DOCSLIB.ORG

Double Bass Concerto Sheet Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Double Bass Concerto Sheet Music Double Bass Concerto Sheet Music Download double bass concerto sheet music pdf now available in our library. We give you 6 pages partial preview of double bass concerto sheet music that you can try for free. This music notes has been read 2575 times and last read at 2021-09-30 11:04:52. In order to continue read the entire sheet music of double bass concerto you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Double Bass Ensemble: String Orchestra Level: Advanced [ READ SHEET MUSIC ] Other Sheet Music A Double Bass Folly A Short Concerto For Double Bass And Orchestra A Double Bass Folly A Short Concerto For Double Bass And Orchestra sheet music has been read 3345 times. A double bass folly a short concerto for double bass and orchestra arrangement is for Intermediate level. The music notes has 5 preview and last read at 2021-09-30 11:00:22. [ Read More ] Conversation Concerto No 10 For Double Bass And Orchestra Score Only Conversation Concerto No 10 For Double Bass And Orchestra Score Only sheet music has been read 3235 times. Conversation concerto no 10 for double bass and orchestra score only arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-30 16:09:50. [ Read More ] Concerto Grosso 2017 For Chamber Orchestra Double Bass Part Concerto Grosso 2017 For Chamber Orchestra Double Bass Part sheet music has been read 3433 times. Concerto grosso 2017 for chamber orchestra double bass part arrangement is for Intermediate level. The music notes has 4 preview and last read at 2021-09-29 20:50:31. [ Read More ] Conversation Concerto No 10 For Double Bass And Orchestra Parts For Strings Conversation Concerto No 10 For Double Bass And Orchestra Parts For Strings sheet music has been read 3290 times. Conversation concerto no 10 for double bass and orchestra parts for strings arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-28 20:11:52. [ Read More ] Corelli Concerto Grosso Op 6 No 8 Christmas Concerto Complete Symphonic Wind Corelli Concerto Grosso Op 6 No 8 Christmas Concerto Complete Symphonic Wind sheet music has been read 4401 times. Corelli concerto grosso op 6 no 8 christmas concerto complete symphonic wind arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-30 08:28:05. [ Read More ] Corelli Concerto Grosso Op 6 No 8 Christmas Concerto Mvt Iv Vivace Symphonic Wind Corelli Concerto Grosso Op 6 No 8 Christmas Concerto Mvt Iv Vivace Symphonic Wind sheet music has been read 4731 times. Corelli concerto grosso op 6 no 8 christmas concerto mvt iv vivace symphonic wind arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-30 20:19:50. [ Read More ] Corelli Concerto Grosso Op 6 No 8 Christmas Concerto Mvt Vi Pastorale Symphonic Wind Corelli Concerto Grosso Op 6 No 8 Christmas Concerto Mvt Vi Pastorale Symphonic Wind sheet music has been read 4203 times. Corelli concerto grosso op 6 no 8 christmas concerto mvt vi pastorale symphonic wind arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-28 10:12:17. [ Read More ] Corelli Concerto Grosso Op 6 No 8 Christmas Concerto Mvt V Allegro Symphonic Wind Corelli Concerto Grosso Op 6 No 8 Christmas Concerto Mvt V Allegro Symphonic Wind sheet music has been read 7690 times. Corelli concerto grosso op 6 no 8 christmas concerto mvt v allegro symphonic wind arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-30 00:39:13. [ Read More ] Double Concerto In B Minor For Double Bass And Orchestra Piano Reduction Double Concerto In B Minor For Double Bass And Orchestra Piano Reduction sheet music has been read 3147 times. Double concerto in b minor for double bass and orchestra piano reduction arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-29 00:39:06. [ Read More ] Double Bass Concerto Solo Double Bass Piano Version Double Bass Concerto Solo Double Bass Piano Version sheet music has been read 1849 times. Double bass concerto solo double bass piano version arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-29 10:23:24. [ Read More ] Double Concerto In B Minor For Double Bass And Orchestra Double Concerto In B Minor For Double Bass And Orchestra sheet music has been read 3235 times. Double concerto in b minor for double bass and orchestra arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-29 