The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Double Bass....(+)
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 Em...(+)
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.
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
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).
Double Bass SKU: BA.BA09099-85 Composed by Felix Bartholdy Mendelssohn. E...(+)
Double Bass
SKU:
BA.BA09099-85
Composed by Felix
Bartholdy Mendelssohn.
Edited by R. Larry Todd.
This edition: urtext
edition. Stapled.
Barenreiter Urtext.
Single part. Opus 64. 14
pages. Baerenreiter
Verlag #BA09099_85.
Published by Baerenreiter
Verlag (BA.BA09099-85).
ISBN 9790006565726.
32.5 x 25.5 cm inches.
Key: E
minor.
Replaces BA
9050-85.
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.BA08833-85 Composed by Ludwig van Beethoven. Edited b...(+)
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.
Double Bass SKU: BA.BA09092-85 A Symphony-Cantata after Texts from the...(+)
Double Bass
SKU:
BA.BA09092-85
A
Symphony-Cantata after
Texts from the Holy
Scriptures. Composed
by Felix Bartholdy
Mendelssohn. Edited by
John Michael Cooper. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. Opus
52, MWV A 18. 21 pages.
Baerenreiter Verlag
#BA09092_85. Published by
Baerenreiter Verlag
(BA.BA09092-85).
ISBN
9790006565856. 32.5 x
25.5 cm inches. Text:
Mendelssohn Bartholdy,
Felix (nach der
Luther-Bibel und Martin
Rinckart) / Monicke,
Charles Henry.
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
Messa da Requiem Contre Basse - Intermédiaire/avancé Barenreiter
Double bass - Level 4 SKU: BA.BA07590-85 Composed by Giuseppe Verdi. Edit...(+)
Double bass - Level 4
SKU: BA.BA07590-85
Composed by Giuseppe
Verdi. Edited by Marco
Uvietta. This edition:
urtext edition. Stapled.
Barenreiter Urtext.
Single part. 20 pages.
Baerenreiter Verlag
#BA07590_85. Published by
Baerenreiter Verlag
(BA.BA07590-85).
ISBN
9790006541652. 32.5 x
25.5 cm inches. Preface:
Marco Uvietta.
For
this scholarly-critical
edition, the editor has
consulted no less than 16
sources, many more than
were ever used for any
other edition of the
Requiem; some of these
sources were never
evaluated before and one
source, a hand-written
vocal score, particularly
relevant to the
evaluation of the Liber
scriptus, was newly
discovered.
As
such, this edition offers
new philological and
editorial decisions
regarding phrasing,
articulation and dynamics
and succeeds in
presenting practical
suggestions to solve
musical problems and
those concerning the
interpretation of this
famous work.
This
edition comprises a
concise Critical
Commentary in the score
as well as a detailed one
on the Barenreiter
website. The most
important editions
published in the 19th
century are compared with
regard to musicological
questions in the work.
The genesis of some
misunderstandings
included in the 1913 and
1964 Ricordi editions is
traced. The first version
of the Liber scriptus for
chorus is included in the
appendix while the later
version for mezzosoprano
solo is to be found in
the main part of the
edition.
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
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.
Solo Styles for Christmas Contre Basse [Partition + Accès audio] - Facile Excelcia Music Publishing
15 Festive Solos in 25 Different Styles. Composed by Various. Edited by Diana...(+)
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 solo SKU: BR.EB-8814 Eine Schule fur Kinder und Jugendlich...(+)
Double bass solo
SKU:
BR.EB-8814
Eine
Schule fur Kinder und
Jugendliche. Composed
by Thomas Schlink.
Arranged by Thomas
Blomenkamp. Solo
instruments; Softbound.
Edition Breitkopf. We
didnt want to let all
those enthusiastic
double-bass students wait
too long for the second
book of Kontrabass! so
here it is! Music
pedagogy. Score. 124
pages. Breitkopf and
Haertel #EB 8814.
Published by Breitkopf
and Haertel (BR.EB-8814).
