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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.

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Концерт № 1 для контрабаса з оркестром зі скрипкою облігато. Франц Антон Хофмайстера. Контрабас ноти. Скрипка ноти. Акомпанемент фортепіано ноти.

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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.

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Концерт № 1 для контрабаса з оркестром зі скрипкою облігато. Контрабаса та фортепіано. Композитори Франц Антон Хофмайстера. 1754-1812. За редакцією Тобіас Gl. Для контрабаса, фортепіано. Контрабас. Генле Музика Фоліо. Сторінки. Score VI and 44. DB Parts in Solo and Viennese Tuning 22. Vl Part 2. М'яка обкладинка. 74 сторінки. G. Henle #HN721. Видавець Г. Генле. 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.