06:45:07. [ Read More ] Concerto In Bb Major For Double Bass And Orchestra Concerto In Bb Major For Double Bass And Orchestra sheet music has been read 2806 times. Concerto in bb major for double bass and orchestra arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-30 04:05:53. [ Read More ] Focus On Grace A Concerto For Jazz Saxophone And Orchestra 2010 Double Bass Part Focus On Grace A Concerto For Jazz Saxophone And Orchestra 2010 Double Bass Part sheet music has been read 2905 times. Focus on grace a concerto for jazz saxophone and orchestra 2010 double bass part arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-30 21:37:17. [ Read More ] Concerto For Double Bass Antonio Capuzzi Concerto For Double Bass Antonio Capuzzi sheet music has been read 6084 times. Concerto for double bass antonio capuzzi arrangement is for Intermediate level. The music notes has 4 preview and last read at 2021-09-30 03:38:05. [ Read More ] Concerto In A Minor For Double Bass And Orchestra Concerto In A Minor For Double Bass And Orchestra sheet music has been read 2707 times. Concerto in a minor for double bass and orchestra arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-29 08:34:40. [ Read More ] Double Bass Concerto No 1 Opus 20 Double Bass Concerto No 1 Opus 20 sheet music has been read 2322 times. Double bass concerto no 1 opus 20 arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-28 21:09:14. [ Read More ] Concerto A Capriccio Concerto On A Lark For Piano And Orchestra Complete Full Score And Instrumental Parts Concerto A Capriccio Concerto On A Lark For Piano And Orchestra Complete Full Score And Instrumental Parts sheet music has been read 4148 times. Concerto a capriccio concerto on a lark for piano and orchestra complete full score and instrumental parts arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-30 04:13:00. [ Read More ] Brazilian Trumpet Double Concerto Part2 Individual Orchestra Parts Brazilian Trumpet Double Concerto Part2 Individual Orchestra Parts sheet music has been read 2102 times. Brazilian trumpet double concerto part2 individual orchestra parts arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-29 14:11:29. [ Read More ] Corelli Concerto Grosso Op 6 No 8 Christmas Concerto Mvt Iii Adagio Allegro Adagio Symphonic Wind Corelli Concerto Grosso Op 6 No 8 Christmas Concerto Mvt Iii Adagio Allegro Adagio Symphonic Wind sheet music has been read 5083 times. Corelli concerto grosso op 6 no 8 christmas concerto mvt iii adagio allegro adagio symphonic wind arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-28 22:03:20. [ Read More ] Concerto In Bb Major For Double Bass And Orchestra Piano Reduction Concerto In Bb Major For Double Bass And Orchestra Piano Reduction sheet music has been read 2894 times. Concerto in bb major for double bass and orchestra piano reduction arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-30 02:39:55. [ Read More ] Glire Koussevitzky Bass Concerto Solo Bass Part Glire Koussevitzky Bass Concerto Solo Bass Part sheet music has been read 4654 times. Glire koussevitzky bass concerto solo bass part arrangement is for Intermediate level. The music notes has 5 preview and last read at 2021-09-30 20:28:16. [ Read More ] 1043i Jsbach Concerto For Two Violas In A Minor Bass Part 1043i Jsbach Concerto For Two Violas In A Minor Bass Part sheet music has been read 3444 times. 1043i jsbach concerto for two violas in a minor bass part arrangement is for Intermediate level. The music notes has 5 preview and last read at 2021-09-30 05:16:19. [ Read More ] Glire Koussevitzky Bass Concerto Extra Orchestral Double Bass Part Glire Koussevitzky Bass Concerto Extra Orchestral Double Bass Part sheet music has been read 2927 times. Glire koussevitzky bass concerto extra orchestral double bass part arrangement is for Early Intermediate level. The music notes has 3 preview and last read at 2021-09-30 19:27:52. [ Read More ] Concerto Op 3 Concerto Op 3 sheet music has been read 2586 times. Concerto op 3 arrangement is for Advanced level. The music notes has 3 preview and last read at 2021-09-30 03:59:59. [ Read More ] Carson Cooman Concerto For Bass Trombone And Six Players 2006 Score Only Carson Cooman Concerto For Bass Trombone And Six Players 2006 Score Only sheet music has been read 3510 times.
