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Laine, Esko

Picture: Laine, Esko

Helsinki, 1961. Esko Laine was born in 1961 in Helsinki and studied at Hyvinkää Conservatory. When he was eighteen years old, he obtained a post at the Finland National Opera Orchestra, and he left it to study with Günter Klaus and Franco Petracchi. He won several international prizes such as Isle of Man, Markneukirchen and Munich ARD Competition. In 1886 he joined at Berlin Philharmonic Orchestra and became the first Finnish musician to obtain a post there. His way of playing has inspired many composers to write double bass works. Esko Laine is a professor at Hans Eisler Musikhochschule Berlin. He was a professor in several European youth orchestras and he usually gives master classes. In chamber music, he is guest at many festivals and a member of ensembles Alia Musica from Berlin and Kerberos from Finland. Esko Laine plays a double bass made by Giuseppe Rocca in 1839.

Biography

BACH, Johann Sebastian

Picture: BACH, Johann Sebastian

Eisenach, 1685 - Leipzig, 1750. Born into a musical family, Bach received his earliest instruction from his father. After his father's death in 1695, Bach moved to Ohrdruf, where he lived and studied organ with his older brother Johann Christoph. He also received an education at schools in Eisenach, Ohrdruf, and Lüneburg. Bach's first permanent positions were as organist in Arnstadt (1703-1707) and Mühlhausen (1707-1708). During these years, he performed, composed taught, and developed an interest in organ building. From 1708-1717 he was employed by Duke Wilhelm Ernst of Weimar, first as court organist, and after 1714, as concertmaster. During this period, he composed many of his best organ compositions; in his capacity as concertmaster, he was also expected to produce a cantata each month. In Weimar, Bach's style was influenced by his study of numerous Italian compositions (especially Vivaldi concertos). Bach's next position, as Music Director for the Prince Leopold of Cüthen (1717-1723), involved entirely different activities. Since the court chapel was Calvinist, there was no need for church compositions; Bach probably used the Cüthen organs only for teaching and practice. His new works were primarily for instrumental solo or ensemble, to be used as court entertainment or for instruction. Among the important compositions at Cüthen were the Brandenburg Concertos, the first volume of Das wohltemperirte Clavier (The Well-Tempered Clavier), the "French" and "English" Suites for harpsichord (although the "English" Suites may be from the Weimar period), and most of the sonatas and suites for other instruments. In 1723, Bach was appointed cantor at the St. Thomas Church and School, and Director of Music for Leipzig, positions which he retained for the rest of his career. His official duties included the responsibility of overseeing the music in the four principal churches of the city, and organizing other musical events sponsored by the municipal council. During his first six years in Leipzig (1723-1729), Bach's most impressive compositions were his sacred cantatas (four yearly cycles), and the St. John and St. Matthew Passions. Bach apparently gave virtuoso organ recitals in Leipzig and on various tours, although he had no official position as organist in Leipzig. In 1729-1737 and 1739-1741, he was director of the Leipzig Collegium Musicum, an organization which had been founded by Telemann in 1704. This group of professional musicians and university students performed weekly concerts (out-of-doors in the summer, and at Zimmerman's coffee-house in the winter). Although no specific programs for these concerts have survived, Bach apparently revived and many of his instrumental compositions from Cüthen, wrote new works (e.g., secular cantatas), and conducted pieces by other composers. During the 1730s, Bach renewed his interest in keyboard compositions, and prepared the first three volumes of his Clavier-Übung (Keyboard Practice) for publication (1731, 1735, 1739); the fourth volume appeared in 1741-1742. In the 1730s, he also showed considerable interest in the royal court at Dresden, and was named "Hofkomponist" (court-composer") in Dresden in 1736. During Bach's last decade (the 1740s), he completed or revised several large-scale projects which he had started earlier. The Well-Tempered Clavier, Vol. II; a manuscript collection of chorale preludes (known as the "Leipzig 18", comprising revisions of Weimar pieces), and the B minor Mass. Other new works showed

Biography

  • BACH | Laine < Double bass

    Suite for cello solo no. 1 in G major BWV 1007 (transcription for double bass)

    I. Prelude

    CLASS 2792: [O.V.: English]

    Content

    Part - 4' 32''
    Study methods - 1' 42''

