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 . 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.
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.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
(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 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 workÂ
Critical Commentary
in 1 – 3 languages with
a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisionsÂ
most
beautiful music
engravingÂ
page-turns, fold-out
pages, and cues where you
need themÂ
excellent print
quality and
bindingÂ
largest Urtext
catalogue
world-wideÂ
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Double Bass SKU: HL.50602262 Partita for Double Bass and Poetry Reader...(+)
Double Bass
SKU:
HL.50602262
Partita for Double
Bass and Poetry
Reader. Composed by
Philip Glass.
Instrumental. Classical.
Softcover. Composed 2019.
16 pages. Chester Music
#DU11203. Published by
Chester Music
(HL.50602262).
ISBN
9781540092182. UPC:
888680987596.
9.0x12.0x0.07
inches.
The
Not-Doings of an
Insomniac - Partita for
Solo Double Bass with
spoken texts - was
premiered by Robert Black
at the International
Society of Bassist
Convention at the Griffin
Concert Hall in Fort
Collins, Colorado. The
Not-Doings of an
Insomniac developed as a
result of Philip Glass's
frequent travels to
unfamiliar cities and
different time-zones,
changes that often bring
on bouts of insomnia.
While on a trip in Europe
in 2015, Glass decided to
turn these redundant
waking hours into
something useful, and one
of the results is this
Partita for Solo Double
Bass, written for Robert
Black of Bang on a Can
All-Stars fame. The piece
is written in seven
movements, each with its
own title: Not Dreaming,
Tasting, Smelling,
Hearing, Seeing, Touching
respectively, and
finishing with Not
Beginning. Not Ending.
What raises this set into
something atmospheric and
theatrical are the poems
in between each movement.
These are by Glass's
friends or associates,
and the texts by Lou
Reed, John Cale, Laurie
Anderson, Yoko Ono, David
Byrne, Leonard Cohen,
Patti Smith and Arthur
Russell are read on the
recording of this work by
Robert Black.