Load more

Recommended publications
  • On the Question of the Baroque Instrumental Concerto Typology
    Musica Iagellonica 2012 ISSN 1233-9679 Piotr WILK (Kraków) On the question of the Baroque instrumental concerto typology A concerto was one of the most important genres of instrumental music in the Baroque period. The composers who contributed to the development of this musical genre have significantly influenced the shape of the orchestral tex- ture and created a model of the relationship between a soloist and an orchestra, which is still in use today. In terms of its form and style, the Baroque concerto is much more varied than a concerto in any other period in the music history. This diversity and ingenious approaches are causing many challenges that the researches of the genre are bound to face. In this article, I will attempt to re- view existing classifications of the Baroque concerto, and introduce my own typology, which I believe, will facilitate more accurate and clearer description of the content of historical sources. When thinking of the Baroque concerto today, usually three types of genre come to mind: solo concerto, concerto grosso and orchestral concerto. Such classification was first introduced by Manfred Bukofzer in his definitive monograph Music in the Baroque Era. 1 While agreeing with Arnold Schering’s pioneering typology where the author identifies solo concerto, concerto grosso and sinfonia-concerto in the Baroque, Bukofzer notes that the last term is mis- 1 M. Bukofzer, Music in the Baroque Era. From Monteverdi to Bach, New York 1947: 318– –319. 83 Piotr Wilk leading, and that for works where a soloist is not called for, the term ‘orchestral concerto’ should rather be used.
    [Show full text]
  • Apollo's Fire
    CAL PERFORMANCES PRESENTS PROGRAM Saturday, November 9, 2013, 8pm Johann David Heinichen (1683–1789) Selections from Concerto Grosso in G major, First Congregational Church SeiH 213 Entrée — Loure Menuet & L’A ir à L’Ita lien Apollo’s Fire The Cleveland Baroque Orchestra Heinichen Concerto Grosso in C major, SeiH 211 Jeannette Sorrell, Music Director Allegro — Pastorell — Adagio — Allegro assai Francis Colpron, recorder Kathie Stewart, traverso PROGRAM Debra Nagy, oboe Olivier Brault, violin Johann Sebastian Bach (1685–1750) “Brandenburg” Concerto No. 3 in G major, BWV 1048 Bach “Brandenburg” Concerto No. 4 in G major, BWV 1049 Allegro — Adagio — Allegro Allegro — Andante — Presto Olivier Brault, violin Bach “Brandenburg” Concerto No. 5 in D major, Francis Colpron & Kathie Stewart, recorders BWV 1050 Allegro Affettuoso The Apollo’s Fire national tour of the “Brandenburg” Concertos is made possible by Allegro a generous grant from the National Endowment for the Arts. Jeannette Sorrell, harpsichord Apollo’s Fire’s CDs, including the complete “Brandenburg” Concertos, are for sale in the lobby. Olivier Brault, violin The artists will be on hand to sign CDs following the concert. Kathie Stewart, traverso INTERMISSION Cal Performances’ 2013–2014 season is sponsored by Wells Fargo. 16 CAL PERFORMANCES CAL PERFORMANCES 17 PROGRAM NOTES PROGRAM NOTES a mountaintop experience: extraordinary power to move, delight, and cap- Concerto No. 5 requires from the harpsi- performing concertos for the virtuoso bands of europe tivate audiences for 250 years. But what is it that chordist a level of speed in the scalar passages gives them that power—that greatness that we that far exceeds anything else in the repertoire.