ISBN 9790004183816. 9
x 12 inches.
In
Book 2 we progress from
the first position up and
beyond the half, second
and third positions to
reach the second high
position. Shifting is
also obviously treated in
detail. New bowing
techniques such as
spiccato and col legno
are on the program, as
well as typical
double-bass parts from
orchestral works of
famous composers and
information concerning
the instrument. This runs
like a red thread through
every chapter. In
addition, students can
indulge in jazz bass
playing through their
first jazz
standards.Kontrabass Book
2 offers a wealth of
material for the
progressing young
bassist. Although the
text is in German, most
of the technical
requirements are easy to
understand. (David Heyes
, Double Bass Sheet Music
Reviews)
We didnt
want to let all those
enthusiastic double-bass
students wait too long
for the second book of
Kontrabass! - so here it
is!
Double bass solo SKU: BR.EB-8813 Eine Schule fur Kinder und Jugendlich...(+)
Double bass solo
SKU:
BR.EB-8813
Eine
Schule fur Kinder und
Jugendliche. Composed
by Thomas Schlink.
Arranged by Thomas
Blomenkamp. Solo
instruments; Softbound.
Edition Breitkopf. Music
pedagogy. Score. 116
pages. Breitkopf and
Haertel #EB 8813.
Published by Breitkopf
and Haertel (BR.EB-8813).
ISBN 9790004183588. 9
x 12 inches.
First
steps with the double
bass It's not by chance
that Kontrabass! (Double
Bass!) has an exclamation
mark in its title, for
Thomas Schlink's method
begins from scratch, i.e.
it requires no practical
knowledge of the
instrument. The
Kontrabass! concept is so
broad that all teachers
can proceed from their
own playing techniques
and methods, and can
teach them without
difficulty. In Book 1,
the student goes from
plucked and bowed playing
on open strings to the
first position. In order
to let the student
interact with others from
the very start, the book
often includes an
accompanying part for
bass, piano or melody
instrument. Of course,
such a well-planned
instrumental method
offers more yet: work
materials, exercises,
suggestions in a word,
double-bass lessons are
rounded off perfectly
with
Kontrabass!
The
Kontrabass! concept is so
broad that all teachers
can proceed from their
own playing techniques
and methods, and can
teach them without
difficulty..
Double bass solo SKU: BR.EB-8986 23 Song Settings for Young String Pla...(+)
Double bass solo
SKU:
BR.EB-8986
23 Song
Settings for Young String
Players. Composed by
Esther Klein and Michael
Dartsch. Solo
instruments. Edition
Breitkopf. Music
pedagogy. Sheet Music.
Breitkopf and Haertel #EB
8986. Published by
Breitkopf and Haertel
(BR.EB-8986).
ISBN
9790004187159. 0 x 0
inches.
German.
Songs are
part of the childhood.
This collection aims to
offer a variety of songs
for string ensembles,
such as young string
orchestras or string
classes. Included are
older and newer songs,
songs of various origins,
and songs for different
occasions and with themes
ranging from animals to
seasons and times of day
to tongue-in-cheek scary
subjects.Taking up the
motif of diversity in
their own way, the
six-part arrangements are
not confined to the usual
cadence harmonies and
accompaniment forms,
There is something
special to discover in
each of the songs. Small
vignettes with lyrics to
them are found in the
parts, and can be taken
up in rehearsals and
lessons.The songs begin
with fingering positions
and bowing techniques
that are usually learned
at the beginning of
lessons, then gradually
increase in difficulty,
though the booklet as a
whole is set at the
elementary level.
Suggestions for
improvisation and pieces
for practicing certain
requirements round out
the booklet. Special
emphasis is placed on
playing together - true
to the title: Together on
Strings!
Double bass SKU: BR.OB-4947-27 Formerly ascribed to Richard Wagner...(+)
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).
Double bass SKU: BR.OB-4953-27 Composed by Jean Sibelius. Stapled. Orches...(+)
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....(+)
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).