The ISB is a forum for communication among bassists throughout the world and across a wide variety of musical styles. Every two years the ISB holds an international convention and double bass competition, a composition contest, and now, a makers competition.
- Finding information about the double bass.
- BIS Records - Rossini & Hoffmeister - Quartets with Double Bass!
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- Trios and Quartets for Double Basses, Vol 1 (Paperback)?
Online Journal of Bass Research. Each issue features an article that has passed a rigorous peer review process. A list of bass related links managed by the International Society of Bassists. Watanabe Endowed Acquisitions Fund. Visitor Guidelines Community Resources Alumni. Library Account Interlibrary Loan my.
- Zimmermann Trios & Quartets for Bass Vol. II arr. theranchhands.com;
- Last Gasp.
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Double Bass This guide is designed to help you find information about, and music for, the Double Bass. Suggested Subject Headings Below are examples of some useful subject headings for use in Voyager and the Card Catalog. Print resources for double bass repertoire De Smet, Robin. S7 D Farish, Margaret. M String Music in Print. S7 F Grodner, Murray. V4 A5 Meier, Adolf. Suggested call numbers for browsing the shelves or our catalog ML B D5 Brun, Paul.
B N5 Cohen, Irving Hersch. CH Related works may be found by searching the subject: I The bass line: B31 also found here. The special appeal for me as a double bassist was the satisfaction of overcoming the usual instrumentation at quartet concerts through captivating programming. Typically the double bassist does not appear in such concerts until the finale with such works as the Dvorak quintet or Eine kleine Nachtmusik. Should the double bassist be allowed to become the primary impetus for such concerts so frequently? It is no secret that colleagues reacted at first with reluctance to the choice of such unknown literature as performance repertoire.
Among them were the elite of the Vienna Philharmonic first concertmaster, principal second, first viola, solo cellist, and a prominent pianist. Two hundred years of chamber music were on the program! The nonprofessional friends of music may very well ask why the archive was created in Vienna. The answer has been discussed abundantly in the subject literature.
The close family connections of the Habsburgs to the noble houses of Italy created a continual exchange of artists over the Alps. Therefore, in G. Buonamente was able to lay the ground work for the great flowering of the trio sonata in realm of the Viennese court. Kielmannsegg created sonatas suites, ballets, partitas, etc.
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Today if they have not been lost, such compositions are usually performed in orchestral style. On the contrary, Prinner confirms the use of two different sized double-bass instruments that have illustrative evidence from the time of Orlando di Lasso. Prinner was a piano teacher at the Viennese court and authored the as of yet earliest known playing instructions for the violin, viola, gamba, and double bass. This has been overlooked in violin-gamba research up until now.
At the same time, the methodology for the cello has nothing to offer during this period. In the eighteenth century, Viennese music reached its absolute high point through the divertimento literature, the string quartet, and the symphony. Mattheson from as far away as Hamburg. Courts from all over Europe sent scholars to Vienna for training.
As one of the prize objects of the Habsburg empire, the Vienna Court Chapel had at its disposal numerous instrumentalists and virtuosos from all parts of the monarchy. An essential quality factor came out of the personal contact that the composers had with the instrumentalists.
In their double function as Kapellmeister, composers were well able to observe the technical possibilities of the players and put them to good use. However, under the Habsburgs there were many that earned recognition above and beyond amateur status and were regarded as first-rate musicians. Special performance feats were given as presents from the private purse of the Kaiser. I will mention only one example of many concerning the personal interest that the Kapellmeister of this time took in his musicians.
Perhaps he could be a decent violinist, but he is at best a poor bassist. With the evaluation of the historical role of the violoncello, its strong affinity with the viola has been basically ignored. In quick succession the double bass was integrated in all instrumental works of the early eighteenth century.
Trios And Quartets For Double Basses, Volume 1 Sheet Music - Sheet Music Plus
The gradual turn away from the recitative allowed the creation of chamber music without the thorough-bass function. Composers utilized the double bass in duos J. Borghi, Dittersdorf trios I. Haydn, Albrechtsberger quartets Wagenseil, M.
Rossini & Hoffmeister - Quartets with Double Bass
Haydn, Telemann, Mozart as well as in quintets A. Haydn, Dittersdorf, Albrechtsberger, Hoffmeister etc. Double bassists of the nineteenth century were obviously shocked, since the transformation from the violone most often with 4 or 5 strings and frets to the modern double bass most often with 4 strings and no frets seemed to exclude them from the old literature.
Whenever any of the manuscripts of these works were awakened from their archive, there was the question of whether the violone could not have actually been a violoncello. In any event, the frequent presence of the double bass in this genre at least requires some rethinking from the typical judgement.
Although remaining largely unreflected in Viennese research, a large body of concert literature developed in the middle of the eighteenth century. Included here are the earliest double-bass concerto and around three dozen concertos and concertante chamber music, all of which appeared within the span of four decades. This intense interest, unprecedented within string literature, is without doubt due to the unique sound of the above-mentioned Viennese violone Wiener Quart-Terz Violon.