    [Show full text]
  • The Double Keyboard Concertos of Carl Philipp Emanuel Bach
    The double keyboard concertos of Carl Philipp Emanuel Bach Item Type text; Thesis-Reproduction (electronic) Authors Waterman, Muriel Moore, 1923- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 18:28:06 Link to Item http://hdl.handle.net/10150/318085 THE DOUBLE KEYBOARD CONCERTOS OF CARL PHILIPP EMANUEL BACH by Muriel Moore Waterman A Thesis Submitted to the Faculty of the DEPARTMENT OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 0 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of re­ quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg­ ment the proposed use of the material is in the interests of scholar­ ship. In all other instances, however, permission must be obtained from the author. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: JAMES R.
    [Show full text]
  • 9. Vivaldi and Ritornello Form
    The HIGH BAROQUE:! Early Baroque High Baroque 1600-1670 1670-1750 The HIGH BAROQUE:! Republic of Venice The HIGH BAROQUE:! Grand Canal, Venice The HIGH BAROQUE:! VIVALDI CONCERTO Antonio Vivaldi (1678-1741) The HIGH BAROQUE:! VIVALDI CONCERTO Antonio VIVALDI (1678-1741) Born in Venice, trains and works there. Ordained for the priesthood in 1703. Works for the Pio Ospedale della Pietà, a charitable organization for indigent, illegitimate or orphaned girls. The students were trained in music and gave frequent concerts. The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO Thus, many of Vivaldi’s concerti were written for soloists and an orchestra made up of teen- age girls. The HIGH BAROQUE:! VIVALDI CONCERTO It is for the Ospedale students that Vivaldi writes over 500 concertos, publishing them in sets like Corelli, including: Op. 3 L’Estro Armonico (1711) Op. 4 La Stravaganza (1714) Op. 8 Il Cimento dell’Armonia e dell’Inventione (1725) Op. 9 La Cetra (1727) The HIGH BAROQUE:! VIVALDI CONCERTO In addition, from 1710 onwards Vivaldi pursues career as opera composer. His music was virtually forgotten after his death. His music was not re-discovered until the “Baroque Revival” during the 20th century. The HIGH BAROQUE:! VIVALDI CONCERTO Vivaldi constructs The Model of the Baroque Concerto Form from elements of earlier instrumental composers *The Concertato idea *The Ritornello as a structuring device *The works and tonality of Corelli The HIGH BAROQUE:! VIVALDI CONCERTO The term “concerto” originates from a term used in the early Baroque to describe pieces that alternated and contrasted instrumental groups with vocalists (concertato = “to contend with”) The term is later applied to ensemble instrumental pieces that contrast a large ensemble (the concerto grosso or ripieno) with a smaller group of soloists (concertino) The HIGH BAROQUE:! VIVALDI CONCERTO Corelli creates the standard concerto grosso instrumentation of a string orchestra (the concerto grosso) with a string trio + continuo for the ripieno in his Op.
    [Show full text]
  • Juilliard415 Robert Mealy , Director and Violin Eunji Lee , Harpsichord
    Friday Evening, December 8, 2017, at 7:30 The Juilliard School presents Juilliard415 Robert Mealy , Director and Violin Eunji Lee , Harpsichord The Pleasure Garden: Music From Handel’s London GEORGE FRIDERIC HANDEL (1685–1759) Concerto grosso in G major, Op. 6, No. 1, from Twelve Grand Concertos in Seven Parts , Op. 6 (1740) A tempo giusto Allegro e forte Adagio Allegro Allegro ROBERT MEALY and SARAH JANE KENNER , Violin Concertino MORGAN LITTLE , Cello Concertino HANDEL Concerto grosso in B-flat major, Op. 6, No. 7 , HWV 325 (1739) Largo Allegro Largo Andante Hornpipe MICHAEL CHRISTIAN FESTING (1705–52) Concerto in G major, Op. 3, No. 9, from Twelve Concertos in Seven Parts (1742) Largo Allegro Largo Allegro Assai Hornpipe—Andante—Hornpipe JONATHAN SLADE and BETHANNE WALKER, Flute Concertino Program continues on next page Juilliard’s full-scholarship Historical Performance program was established and endowed in 2009 by the generous support of Bruce and Suzie Kovner. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. THOMAS ARNE (1710–78) Concerto No. 5 in G minor from Six Favourite Concertos for the Organ, Harpsichord, or Piano Forte (1793) Largo Allegro spirito Adagio Vivace EUNJI LEE ,
