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Gioacchino Rossini: Une Larme For Double Bass And Piano

Gioacchino Rossini: Une Larme For Double Bass And Piano

In the late 1850s, when Rossini was composing only for his own private pleasure, he wrote a little elegy for Double Bass and Piano that he entitled “ Une Larme ” (“a tear”). Its theme also served as the basis for a larger-scale set of variations for Cello and Piano. The importance that Rossini ascribed to this short piece for Double Bass is demonstrated not least by the fact that he made a richly ornamented dedication copy of it in 1858. This hitherto little-known source is in Russia and has now been consulted for the first-ever time for a critical Urtext edition. As in Henle’s other Urtext editions for this instrument, the Double Bass specialist Tobias Glöckler has prepared a version in solo tuning and orchestral tuning and added fingerings and bowings to the solo part.

DKK 141.00
1

Johann Baptist Vanhal: Double Bass Concerto

Johann Baptist Vanhal: Double Bass Concerto

Following Dittersdorf (HN 759) and Hoffmeister (HN 721), Johann Baptist Vanhal and his sole Double-Bass concerto add a further highlight to the classical Bass literature in the Henle catalogue. The virtuoso work was transmitted only in a copy of a part owned by the famous Double-Bass player Johannes Sperger (1750–1812) and found in his estate, which raises a few questions on account of the many later additions in the solo part (especially concerning the octave transpositions). In this Urtext edition, Tobias Glöckler proposes a solution to this dilemma with a musical text that is outstandingly well-prepared for the performing artist. The Piano reduction is printed in two keys (C and D major), which allows for performances in the solo and orchestral tuning or, at will. Moreover an additional part, written in fingering notation, has been specially designed for use with the "Viennese tuning" customary in Vanhal 's days. It allows players to use this resonant historical tuning immediately without tedious retraining.

DKK 311.00
1

Camille Saint-Saens: Elephant - The Carnival Of The Animals (Double Bass/Piano)

Camille Saint-Saens: Elephant - The Carnival Of The Animals (Double Bass/Piano)

Camille Saint-Saens' Elephant is a delightful miniature from The Carnival Of The Animals and is one of the few works that are attractive to learners and accomplished players alike. Its many musical and technical challenges have earned it a permanent place in the teaching repertoire, yet it offers soloists a welcome opportunity to demonstrate their prowess and espirit, even in the low register.The ease with which a great composer accurately and skilfully probes the idiosyncracies of this largest of string instruments for expressive purposes - a combination of features seldom encountered in the double bass repertoire - is truly impressive. All the more astonishing, therefore, that the Elephant, although widely known, is relatively rarely heard in the concert hall.This Urtext edition of the score has been edited with critical commentaries, as well as fingering and bowing of the double bass part, by Tobias Glockler. The accompaniment is notated in E flat and F, and so the double bass can perform using either solo tuning or orchestra tuning.

DKK 103.00
1

Karl Ditters von Dittersdorf: Double Bass Concerto in "E major" Krebs 172

Karl Ditters von Dittersdorf: Double Bass Concerto in "E major" Krebs 172

With this cornerstone of the Double Bass repertoire we continue a still young but important part of our catalogue. This musically-charming work, full of technical trickery, is with justification demanded time and again as a test piece or set piece for competitions. In order to accommodate the “Viennese tuning” used at the time, we also provide a solo part in fret notation. The Piano part in D major and E major (!) can be used to accompany the Double Bass part either in its solo or orchestral version. As an alternative to the familiar cadenzas by Sperger, editor Tobias Glöckler has added two further tuneful and stylistically-appropriate cadenzas of his own.

