By Larry Clark Various. Arranged by Doris Gazda Larry Clark. For Bass I and II. Standard notation. Published by Carl Fischer

By J. Peter Close / Holger Sassmannshaus. For contrabass. This edition: Stapled. Barenreiter's Sassmannshaus. Instructional Method. Performance score, Teaching material. Text Language: English/German. 72 pages. Published by Baerenreiter Verlag

Oboe, bassoon and piano - difficult

SKU: HL.49016219

Composed by Benjamin Schweitzer. This edition: Saddle stitching. Sheet music. Misc. Score (also performance score). Composed 2006. 73 pages. Duration 10'. Schott Music #ED 20121. Published by Schott Music (HL.49016219).

ISBN 9790001146449. UPC: 884088202538. 9.0x12.0x0.195 inches.

The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of 'twilight': air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds.The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this 'motto-like' opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning.The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, 'arcane' bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the 'elastic' character of the middle section.Benjamin Schweitzer.

(For Strings - Bass Book). By Larry Clark. Arranged by Doris Gazda Larry Clark. For 2 Basses, Compatible with Bf50, Bf51, Bf52. 32 pages. Published by Carl Fischer

Arranged by Deborah Greenblatt. Bass Duet. For 2 double basses. Tunes for Two. Classical. Tune book. Standard Notation. 68 pages. Published by Greenblatt and Seay

Arranged by Deborah Greenblatt. Bass Duet. For 2 double basses. Tunes for Two. Classical. Tune book. Standard Notation. 66 pages. Published by Greenblatt and Seay

By J. Peter Close / Holger Sassmannshaus. For contrabass. This edition: Stapled. Barenreiter's Sassmannshaus. Instructional Method. Performance score, Teaching material. Text Language: English. 72 pages. Published by Baerenreiter Verlag

(Foreword and Additional Editing by Joel Dibartolo). By Domenico Dragonetti Antonio Vivaldi. Edited by George Vance, Joel Dibartolo, Larry Clark, Nicholas Hopkins. For String Bass, String Bass and Piano. Book. 60 pages. Published by Carl Fischer

By Various. Edited by Rodney Slatford. For Double Bass, Piano. Contrabass and Piano

(Very First Solos for Double Bass with Piano Accompaniment). Edited by Tony Osborne. For String Bass and Piano. Book; Method/Instruction; String - Bass Studies or Collection. Faber Edition. Elementary. 32 pages. Published by Faber Music

By Hartley. For Piano Accomps for Bks 1 & 2. Published by Oxford University Press.

Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5

SKU: BA.BA10303-01

Composed by Camille Saint-Saens. Edited by Michael Stegemann. This edition: Edition of selected works, Urtext edition. Linen. Saint-Saens, Camille. Oevres instrumentales completes I/3. Edition of selected works, Score. Opus 78. Duration 39 minutes. Baerenreiter Verlag #BA10303_01. Published by Baerenreiter Verlag (BA.BA10303-01).

ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.

The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.

I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.

You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...

No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.

On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:

Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.

As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.

It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.

When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.

In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

2 Contrabass & Piano or CD Play Back / Play Along - Grade 1

SKU: MA.EMR-47470

Melodies pour Debutants / Melodien fur Anfanger. Composed by Bertrand Moren. Score and parts. Duration 18'03. Editions Marc Reift #EMR 47470. Published by Editions Marc Reift (MA.EMR-47470).

Scotland / Fleas Jumping / There Is A Green Hill Far Away / Cadet Rousselle / Dangerous Liaisons / Sadness / Toys' Procession / Home On The Range / The Blue Danube / Can-Can / Farther and Farther / Going Up / The King of Sliding / Swanee River...

Arranged by Deborah Greenblatt. Bass Duet. For 2 double basses. Tunes for Two. Classical. Tune book. Standard Notation. 68 pages. Published by Greenblatt & Seay

By Johann Sebastian Bach. For Organ. (Organ). CD Sheet Music (Version 2.0). PDF file on CD. 900 pages. Published by Subito Music.