    [Show full text]
  • Central Reference CD List
    Central Reference CD List January 2017 AUTHOR TITLE McDermott, Lydia Afrikaans Mandela, Nelson, 1918-2013 Nelson Mandela’s favorite African folktales Warnasch, Christopher Easy English [basic English for speakers of all languages] Easy English vocabulary Raifsnider, Barbara Fluent English Williams, Steve Basic German Goulding, Sylvia 15-minute German learn German in just 15 minutes a day Martin, Sigrid-B German [beginner’s CD language course] Berlitz Dutch in 60 minutes Dutch [beginner’s CD language course] Berlitz Swedish in 60 minutes Berlitz Danish in 60 minutes Berlitz Norwegian in 60 minutes Berlitz Norwegian phrase book & CD McNab, Rosi Basic French Lemoine, Caroline 15-minute French learn French in just 15 minutes a day Campbell, Harry Speak French Di Stefano, Anna Basic Italian Logi, Francesca 15-minute Italian learn Italian in just 15 minutes a day Cisneros, Isabel Latin-American Spanish [beginner’s CD language course] Berlitz Latin American Spanish in 60 minutes Martin, Rosa Maria Basic Spanish Cisneros, Isabel Spanish [beginner’s CD language course] Spanish for travelers Spanish for travelers Campbell, Harry Speak Spanish Allen, Maria Fernanda S. Portuguese [beginner’s CD language course] Berlitz Portuguese in 60 minutes Sharpley, G.D.A. Beginner’s Latin Economides, Athena Collins easy learning Greek Garoufalia, Hara Greek conversation Berlitz Greek in 60 minutes Berlitz Hindi in 60 minutes Berlitz Hindi travel pack Bhatt, Sunil Kumar Hindi : a complete course for beginners Pendar, Nick Farsi : a complete course for beginners
    [Show full text]
  • Programnotes Brahms Double
    Please note that osmo Vänskä replaces Bernard Haitink, who has been forced to cancel his appearance at these concerts. Program One HundRed TwenTy-SeCOnd SeASOn Chicago symphony orchestra riccardo muti Music director Pierre Boulez Helen Regenstein Conductor emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, October 18, 2012, at 8:00 Friday, October 19, 2012, at 8:00 Saturday, October 20, 2012, at 8:00 osmo Vänskä Conductor renaud Capuçon Violin gautier Capuçon Cello music by Johannes Brahms Concerto for Violin and Cello in A Minor, Op. 102 (Double) Allegro Andante Vivace non troppo RenAud CApuçOn GAuTieR CApuçOn IntermIssIon Symphony no. 1 in C Minor, Op. 68 un poco sostenuto—Allegro Andante sostenuto un poco allegretto e grazioso Adagio—Allegro non troppo, ma con brio This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. Comments by PhilliP huscher Johannes Brahms Born May 7, 1833, Hamburg, Germany. Died April 3, 1897, Vienna, Austria. Concerto for Violin and Cello in a minor, op. 102 (Double) or Brahms, the year 1887 his final orchestral composition, Flaunched a period of tying up this concerto for violin and cello— loose ends, finishing business, and or the Double Concerto, as it would clearing his desk. He began by ask- soon be known. Brahms privately ing Clara Schumann, with whom decided to quit composing for he had long shared his most inti- good, and in 1890 he wrote to his mate thoughts, to return all the let- publisher Fritz Simrock that he had ters he had written to her over the thrown “a lot of torn-up manuscript years.
