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Originalno

Concerto No. 1 for Double Bass and Orchestra with Violin Obbligato. Franz Anton Hoffmeister. Double Bass sheet music. Violin sheet music. Piano Accompaniment sheet music.

Prevod

In orkester št 1 za kontrabas in orkester z violino Obbligato. Franz Anton Hoffmeister. Dvojni bas note. Violina note. Klavirsko spremljavo note.

Originalno

Concerto No. 1 for Double Bass and Orchestra with Violin Obbligato. Double Bass and Piano. Composed by Franz Anton Hoffmeister. 1754-1812. Edited by Tobias Gl. For Double Bass, Piano. Double Bass. Henle Music Folios. Pages. Score VI and 44. DB Parts in Solo and Viennese Tuning 22. Vl Part 2. Softcover. 74 pages. G. Henle #HN721. Published by G. Henle. HL.51480721. 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 appearing in the second movement.

Prevod

In orkester št 1 za kontrabas in orkester z violino Obbligato. Kontrabas in klavir. Ki ga sestavljajo Franz Anton Hoffmeister. 1754-1812. Uredil Tobias Gl. Za kontrabas, klavir. Double Bass. HENLE Glasba folijev. Strani. Score VI and 44. DB Parts in Solo and Viennese Tuning 22. Vl Part 2. Mehko prekrivalo. 74 strani. G. Henle #HN721. Izdala G. HENLE. HL.51480721. 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 appearing in the second movement.