DKK 298.00
1

Franz Anton Hoffmeister: Concerto "No. 1" for Double Bass and Orchestra (with Violin obbligato)

Franz Anton Hoffmeister: Concerto "No. 1" for Double Bass and Orchestra (with Violin obbligato)

Thanks to its wealth of invention, elegant workmanship, and technical and musical challenges, Franz Anton Hoffmeister's Concerto "no. 1" has emerged as the preferred concerto for double bass auditions. Tobias Glöckler's edition leaves no wishes unfulfilled: the double bass part appears in solo and orchestral tuning with piano reductions in D major and C major. Moreover an additional part, written in fingering notation, has been specially designed for use with the "Viennese tuning" customary in Hoffmeister's days. It allows players to use this resonant historical tuning immediately without tedious retraining. Finally, a separate part is also provided for the solo violin appearingin the second movement.?

DKK 252.00
1

J.S. Bach: Sechs Sonaten Und Partiten BWV 1001-1006

J.S. Bach: Sechs Sonaten Und Partiten BWV 1001-1006

Bach’s six violin soli have come down to us in a particularly beautiful fair copy made by the composer himself. They, along with the six cello suites, are regarded as musical and technical milestones of musical literature. Bach skillfully employs the resources of the violin to produce genuine polyphony in some sections through the use of arpeggiated chords and double stops. The culmination of these achievements is the famous Chaconne from the second Partita, which achieves great musical density while presenting the violinist with previously unheard-of technical challenges. The part marked by Wolfgang Schneiderhahn accommodates practical use and includes suggestions foraccords and arpeggios.

DKK 188.00
1

Ludwig Van Beethoven: Sextet In E Flat Op.81b - Urtext Study Score

Ludwig Van Beethoven: Sextet In E Flat Op.81b - Urtext Study Score

It is hardly surprising that Beethoven did not write any more chamber music for winds after 1800. Following the change to middle-class musical culture, demand declined for buoyant serenades and divertimenti intended for court circles ? a genre that Beethoven had reservations about as it was. Composed in 1795 with no known occasion in mind, his Sextet op. 81b is thus all the more remarkable, standing out on account of the unusual virtuosity of the horn parts. This edition is the first to provide the bass part as originally intended by Beethoven: for violoncello supported by a double bass. In addition to the original horn parts in E flat, it also contains transposed parts in F.

DKK 154.00
1

Wolfgang Amadeus Mozart: Serenade In B Flat K.361 - Gran Partita

Wolfgang Amadeus Mozart: Serenade In B Flat K.361 - Gran Partita

“Wind music of a very special nature on a large-scale, a composition by Hr. Mozart ” – this was the way the “Wiener Blättchen” announced the concert in the National Court Theatre, in which the clarinettist Anton Stadler was to hold his academy. There were twelve Wind instruments supported by a Double Bass, which was a very unusual combination of instruments, and the contemporary critics raved about it, “Oh, what an effect it made – glorious and grand, excellent and exquisite!”. The title “ Gran Partita ”, which was added to the autograph in an unknown hand, also bears witness to admiration and respect. Our edition is based on the autograph which has changed hands many times and is today held in Washington.

DKK 609.00
1

Ludwig Van Beethoven: Sextet In E Flat Op.81b - Urtext Parts

Ludwig Van Beethoven: Sextet In E Flat Op.81b - Urtext Parts

It is hardly surprising that Beethoven did not write any more chamber music for winds after 1800. Following the change to middle-class musical culture, demand declined for buoyant serenades and divertimenti intended for court circles ? a genre that Beethoven had reservations about as it was. Composed in 1795 with no known occasion in mind, his Sextet op. 81b is thus all the more remarkable, standing out on account of the unusual virtuosity of the horn parts. This edition is the first to provide the bass part as originally intended by Beethoven: for violoncello supported by a double bass. In addition to the original horn parts in E flat, it also contains transposed parts in F.

DKK 294.00
1

Wolfgang Amadeus Mozart: Concerto for Flute, Harp and Orchestra C major KV 299 (297c)

Wolfgang Amadeus Mozart: Concerto for Flute, Harp and Orchestra C major KV 299 (297c)

Mozart was neither a flautist nor a harpist, but his Double Concerto has become the best-known music for both these instruments. Now its musical text has been prepared for Henle by the star flautist András Adorján, following the autograph score even in those passages where other editions make arbitrary changes. No less a musician than Robert D. Levin has added historically convincing cadenzas as editorial suggestions; the lean and euphonious Piano reduction was prepared by the experienced arranger Jan Philip Schulze. Our edition is the first to present the Harp part in form of a performance score. This new volume completes Henle’s series of up-to-date urtext editions of Mozart ’s surviving concertos and chamber music with Flute.