    [Show full text]
  • The Italian Double Concerto: a Study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy
    The Italian Double Concerto: A study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy a document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Performance Studies Division – The University of Cincinnati College-Conservatory of Music 2013 by Jason A. Orsen M.M., Kent State University, 2003 B.M., S.U.N.Y Fredonia, 2001 Committee Chair: Dr. Vivian Montgomery Prof. Alan Siebert Dr. Mark Ostoich © 2013 Jason A. Orsen All Rights Reserved 2 Table of Contents Chapter I. Introduction: The Italian Double Concerto………………………………………5 II. The Basilica of San Petronio……………………………………………………11 III. Maestri di Cappella at San Petronio…………………………………………….18 IV. Composers and musicians at San Petronio……………………………………...29 V. Italian Double Concerto…………………………………………………………34 VI. Performance practice issues……………………………………………………..37 Bibliography……………………………………………………………………………………..48 3 Outline I. Introduction: The Italian Double Concerto A. Background of Bologna, Italy B. Italian Baroque II. The Basilica of San Petronio A. Background information on the church B. Explanation of physical dimensions, interior and effect it had on a composer’s style III. Maestri di Cappella at San Petronio A. Maurizio Cazzati B. Giovanni Paolo Colonna C. Giacomo Antonio Perti IV. Composers and musicians at San Petronio A. Giuseppe Torelli B. Petronio Franceschini C. Francesco Onofrio Manfredini V. Italian Double Concerto A. Description of style and use B. Harmonic and compositional tendencies C. Compare and contrast with other double concerti D. Progression and development VI. Performance practice issues A. Ornamentation B. Orchestration 4 I.
    [Show full text]
  • Music by Handel, Purcell, Corelli & Muffat
    Belsize Baroque Director: Persephone Gibbs Soprano: Nia Coleman Music by Handel, Purcell, Corelli & Mufat Sunday 27 November 2016, 6.30 pm St Peter’s, Belsize Square, Belsize Park, London NW3 4HY Programme George Friderick Handel (1685–1759) Concerto Grosso in B flat Op.3 No.1 HWV 312 Allegro – Largo – Allegro The Concerti Grossi Opus 3, drawing together pre-existing works by Handel, were published by the less than scrupulous London publisher John Walsh in 1734. A rival composer, Geminiani, had just taken Walsh to court for printing two sets of his Concerti which he claimed Walsh had acquired illegally. While there is no evidence that Handel objected to Walsh’s selection of his works as Opus 3, it looks as if he did not have a chance to edit them pre-publication; it is for instance odd that the last movement of this B flat concerto is in G Minor. The opening movement has solos for the oboes and a violin, the slow movement adds recorders over an orchestral texture with divided violas, and the final movement features bassoons towards the end: all giving London’s best instrumentalists a chance to shine. George Friderick Handel Two arias from the opera Rinaldo, HWV 7 ‘Augelletti, che cantate’ – ‘Lascia ch’io pianga’ Rinaldo is the first Italian opera Handel composed for London, opening in the Haymarket in February 1711. These two arias are sung by Almirena, the daughter of Godfrey of Bouillon, who is capturing the city of Jerusalem from the infidel during the First Crusade (1096–99). Almirena, a character unknown to Torquato Tasso, from whose epic the plot of the opera is drawn, has been introduced into the plot by the librettist to provide a love interest.
    [Show full text]
  • Edgar Meyer Biography by IMG Artists - IMG Artists Imgartists.Com
    Edgar Meyer Biography by IMG Artists - IMG Artists imgartists.com Edgar Meyer In demand as both a performer and a composer, Edgar Meyer has formed a role in the music world unlike any other. Hailed by The New Yorker as “...the most remarkable virtuoso in the relatively un-chronicled history of his instrument”, Mr. Meyer’s unparalleled technique and musicianship in combination with his gift for composition have brought him to the fore, where he is appreciated by a vast, varied audience. His uniqueness in the field was recognized by a MacArthur Award in 2002. As a solo classical bassist, Mr. Meyer can be heard on a concerto album with the St. Paul Chamber Orchestra conducted by Hugh Wolff featuring Bottesini’s Gran Duo with Joshua Bell, Meyer’s own Double Concerto for Bass and Cello with Yo-Yo Ma, Bottesini’s Bass Concerto No. 2, and Meyer’s own Concerto in D for Bass. He has also recorded an album featuring three of Bach’s Unaccompanied Suites for Cello. In 2006, he released a self-titled solo recording on which he wrote and recorded all of the music, incorporating piano, guitar, mandolin, dobro, banjo, gamba, and double bass. In 2007, recognizing his wide-ranging recording achievements, Sony/BMG released a compilation of “The Best of Edgar Meyer”. In 2011 Mr. Meyer joined cellist Yo-Yo Ma, mandolinist Chris Thile, and fiddler Stuart Duncan for the Sony Masterworks recording “The Goat Rodeo Sessions” which was awarded the 2012 Grammy® Award for Best Folk Album. As a composer, Mr. Meyer has carved out a remarkable and unique niche in the musical world.
