10 Best Concertos for the Double Bass and Flugelhorn
Jeremy Berman
Serendipiti's a minor concerto
Wockamazu's b flat major concerto
Terakocka's e flat minor concerto
Strambleheizer's C# minor concerto
....I guess I better make that four best. Have I forgotten any?
Samuel S. Broda
What about the Best Concerto for 10 Double Basses and Flugelhorns?
Does anything composed by Chuck Mangionne (sp) count?
Caius Marcius
In <5gi0j9$j...@dfw-ixnews9.ix.netcom.com> jell...@ix.netcom.com(Jeremy
Berman) writes:
>
>Serendipiti's a minor concerto
>Wockamazu's b flat major concerto
>Terakocka's e flat minor concerto
>Strambleheizer's C# minor concerto
>....I guess I better make that four best. Have I forgotten any?
How can you possibly list Strambleheizer C# minor concerto over his far
superior G flat concerto!
- CMC
Jeremy Berman
In <5gkr4b$9...@sjx-ixn11.ix.netcom.com> cori...@ix.netcom.com(Caius
Marcius) writes:
>
>
>How can you possibly list Strambleheizer C# minor concerto over his
far
>superior G flat concerto!
>
forgotten the G flat?
Mark Starr
I don't know any concertos for flugel horn, but if the original poster
of this topic thinks that concerti (or concerted works) for the double
bass are ridiculous or musically inconsequential, then he is ignorant of
the music of Giovanni Bottesini (1821-1889).
As an international soloist, he was (and still is) regarded as the
"Paganini of the Double Bass," the most extraordinary performer the
instrument has even known.
As a conductor, he was one of the most celebrated in the history of
Italian opera (Verdi specifically selected Bottesini to give the world
premiere of "Aida" in Cairo, and in European cities after that.)
And as a composer, he wrote a wide range of works in many genres. The
most famous of his works--the Gran Duo Concertant, for violin, double
bass and orchestra--has been performed by countless orchestras round the
globe. This amazing piece is not merely a mind-boggling virtuoso
showpiece for both soloists; it is also utterly captivating music by one
of the most original and brilliant composers in 19th Century Italy. And
there is plenty more besides that piece.
Regards,
Mark Starr
Caius Marcius
In <332EE0...@inow.com> Mark Starr <st...@inow.com> writes:
>
>I don't know any concertos for flugel horn, but if the original poster
>of this topic thinks that concerti (or concerted works) for the double
>bass are ridiculous or musically inconsequential, then he is ignorant
of
>the music of Giovanni Bottesini (1821-1889).
I think the real target of this thread is not Bottesini or even the
flugelhorn, but these silly "10 best" lists that flourish so profusely
over this NG.
- CMC
Lists are the junk food of criticism.
- Paul Schrader
Jeremy Berman
In <5gnqs0$q...@dfw-ixnews5.ix.netcom.com> cori...@ix.netcom.com(Caius
Marcius) writes:
>
>In <332EE0...@inow.com> Mark Starr <st...@inow.com> writes:
>>
>>I don't know any concertos for flugel horn, but if the original
poster
>>of this topic thinks that concerti (or concerted works) for the
double
>>bass are ridiculous or musically inconsequential, then he is ignorant
>of
>>the music of Giovanni Bottesini (1821-1889).
>
>I think the real target of this thread is not Bottesini or even the
>flugelhorn, but these silly "10 best" lists that flourish so profusely
>over this NG.
>
Double Bass. Gary Karr has had some works written for him recently, for
instance. I think some of us need to get a sense of humor.
-----Jeremy
Scrtchbox
Do not forget Frantisek Gregora.
David Bluestone
Forget him? I never even remembered him in the first place.
David
AusFootGuy
And Gary with his ultra rosined and gigantic vibrato and playing sharp
only insults us FURTHER that he is the only person you uneducated dumbass
iidiots can think of in terms of Bass Virtuosi. And i doubt VERY seriously
if Gary has had anythign new written for him lately, he wouldnt be able to
play it most likely and no one who knows anything about bass would take
the risk , unless he was paying them a sizeable fee.
