The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Double Bass. The Orchestra Musician's CD-ROM Library. CD-ROM only. 8 pages. Published by Hal Leonard.

Double bass

SKU: BR.OB-5509-27

Urtext. Composed by Carl Philipp Emanuel Bach. Edited by Ulrich Leisinger. This edition: double bass part. Stapled. Orchester-Bibliothek (Orchestral Library).

The concertos in A minor and B flat major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany.

Solo concerto; Early classical. Part. 8 pages. Duration 27'. Breitkopf and Haertel #OB 5509-27. Published by Breitkopf and Haertel (BR.OB-5509-27).

ISBN 9790004338506. 9 x 12 inches.

The concertos in A minor, B flat major and A major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany. The A minor Concerto, composed in 1750, is performed quite frequently today. C. P. E. Bach most likely wrote the Concerto in B flat major Wq. 171 as the last of the little work group in 1753 in Potsdam, at the court of King Frederick the Great. He reworked the composition for flute and harpsichord shortly thereafter. Various sources prove that copies of the work had made it known quite extensively in the second half of the 18th century. In his new Urtext edition, Ulrich Leisinger bases himself on two reliable manuscripts.

Composed by J. Peter Close; Holger Sassmannshaus. Stapled. Barenreiter's Sassmannshaus. Instructional. Performance score. 72 pages. Published by Baerenreiter Verlag (BA.BA9660).

For double bass. Intrumental Posters. Poster. Published by Santorella Publications

Double Bass

SKU: BA.BA08833-85

Composed by Ludwig van Beethoven. Edited by Helga Lühning. This edition: urtext edition. Stapled. Single part. Composed 1806. No. 3. 7 pages. Baerenreiter Verlag #BA08833_85. Published by Baerenreiter Verlag (BA.BA08833-85).

ISBN 9790006567584. 32.5 x 25.5 cm inches.

Sooner or later theRomantic Pieceswill pave their way through all the salons: thus the periodical Dalibor predicted when theRomantic Piecesop. 75 were first issued by the publisher Simrock in 1887. Since then they have become some of Dvorak's most popular works for violin and piano. Now they are being made available for violists also.

Bella and Semjon Kalinowsky have arranged the four pieces on the basis of theComplete Edition of the Works of Antonin Dvorak. The piano part of the original version remains, while the violin part has been adapted for viola; it has been transcribed into the alto clef and includes fingering and bowing marks.

With their entrancing melodies and poetry, these pieces pose few technical challenges and are thus easy to play.

By Frantisek Cerny. For double bass solo. Double bass. Czech title: Technicke studie pro kontrabas. Teaching Manuals. Teaching material. Publication language: Czech

Composed by Chris Tordini. Spiral bound. First Lessons. Method. Book online audio. 32 pages. Published by Mel Bay Publications, Inc

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.

15 Festive Solos in 25 Different Styles. Composed by Various. Edited by Diana Traietta. Solo Collection. Solo Styles. Book. Excelcia Music Publishing #SB2012. Published by Excelcia Music Publishing

Double bass

SKU: BR.OB-4947-27

Formerly ascribed to Richard Wagner. Composed by Heinrich Joseph Baermann. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Romantic period. Part. 4 pages. Duration 4'. Breitkopf and Haertel #OB 4947-27. Published by Breitkopf and Haertel (BR.OB-4947-27).

ISBN 9790004326213. 9 x 12 inches.

Double bass

SKU: BR.OB-4953-27

Composed by Jean Sibelius. Stapled. Orchester-Bibliothek (Orchestral Library).

Sibelius composed this short (only five minutes long) Romance in C Op. 42 in 1903; the work was first performed in Turku in March 1904. The Romance is not a concerto movement in disguise, but features the dark, dense string writing typical of Sibelius. Early modern; Late-romantic. Part. 4 pages. Duration 5'. Breitkopf and Haertel #OB 4953-27. Published by Breitkopf and Haertel (BR.OB-4953-27).

ISBN 9790004326503. 10 x 12.5 inches.

Sibelius composed this short (only five minutes long) Romance in C Op. 42 in 1903; the work was first performed in Turku in March 1904. The Romance is not a concerto movement in disguise, but features the dark, dense string writing typical of Sibelius.

Double bass

SKU: BR.OB-5167-27

Composed by Max Reger. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Romantic; Late-romantic. Part. 4 pages. Duration 5'. Breitkopf and Haertel #OB 5167-27. Published by Breitkopf and Haertel (BR.OB-5167-27).

ISBN 9790004329856. 10 x 12.5 inches.