    [Show full text]
  • Two Concertos by Obadiah Shuttleworth
    TWO CONCERTOS. Being the first & eleventh SOLOS of ye late Arcangello Corelli as they are made into CONCERTOS by Mr: Obadiah Shuttleworth Ingrav'd by T. Cross London Printed & Sold by Joseph Hare at ye Viol & Flute in Cornhill Edited by Andrew Pink INTRODUCTION AND EDITORIAL COMMENTARY Obadiah Shuttleworth (d.1734) was the son of Thomas Shuttleworth of Spitalfields in London. Thomas was a professional music copyist and harpsichord player. The date of Obadiah's birth is uncertain. The Dictionary of National Biography gives c.1675, the Mormon Genealogical Index gives the date as 'about 1680', while the entry in the New Grove Dictionary of Music (2004) gives his birth date as c.1700. Obadiah was an excellent violinist known to have taken part in the influential public concerts arranged by Thomas Britton (1644–1714) 'the musical small coal man' at his business premises in Clerkenwell between 1685 and 1714, and to where musical professionals and amateurs from all ranks of London society were drawn. Shuttleworth also led concerts that were established from about 1728 at the Swan Tavern, Cornhill. The eighteenth-century musical historian Sir John Hawkins wrote of Shuttleworth that he 'played the violin to such a degree of perfection, as gave him a rank among the first masters of his time'. In 1724, having been organist of St Mary’s Whitechapel, Shuttleworth was made organist of St. Michael's, Cornhill and this was announced in the British Journal of 11 January 1724 - ’London. Mr Obadiah Shuttleworth, Organist of St Mary White-chapel, is chosen Organist of St.
    [Show full text]
  • A Técnica De Arranjo E Transcrição De Johann Sebastian Bach T ______E Pedro Rodrigues Universidade De Aveiro S
    D E B A A técnica de arranjo e transcrição de Johann Sebastian Bach T _________________________________________________ E Pedro Rodrigues Universidade de Aveiro S Resumo: a utilização de música não originalmente escrita para violão assume, actualmente, um papel fundamental para a multiplicidade de concepções de repertórios. O presente trabalho apresenta um levantamento de processos transcricionais usados por 14 Johann Sebastian Bach em suas transcrições e arranjos. Este conjunto de técnicas permite encontrar alternativas às eventuais problemáticas levantadas durante a transcrição e simultaneamente, processos para manter inalterada a significação proposta pelo compositor. A análise apresentada deverá possibilitar a transcrição de obras onde a facies, diferente do texto original, não comprometerá a significatio proposta pelo seu compositor e, graças à análise histórica, emergir no futuro com novas criações. A constatação de elementos diferenciadores (ad exemplum timbre, cor, elaboração, redução, transposição) reforça a comparação de contrastes entre obra original e obra transcrita. Adicionalmente, este trabalho deseja reforçar a independência estética que se associa a cada uma das versões. Pretende-se assim uma maior conscientização do processo que poderemos chamar de transcricional para que o repertório violonístico alcance uma maior amplitude. Palavras-chave: Transcrição. Arranjo. Violão. Barroco. Performance Johann Sebastian Bach’s method of arrangement and transcription Abstract: The use of music no originally written for guitar, has, nowadays, a main role in the construction of multiple repertories. This work presents an analysis of transcriptional processes used by Johann Sebastian Bach in his arrangements and transcriptions. The array of processes provides alternatives to eventual problems raised during the transcription elaboration and at the same time, options to maintain unaltered the musical intention proposed by the composer.
    [Show full text]