DKK 277.00
1

Johannes Brahms: Doppelkonzert A-Moll Op. 102

Johannes Brahms: Doppelkonzert A-Moll Op. 102

Between 1859 and 1885 Johannes Brahms, with his four symphonies, two piano concertos, violin concerto, dances, variations and overtures, became the representative of large-scale orchestral music. In 1887 he chose the violin andvioloncello as solo instruments for his Double Concerto in a minor op. 102, since he had outstanding soloists at his disposal. After the premiere of Brahm's second cello sonata, cellist Robert Hausmann had requested a concertpiece - while the renowned violinist Joseph Joachim was Brahms's friend and had premiered his Violin Concerto, among other things. After the dark-hued Fourth Symphony this concerto comes across as strikingly optimistic andconciliatory. We now offer the score, also published as part of our New Complete Edition, in a convenient study edition.

DKK 196.00
1

Joseph Haydn: The Seven Last Words of Christ Hob.XX/1B (String Quartet)

Joseph Haydn: The Seven Last Words of Christ Hob.XX/1B (String Quartet)

At the end of the 18th century, the town of Cádiz in southern Spain provided the backdrop for a Passion to mark Christ?s hour of death; its focal point was the reading and interpretation of Christ?s last words. Haydn was commissioned to write short meditative music to be played alternately with the readings. Haydn composed a work for orchestra. Due to its success, the publisher commissioned Haydn to make an arrangement for string quartet. As the wind instruments double the strings for the most part, only a few changes had to be made to the string parts. Here is the Henle Urtext Edition of Joseph Haydn's The Seven Last Words of Christ arranged for String Quartet, based upon on the musical text of the Haydn Complete Edition.

DKK 315.00
1

Joseph Haydn: Die Sieben Letzten Worte Unseres Erlösers Am Kreuze (The Seven Last Words On The Cross)

Joseph Haydn: Die Sieben Letzten Worte Unseres Erlösers Am Kreuze (The Seven Last Words On The Cross)

At the end of the 18th century, the town of Cádiz in southern Spain provided the backdrop for a Passion to mark Christ?s hour of death; its focal point was the reading and interpretation of Christ?s last words. Haydn was commissioned to write short meditative music to be played alternately with the readings. Haydn composed a work for orchestra. Due to its success, the publisher commissioned Haydn to make an arrangement for string quartet. As the wind instruments double the strings for the most part, only a few changes had to be made to the string parts. Here is the Henle Urtext Study Score of Joseph Haydn's The Seven Last Words of Christ arranged for String Quartet, based upon on the musical text of the Haydn Complete Edition.Also available as part of a 12 part set including all Haydn's works for String Quartet, Cat. No. HN9216

DKK 167.00
1

Bartok: Mikrokosmos Volume 3-4 Piano

Bartok: Mikrokosmos Volume 3-4 Piano

Bartók’s Mikrokosmos is one of the milestones in the pedagogical piano repertoire – and yet it is also far more than a “classical” piano primer. These 153 piano pieces, organised in ascending order of difficulty, engage not only with technical aspects of piano playing, but also with the fundamentals of composition – from “Ostinato”, “Free variations” and “Imitation and inversion” concerning compositional technique, to programmatic ideas as in “From the diary of a fly” or the famous “Six dances in Bulgarian rhythm” that form the passionate close of this unique work. This Henle Urtext Edition is based on the corresponding volume of the Bartók Complete Edition that is currently in preparation, and also includes specific practical comments and tips concerning Bartók’s own performances. Furthermore, the six volumes of the first edition, which first appeared in 1940, are here gathered together in three practical double volumes that offer both beginners and advanced pianists a perfect introduction to this work.