Rob Barnett
The British composer Wilfred Josephs has written a Concerto for
Double Bass and Orchestra.
There is also his Symphony No 12 Sinfonia Quixotica Op 175 for
orchestra plus d/b and violin (I think) which is due a premiere which
MAY be given by the Seattle SO with Gerard Schwarz.
There is now a Wilfred Josephs Society - Membership Secretary:
Philippa Porritt, Hill House, Corsiehill, Perth PH2 7BN. ( 01738 442079.
Josephs Double Bass Concerto Op. 118 played by dedicatee Gary Carr,
Adelaide SO/Patrick Thomas is available on ABC Classics 8.770018.
Carr pre-miered the piece (RLPO/David Atherton) on 25 July 1981 at
the Chester Summer Music Festival.
The Symphony No. 12 Sinfonia Quixotica Op. 175 for solo violin,
dou-ble bass and orchestra was written to celebrate both the composer
s 70th birthday and Cervantes 450th birthday. It is expected to be
premiered next year in Seattle by the two dedicatees, Carr and
Michael Davis (Seattle SO/Gerard Schwarz).
ALL IN A DAY S WORK - THE MUSIC OF TONY OSBORNE
1997 marks the 50th birthday of the British bassist and composer Tony
Osborne who has made a significant contribution to the double bass
repertoire over the past 20 years. His popular student books ( The
Double Bass Sings / The Really Easy Bass Book / The Really Easy
Electric Bass Book ) are used by teachers and exam boards world-wide
and his ensembles for bass are often the staple diet of many a
work-shop course or concert. Tony s music has an instant appeal for
performers and audience alike and he has that rare ability to write
good music for any level of bassist.
Tony Osborne was born in Slough, Berkshire on 10th November 1947 and
initially studied cello before finally moving to the double bass - an
obvious decision since his brother was also a bassist and there were
usually at least four basses in the house at any one time He studied
at the Royal Academy of Music (1966-9) with John Walton (Double Bass)
and Richard Stoker (Composition) and soon became a busy freelance
bassist in London. He has performed with many US orchestras (BBC
Symphony, BBC Concert, Royal Ballet, Festival Ballet, D Oyly Carte)
and more recently has concentrated on the jazz scene including
session and film work (A View to a Kill/Loser Takes All/Capital City)
alongside important cabaret work with Faith Brown, Sir Harry Secombe
and Frankie Vaughan.
Tony s composing career spans a 35 year period and the double bass
has been an important influence and feature in many commissions. His
music combines lyrics - and pastoral moods with jazz influences
driv-ing rhythms and great forward momentum, culminating in music
that is both practical and accessible. In one phrase - music to be enjoyed!
Alongside his work as a composer Tony s collaboration with Faber
Music has been a particularly fruitful one leading to popular string
ar-rangements of music by Andrew Lloyd Webber (Cats), Howard Blake
(The Snowman), Bizet (Carmen), Paul McCartney (Liverpool Orato-rio),
Benjamin Britten (Welcome Ode) and Rodgers and Hammerstein.
He seems to have made a conscious decision in the 1960s to not
compose for double bass and apart from a short lyrical Study for
dou-ble bass and piano (1966) written during a lunch-break
concentrated on a number of chamber and orchestral works involving
two commis-sions from the Missenden Festival in 1967 (Piano Trio No.
1) and 1968 (Fantasia for Cello & Piano). However from the late 1970s
to the present day many of his works have been for solo or ensemble
double bass with commissions from The Bass Club and The British &
International Bass Forum. The early works for double bass and piano
have a youthful energy and vitality and were written in a variety of
styles to compliment the qualities of the double bass. The Caprice
(1978) abounds in cross-rhythms, harmonic side-steps and energy while
the Aeolian Air (1980) has a glorious pastoral and gentle quality
derived from the use of the aeolian mode which only uses the white
notes on the piano. The El gie (1980) is more advanced both in terms
of technique and style and influences of Britten and Hindemith can be
occasionally glimpsed in a lyrical and free-flowing solo.
