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.
(Double Bass Solos in Viennese tuning). By Heinz Holliger (1939-2002). For Doubl...(+)
(Double Bass Solos in
Viennese tuning). By
Heinz Holliger
(1939-2002). For Double
Bass. String Solo.
Softcover. 46 pages.
Schott Music #KBB15.
Published by Schott Music
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: BT.YE0007 Yorke Edition. Composed by F. Baines. B...(+)
Double Bass
SKU:
BT.YE0007
Yorke
Edition. Composed by
F. Baines. Book Only.
Yorke Edition #YE0007.
Published by Yorke
Edition (BT.YE0007).
Born in Oxford
in 1917, Francis Baines
was a well-known and much
respected professional
double bass player. He
studied at the Royal
College of Music in
London with Claude
Hobday, where he later
taught. Something of an
eccentric,he immersed
himself in early music at
a time when few people
were taking it seriously.
He owned a beautiful
Amati bass that he had
restored as a violone,
which it probably was
originally, and he was a
regular fixture as
aprincipal player in a
number of orchestras and
ensembles that dedicated
themselves to period
performing, including
those directed by Denys
Darlow, with whom he
broadcast and recorded
frequently.
Besi
des playing
thedoublebass, Francis
Baines was an exponent of
the treble viol and led
the Jaye Consort of Viols
which he founded. He also
played several kinds of
bagpipe and the
hurdy-gurdy. As a
composer he dabbled in
many styles, one of
hisgreatest claims to
fame being that of
writing for the popular
Hoffnung concerts in the
1960s.
He was
the author of a number of
papers about the history
of the double bass,
sometimes arriving at
scholarly conclusionsthat
were colourful, if not
always entirely accurate.
He discovered the
Giovannino del Violone
sonatas, subsequently
published by Yorke
Edition, although today
it is thought that they
were probably not written
for a 16' pitchinstrument
at all. His edition of
the Capuzzi double bass
concerto, published by
Boosey & Hawkes, was for
many years one of the few
solo works available for
the instrument. This,
however, he largely
re-composed because
hethought it could be
improved: towards the end
of his life he confessed
that with hindsight he
probably should have
treated it
differently.
Gro
unds was written in 1969
as a sort of party piece
and was given to
YorkeEdition in support
of a drive to enlarge the
repertoire for the
instrument in a wide
variety of styles. It was
set on the syllabus of
the Associated Board of
the Royal Schools of
Music for many
years.
Double Bass Solo - Grade 1.5 SKU: AP.36-52740545 Composed by Lynne Latham...(+)
Double Bass Solo - Grade
1.5
SKU:
AP.36-52740545
Composed by Lynne Latham.
Method/Instruction;
Reference Textbooks;
Solo; Solo Small
Ensembles. Ludwig
Masters. Book. Latham
Music Enterprises
#36-52740545. Published
by Latham Music
Enterprises
(AP.36-52740545).
ISBN
9781628768428. UPC:
746241223883.
English.
This
audition survival guide
for teachers and students
of all levels begins with
one-octave major and
minor scales to three
sharps and flats.
Two-octave scales are
introduced subsequently,
and the book concludes
with three-octave scales
to five sharps and flats.
Two-octave blues scales
to four sharps and flats
are included as a bonus.
Bowings and fingerings
are not included in this
workbook, which includes
blank staves in the back
for teachers to make
suggestions. An
introduction by Lynne
Latham offers tips on how
to practice scales and
includes a lesson on
scale construction and
theory.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Kontrabass! Contre Basse [Conducteur] Breitkopf & Härtel
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..
(Sequential Repertoire for Solo Strings or String Ensemble). By Laurie Scott, Wi...(+)
(Sequential Repertoire
for Solo Strings or
String Ensemble). By
Laurie Scott, Winifred
Crock, and William Dick.
For Bass. String
Orchestra
Method/Supplement. Book &
CD. 36 pages. Published
by Alfred Music
Publishing
Double bass SKU: GI.G-T134 Composed by Barry Green and Timothy W. Gallwey...(+)
Double bass
SKU:
GI.G-T134
Composed by
Barry Green and Timothy
W. Gallwey. Method Book.
Inner Game. Music
Education. Book. GIA
Publications #T134.
Published by GIA
Publications (GI.G-T134).
Concert Pieces for Teaching Beginning Strings (Bass Book - Audio CD Included). B...(+)
Concert Pieces for
Teaching Beginning
Strings (Bass Book -
Audio CD Included). By
Doris Gazda; Henry
Purcell; James Pierpont.
Arranged by Doris Gazda.
For Double Bass I, Double
Bass II. Score and Audio
CD. 16 pages. Published
by Carl Fischer.
Double bass SKU: GI.G-T114 Composed by Barry Green and Timothy W. Gallwey...(+)
Double bass
SKU:
GI.G-T114
Composed by
Barry Green and Timothy
W. Gallwey. Method Book.
Inner Game. Music
Education. Book. GIA
Publications #T114.
Published by GIA
Publications (GI.G-T114).
(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 James Horner. Arranged by Carla J. Boardman. For Double Bass. This edition: B...(+)
By James Horner. Arranged
by Carla J. Boardman. For
Double Bass. This
edition: Bass Continuo.
Instrumental piece from
the film Legends of the
Fall. Contemporary.
Single sheet. 2 pages.
Published by Boardman
Music Publishing, LLC.
For Double Bass. Includes : A high-quality music book featuring solo parts for e...(+)
For Double Bass. Includes
: A high-quality music
book featuring solo parts
for each tune; A CD
featuring a complete
digital stereo reference
recording; A 2nd CD of
recordings of the
accompaniments minus you,
the soloist!. Published
by Music Minus One.