DKK 303.00
1

Wolfgang Amadeus Mozart: March K. 248 · Divertimento K. 247 (First Lodron Night Music)

Wolfgang Amadeus Mozart: March K. 248 · Divertimento K. 247 (First Lodron Night Music)

The Divertimento K. 247 in F-flat major was composed for the name day of Countess Antonia Lodron, and was first performed on 18 June 1776 in Salzburg. The little March K. 248 was presumably used to accompany the arrival and departure of the musicians on that occasion – it shares the same date of composition as the Divertimento, is in the same key, and is scored for the same instruments. Mozart later returned several times to this “First Lodron night music”, and posterity appreciated it too: the Divertimento was published just a few years after his death, and was also available in numerous 19th century copies. The only authorised sources for our Urtext edition, however, were the two autographs. Here, incidentally, the lowest part is designated “Basso”, which leaves open the question as to whether it was to be played by a cello, a double bass or both – a typical case of “as you like it” in the music of the 18th century!

DKK 175.00
1

Franz Schubert: Octet In F major D 803 - Ensemble Parts (Henle Urtext Edition)

Franz Schubert: Octet In F major D 803 - Ensemble Parts (Henle Urtext Edition)

**Not for sale outside of the UK and Commonwealth** Franz Schubert 's Octet In F major D 803 for Clarinet (B flat/C), Bassoon, Horn (F/C), 2 Violins, Viola, Violoncello and Double Bass. This composition was modelled on Beethoven’s Septet op. 20, whose Divertimento character and six-part layout were adopted by Schubert , although he merely expanded the instrumentation by adding a second Violin. In a letter he numbered his octet amongst the chamber music works with which he desired to blaze a “path to the great symphony”. It can no longer be ascertained whether the composition was commissioned by Count Ferdinand Troyer, who had a musical salon in Vienna and played the Clarinet. We only know that Schubert composed the work at the beginning of 1824, taking only a few weeks to do so and that it was performed at Troyer’s shortly afterwards. Today it is one of the most popular larger chamber music works.

DKK 422.00
1

Wolfgang Amadeus Mozart: March K. 248 · Divertimento K. 247 (First Lodron Night Music)

Wolfgang Amadeus Mozart: March K. 248 · Divertimento K. 247 (First Lodron Night Music)

The Divertimento K. 247 in F-flat major was composed for the name day of Countess Antonia Lodron, and was first performed on 18 June 1776 in Salzburg. The little March K. 248 was presumably used to accompany the arrival and departure of the musicians on that occasion – it shares the same date of composition as the Divertimento, is in the same key, and is scored for the same instruments. Mozart later returned several times to this “First Lodron night music”, and posterity appreciated it too: the Divertimento was published just a few years after his death, and was also available in numerous 19th century copies. The only authorised sources for our Urtext edition, however, were the two autographs. Here, incidentally, the lowest part is designated “Basso”, which leaves open the question as to whether it was to be played by a cello, a double bass or both – a typical case of “as you like it” in the music of the 18th century!

DKK 358.00
1

Bartok: Mikrokosmos Volume 1-2 Piano

Bartok: Mikrokosmos Volume 1-2 Piano

Bartók’s Mikrokosmos is one of the milestones in the pedagogical piano repertoire – and yet it is also far more than a “classical” piano primer. These 153 piano pieces, organised in ascending order of difficulty, engage not only with technical aspects of piano playing, but also with the fundamentals of composition – from “Ostinato”, “Free variations” and “Imitation and inversion” concerning compositional technique, to programmatic ideas as in “From the diary of a fly” or the famous “Six dances in Bulgarian rhythm” that form the passionate close of this unique work. This Henle Urtext Edition is based on the corresponding volume of the Bartók Complete Edition that is currently in preparation, and also includes specific practical comments and tips concerning Bartók’s own performances. Furthermore, the six volumes of the first edition, which first appeared in 1940, are here gathered together in three practical double volumes that offer both beginners and advanced pianists a perfect introduction to this work.

DKK 252.00
1