreiter Verlag (BA.BA10987-85).

ISBN 9790006569878. 32.5 x 25.5 cm inches. Key: E-flat major.

Urtext from: Joseph Haydn Works, G. Henle Verlag Munich.

Double bass

SKU: BA.BA10985-85

Composed by Franz Joseph Haydn. Edited by Sonja Gerlach and Sterling E. Murray. This edition: urtext edition. Stapled. Single part. Hob. I:78. 7 pages. Baerenreiter Verlag #BA10985_85. Published by Baerenreiter Verlag (BA.BA10985-85).

ISBN 9790006568901. 32.5 x 25.5 cm inches. Key: C minor.

Urtext from the G. Henle Complete Edition of the Works of Joseph Haydn.

Arranged by Deborah Greenblatt. Bass Duet. For 2 double basses. Tunes for Two. Folk. Songbook. Standard Notation. 59 pages

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.

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 Earl Gately. For Upright Bass. method. Bluegrass. Level: Beginning. Book. Size 8.75x11.75. 44 pages. Published by Mel Bay Publications, Inc.

Double bass

SKU: KU.OCT-10037_KB

Composed by Antonio Vivaldi. Edited by Melinda Berlász. Bach format (230 x 302). Rv 524, Pv 390, F. I/40, Ric. 107. Single Sheet. Part. 2 pages. Edition Kunzelmann #OCT-10037_KB. Published by Edition Kunzelmann (KU.OCT-10037_KB).

Key: Bb major.