(Cello/Bass). Arranged by Michael Story and Michael Story. For Cello/Bass. Duet or Duo; Mixed Instruments - Flexible Instrumentation. Instrumental Ensembles for All. Movie. Book. 24 pages

Double Bass and Piano - Intermediate-Advanced

SKU: FP.FDW03

Composed by Charles Francois Gounod. Arranged by Andrew Wilson-Dickson. Sheet Music and Books. A striking arrangement of the Gounod favourite, arranged for Double Bass and Piano by A. Wilson-Dickson. Suggested grade 5. Classical. Collection. Forsyths Publications #FDW03. Published by Forsyths Publications (FP.FDW03).

ISBN 9790570500789.

Goun od's classic piece, arranged for double bass, with piano accompaniment.

The music in the beginning tells the listener that two of the members of the Marionette troupe have had a duel and one of them has been killed. A party of pallbearers is organised and the procession sets out for the cemetery in march time.

The piece soon takes on a more cheerful spirit, for some of the troupe, wearied with the march, seek consolation at a wayside inn, where they refresh themselves and also descant upon the many virtues of their late companion. At last they get into place again and the procession enters the cemetery to the march rhythm -- the whole closing with the bars intended to reflect upon the briefness and weariness of life, even for marionettes.

Violin Duet

SKU: BT.EMBZ8507

By Arpad Pejtsik. By Antonio Vivaldi. EMB Early Chamber Music. Book Only. Composed 1980. 40 pages. Editio Musica Budapest #EMBZ8507. Published by Editio Musica Budapest (BT.EMBZ8507).

English-German-Hungari an.

As far as we know Vivaldi wrote twenty trio sonatas. Several of these works are actually for two parts, as the continuo merely doubles one of the two solo instruments. In the titles of four of these trio sonatas ('Suonata da camera, a 2 violini anco senza basso se piace', meaning if desired the sonata can be played without the bass part) Vivaldi himself gave his approval to the omission of the third instrument. In the light of this, the present publication gives the four works in the form of violin duos.We recommend these three-movement sonatas, in a fast-slow-fast format, for violinists who are already advanced in their studies. 1. Sonata RV 702. Sonata RV 713. SonataRV 684. Sonata RV 77.

(Easy Piano Accompaniment, Features 1/2, I, II, Ii1/2, III, Iii1/2, IV, V, V1/2 and VI Positions). By Johann Sebastian Bach Woody Guthrie. Arranged by Janice Tucker Rhoda. For Piano, Contrabass. This edition: Book 2. EASY. Solo part with piano reduction. Standard notation. 64 pages

For Cello and Double Bass. Composed by Jean-Baptiste Breval. Edited by Tabea Umbreit. Henle Music Folios. Softcover. 24 pages. G. Henle #HN1480. Published by G. Henle

Double Bass; Piano Accompaniment - easy to intermediate

SKU: HL.49019606

Double Bass and Piano. Composed by Peter Wittrich. This edition: Saddle stitching. Sheet music. String. Kontrabass-Geschichten fur Kontrabass und Klavier. Classical, Contemporary. Softcover. Composed 2004. 64 pages. Schott Music #KBB16. Published by Schott Music (HL.49019606).

ISBN 9790001187176.

Teac hers again and again ask for easy-to-play double bass music suitable for lessons or the competition 'Jugend musiziert'. The composer Peter Wittrich from Munich has undertaken this task and composed a varied cycle of seven easy pieces for double bass and piano. All pieces have been tried and tested in double bass lessons and are well positioned on the instrument. Some can even be played in the first position. The collection covers various styles, including blues, tango and classical. The piano part is more demanding so that the demands made on the ensemble playing are somewhat higher. An interesting addition to the repertoire for lessons and concerts. Contents: Giovannino discovers the Blues • Gostly Cadenza • Walking Bass with Johann Sebastian Bach • Salute to Vienna with a kiss on the hand for Elise • Danse grotesque • Drei Chinesen mit dem Kontrabass (Theme and Variations) • Basso doble.

for Violoncello and Continuo or Two Violoncellos. By Various. Arranged by Pejtsik, Vigh. EMB. Size 9x12 inches. 19 pages. Published by Editio Musica Budapest.