More recently Tony has concentrated on works for the advanced player
and in 1992 after the death of his teacher John Walton com-posed
Concerto No. l Melodic Portraits for Double Bass and String Orchestra
as a tribute. The composer writes " Composed in 1992 and dedicated
to the memory of John Walton He was a fine player teacher, loyal
colleague and friend who shared his love of music with everyone. This
music is intended to reflect some facets of his person-ality: direct
unpretentious compassionate sincere - are just some of them. The
central movement is directly contrasted in mood from the others
although bound by strands of thematic unity. This work falls
somewhere between light music and serious contemporary work
al-though it does not try to be either." Concerto No. 1 was first
performed on Saturday 16th March 1997 in Wokingham, Berkshire by
David Heyes (Solo Double Bass) and the Corelli String Orchestra
conducted by David Bennet.
At present Tony is writing a new Concerto for Double Bass and
Or-chestra and a Quartet Concerto for 4 Double Basses and Strings -
the latter to be premiered on Saturday 11th October 1997.
Alongside his work as a composer and performer Tony is also an
established tutor with the Berkshire Young Musicians Trust, also
teaching at several public schools. His own pupils have often been
the guinea-pigs for new commissioned ensemble works and his many
trios and quartets have proved to be instantly popular. The pastiche
quality of some of them, sometimes obvious from the title alone,
shows his great skill and ability to write in almost any style. The
jazz-influenced ensembles are particular favourites with students -
from Green Bass Blues and Real Cool to the toe-tapping and rhythmic
The Pink Elephant. Pastyme with Good Companye originally written by
King Henry VIII and superbly arranged by Tony for bass quartet has
great rhythmic drive and power and is particularly relevant in 1997,
celebrating Tony s 50th birthday and the 450th anniversary of the
death of Henry VIII in 1547.
To mark the founding of The British Double Bass Forum in 1994 Tony
was commissioned to write a new work for bass quartet. All in a Day s
Work a three movement suite (Kick Start/Free Time/Rush Hour) was the
result and is an inspired and important addition to the bass quartet
repertoire. It was first performed at the Welsh College of Music &
Drama in Cardiff in 1995 and has since been performed throughout
Great Britain. All in a Day s Work is a wonderful fusion of jazz,
driv-ing rhythms and great rhythmic vitality and has proved to be
popular with both performers and audiences. If audiences are a little
wary of listening to four double basses, this is the piece to win
them over to the unique qualities of the double bass ensemble.
Tony continues to work as busily as ever and 1996 saw the new
mu-sical Noble Rot with words by Jonathan Posner. This lively and
up-beat story has a wonderfully fresh and invigorating score that
demon-strates his ability to write the right tune for the right
words. It is hoped to stage the musical in 1997/8. Congratulations to
Tony for reaching his half century and we look forward to many new
works for double bass from this unique and important composer and
bassist. David Heyes
RECITAL MUSIC publish a number or double bass works by Tony Osborne
and can be contacted: Studio Ten, Farnham Maltings, Farnham, Surrey
GU9 7QR UK (Tel/Fax 01252-319610). 1997 will be a good year for
Osborne with a number of premieres: Concerto No. 1 Melodic Portraits,
Intrada, Romance and Scherzo for 2 double basses, Concerto for 4
double basses and strings and songs from the musical Noble Rot. 10
works are being published by Recital Music and there are several 50th
birthday concerts in October and November.
David Heyes whose address is the same as Recital Music can provide
further information.
Rob
Eric Schissel
Vagn Holmboe's sonata for solo double bass, from perhaps his best
composing period, will soon be broadcast on Swedish P2.
Robert Fuchs's sonata for double bass and piano is also worth
investigation.
-Eric Schissel