SKU: NR.101869

Per violoncello e contrabbasso, opus 44B, 2004. Composed by Hendrik Pienaar Hofmeyr. String instruments. Per violoncello e contrabbasso, opus 44B, 2004. Score. Noten Roehr #101869. Published by Noten Roehr (NR.101869).

String Ensemble

SKU: HL.50494708

Per 6 Violoncelli, 6 Contrabbassi. Composed by Arrigo G. MGB. Contemporary Music. Score Only. Composed 1974. Ricordi #NR132310. Published by Ricordi (HL.50494708).

PER 6 VIOLONCELLI, 6 CONTRABBASSI.

SKU: NR.102191

Per contrabbasso e piano. Composed by Isaia Bille. String instruments. Per contrabbasso e piano. Score. Noten Roehr #102191. Published by Noten Roehr (NR.102191).

Contrass

SKU: NR.103857

Para contrabajo, 2020. Composed by Carlos Peron Cano. String instruments. Score. Noten Roehr #103857. Published by Noten Roehr (NR.103857).

Para contrabajo, 2020.

Band Music

SKU: HL.50494096

Per Flicorno Contrabbasso In Si Bem.. Composed by Mariani G. MGB. Method. Score Only. Composed 1984. Ricordi #NR129409. Published by Ricordi (HL.50494096).

Italian.

PER FLICORNO CONTRABBASSO IN SI BEM.

SKU: NR.101774

Per contrabbasso solo, opus 116, 2008. Composed by Hendrik Pienaar Hofmeyr. String instruments. Per contrabbasso solo, opus 116, 2008. Score. Noten Roehr #101774. Published by Noten Roehr (NR.101774).

SKU: NR.103465

Per contrabbasso solo, 1981/1983. Composed by Stefano Scodanibbio. String instruments. Per contrabbasso solo, 1981/1983. Score. Noten Roehr #103465. Published by Noten Roehr (NR.103465).

Flute

SKU: HL.50495859

Per Flauto A Becco Contrabbasso (2004). Composed by Fausto Romitelli. MGB. Score Only. Composed 2008. Ricordi #NR139303. Published by Ricordi (HL.50495859).

PER FLAUTO A BECCO CONTRABBASSO (2004).

SKU: NR.101868

Per contrabbasso e pianoforte, opus 44D, 2005. Composed by Hendrik Pienaar Hofmeyr. String instruments. Per contrabbasso e pianoforte, opus 44D, 2005. Score. Noten Roehr #101868. Published by Noten Roehr (NR.101868).

Double bass

SKU: CU.EC10066

Volume 1. Composed by Giordano Giuseppe Guglielmi. Published by Edizioni Curci (CU.EC10066).

(0.2.2+2 bassett.2+1/4.0.0.0)

SKU: TM.08494SC

Composed by Wolfgang Amadeus Mozart. Score. Lucks Music Library #A1836. Published by Lucks Music Library (TM.08494SC).

Opt. Contrabss for Contrabsn, Cl 3&4 opt. for bassett horns. Transposed: hn 3&4.

SKU: HL.50491987

Composed by Luigi Boccherini. MGB. 72 pages. Ricordi #GZ6100. Published by Ricordi (HL.50491987).

8.25x11.75x0.27 inches.

ED. A. PAIS - PER SOPRANO, 2 VIOLINI, VIOLA, VIOLONCELLO E CONTRABBASSO G. 532 (PRIMA VERSIONE 1781).

Orchestra Voice Soli, SATB Choir/SATB, Soprano in ripieno (Cantus-firmus-Choir for Soprano), 2 Orchestras: I: 2 Blockenflute, 2 Flutes, 2 Oboes /2 Oboe d'amroe, 2 Oboe da caccia, 2 Violins, Viola, Cello/Contrabss, Viola da gamba, organ; Orchestra II: 2 Flutes, 2 Ob

SKU: CA.3124402

Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. Stuttgart Urtext Edition: Bach vocal; Carus sheet music series: Vocal scores XL, Great choral works in small scorings. XL in large print. Innovative practice aids, Passions, Lent and Passiontide, Holy Week. Vocal score. BWV 244. 232 pages. Duration 175 minutes. Carus Verlag #CV 31.244/02. Published by Carus Verlag (CA.3124402).

ISBN 9790007187873. Language: German/English.

Pra ctical performing Urtext edition based on the latest state of Bach research. Every era hears and interprets Bach anew, and every era also evaluates the sources afresh and with new eyes. 40 years after the publication of the St. Matthew Passion in the New Bach Edition, Klaus Hofmann, Director of the Johann Sebastian Bach Institute Gottingen for many years and a contributing editor to the New Bach Edition, presents a new edition. Hofmann has placed the study of the sources at the service of musical practice and the detailed investigation of Bach's intentions. Bach scholars are well aware that Bach's original score and performance parts, running to almost 500 pages of music, are full of ambiguities and contradictions, particularly regarding articulation, which constantly challenge performers to new interpretations. Hofmann discusses these and other problems in a concise critical report, frequently arriving at new conclusions in the process. Extensive notes about parallel passages offer valuable help for interpretation. Special attention was devoted to the performance material with regard to practical needs. Thus, for example the text incipits are also printed in the instrumental parts (including tacet passages). In short - an Urtext edition for practical performance based on the latest findings in Bach research. Score available separately - see item CA.3124400.

SKU: HL.50495619

Composed by Franco Donatoni. MGB. Ricordi #NR136907. Published by Ricordi (HL.50495619).

PER 4 CORNI, 3 TROMBE, 3 TROMBONI, TUBA DOPPIA CONTRABBASSA E TAMBURO NAPOLEONICO (1995).

(1.1.2.1/2.2.(3).(1),timp ,str,fl solo)

SKU: TM.09913SET

Composed by Albert Franz Doppler. Arranged by Klautzsch. Set Type: D. Set of parts. Lucks Music Library #A6234. Published by Lucks Music Library (TM.09913SET).

Opt. Contrabss for Contrabsn, Cl 3&4 opt. for bassett horns. Transposed: hn 3&4.

Piano, wind instruments, double bass and percussion

SKU: BO.B.3668

Composed by Jordi Cervello. Published by Editorial de Musica Boileau (BO.B.3668).

It was commissioned by Banda Municipal de Barcelona (Barcelona's municipal band) and performed for the first time on January 30th 2011 at L'Auditori de Barcelona (auditorium of Barcelona).

This concert is divided into three movements. The first, bearing the name of Preludi (Prelude), is slow and mysterious, with two alternating subject matters flowing gently. It is only towards the end that a rapid cadence of the piano leads to an orchestral tutti which will gradually fade within the general atmosphere.

The second movement is a Scherzo-Cadenza, always in a bar of 6/8, based on triplets and twangs but also tied at the most expressive moments. The piano and the wind and percussion instruments embark in a contrapuntal dialogue in which a burlesque character alternates with forceful moments. The movement ends subtly, with a long scale flowing from a low to a high pitch.

A cadence of the piano serves as a liaison with the third movement, an Allegro molto, the longest and most complex of the whole concert. This movement is clearly virtuosic and it consists of three main subject matters which alternate and blend. The atmosphere is lively and unmistakably burlesque, although there are three thoughtful moments in which it becomes mysterious. The coda is fast, bright and clearly conclusive.