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
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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
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pages, and cues where you
need themÂ
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Double Bass SKU: BA.BA10986-85 Composed by Franz Joseph Haydn. Edited by ...(+)
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.
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 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.
Written by Gerald E. Anderson, Kathleen Brungard, Michael Alexander, Sandra Dack...(+)
Written by Gerald E.
Anderson, Kathleen
Brungard, Michael
Alexander, Sandra Dackow.
Instructional Book & CD
for string bass. Series:
Orchestra Expressions. 56
pages. Published by
Alfred Publishing
Double Bass SKU: BT.YE0060 Composed by Giovanni Bottesini. Book Only. Yor...(+)
Double Bass
SKU:
BT.YE0060
Composed by
Giovanni Bottesini. Book
Only. Yorke Edition
#YE0060. Published by
Yorke Edition
(BT.YE0060).
Since this
first authentic collected
edition of Bottesini's
solos in modern notation
appeared, many items have
been recorded and
reproduced in other
versions. Elegia e
Tarantella, Meditazione
(Aria di Bach),
FantasiaCerrito.
Double bass SKU: BA.BA10985-85 Composed by Franz Joseph Haydn. Edited by ...(+)
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 Elliot Del Borgo. Bass solo songbook (no accompaniment) for string b...(+)
Arranged by Elliot Del
Borgo. Bass solo songbook
(no accompaniment) for
string bass. Series: Hal
Leonard Essential
Elements String Method.
24 pages. Published by
Hal Leonard.
Zum Konzert in E von Carl Ditters von Dittersdorf. By Heinz Karl Gruber. Edited ...(+)
Zum Konzert in E von Carl
Ditters von Dittersdorf.
By Heinz Karl Gruber.
Edited by Ludwig
Streicher. Double bass.
For bass. Level: 4.
Composed (1969). 02
pages. Published by
Doblinger (Austrian
import).
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
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possible to the
composerâ€â„Â
¢s intentions - With
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x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
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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