BEETHOVEN, Ludwig van

Picture: BEETHOVEN, Ludwig van

Bonn, 1770 - Vienna, 1827. He was born in the German town of Bonn on the 16th of December 1770. His grandfather Ludwig and his father Johann were both musicians. Johann was to act as little Ludwig's first music teacher, but Ludwig soon changed to the court organist C. G. Neefe. Passing eleven years of age, Ludwig deputized for Neefe, and at twelve had his first music published. He then stayed as Neefe's assistant until 1787, when at seventeen, he took off for Vienna. Even though Vienna was to be his home for the rest of his life, this first visit was short. On hearing that his mother was dying, he quickly returned to Bonn. Five years later he finally moved to Vienna to live and work. After arriving in 1792 he studied composition and counterpoint under Haydn, Schenk, Salieri and Albrechtsberger. At the same time, he tried to establish himself as pianist and composer. His good relations with the towns aristocracy soon led to a secured income. In 1809, with the sole condition that he stayed in Vienna, Prince Kinsky, Prince Lobkowitz and Archduke Rudolp even guaranteed Beethoven a yearly income. But going back to the years around 1800, which is traditionally called the early period, he was still trying to master the high classical style. This strive culminated in the second symphony from 1801-1802. This is also the time when the middle period starts. From now up until 1813, Beethoven develops and enhances the high classical style into a more dynamic and individualistic style. It is now that he writes symphonies Nr. 3 - 8, piano consert Nr. 5 and a lot of chamber music. But as he learns to control his craft and develop the music into new undiscovered grounds, he also suffers from reminders of the pains of real life. He has early in life discovered that his hearing wasn't what it should be, and the disorder gets worse as time goes by. It gets to the point where Beethoven is thinking of ending his life as he sees no way out of his despair. That fact is documented in the letter he wrote to his brothers in 1802, the so called "Heiligenstadt Testament". This hearing disorder seems to have affected his social life to a great extent. He became difficult to handle in social interactions and could suddenly burst into outbreaks of anger and show bad temper where he usually insulted someone. If that is the reason for his troubles with women, or if their is something traumatic hidden in his childhood, I don't know, but the fact is that he never got involved with a woman in a normal relation. Beethoven seems to have been attracted to women he couldn't get, or at least was hard to get. An example is Antoine Brentano, with whom he had a relationship, but who broke up with him to marry a friend. It is she who is known as the "immortal beloved" in letters addressed to her from Beethoven in 1812. Now came a couple of years without much creative work. Instead he was tormented by personal matters concerning his nephew of which he tried to gain custody when the brother died in 1815. But Beethoven didn't have the capacity of a domestic human being, and even though he did win the struggle for custody, Beethovens relation with the nephew was tense and burdensome and it reached the point where little Karl tried to take his own life in 1826. This is also the so called late period in Beethovens musical career. His music is described as less dramatic and more introvert, but also, I would like to add, more mature and secure. It has a flavour of the genius growing old and an obvi

Biography

  • BEETHOVEN | Laine < Double bass

    Symphony no. 9 in D minor op 125 (double bass part)

    IV. Finale. Presto

    CLASS 2791: [O.V.: English]

    Content

    Part - 29' 45''
    Imitation, Bow - 2' 25''
    Phrasing, Weight - 1' 50''
    Sound quality - 1' 04''
    Metrical rigor or freedom - 0' 59''
    Left hand, Jumps - 1' 25''
    Duration, Bow distribution - 3' 26''
    Sound quality - 2' 02''
    Bow distribution - 1' 20''
    Attitude of the musician, Sound preparation - 1' 13''
    Fingerings, Portamento - 2' 47''
  • BEETHOVEN | Laine < Double bass

    Symphony no. 9 in D minor op 125 (double bass part)

    IV. Finale. Presto

    CLASS 2810: [O.V.: English]

    Content

    Part - 31' 56''
    Vibrato, Imitation - 1' 50''
    Metrical rigor or freedom, Attitude of the musician - 1' 15''
    Up-beat, Clarity of execution - 2' 05''
    Sound quality, Body gestures - 1' 17''
    Accents, Fingerings - 1' 07''
    Sound quality, Bow direction - 1' 33''
    Fingerings, Jumps - 1' 23''
    Sound quality, Phrasing - 2' 18''
    Sound quality, Bow distribution - 1' 00''
    Fingerings, Jumps - 0' 58''
    Sound quality, Dynamics - 1' 04''
    Bow, Body gestures - 1' 54''
    Fingerings, Sound quality - 1' 06''
    Duration, Bow - 1' 55''
    Dynamics, Sound quality - 1' 38''
    Bow direction, Shifts or changes of position - 2' 02''
    Attitude of the musician, Phrasing - 2' 41''
  • BEETHOVEN | Laine < Double bass

    Symphony no. 9 in D minor op 125 (double bass part)

    IV. Finale. Presto

    CLASS 2811: [O.V.: English]

    Content

    Part - 37' 23''
    Rhythm, Sound quality - 3' 12''
    Fingerings, Shifts or changes of position - 1' 31''
    Fingerings, Metrical rigor or freedom - 3' 01''
    Fingerings - 1' 51''
    Articulation, Sound quality - 1' 27''
    Metrical rigor or freedom, Fingerings - 2' 42''

BOTTESINI, Giovanni

Picture: BOTTESINI, Giovanni

Crema, 1821 - Parma, 1889

Biography

  • BOTTESINI | Laine < Double bass

    Concerto for double bass and piano no. 2 in B minor

    II. Andante

    CLASS 2798: [O.V.: English]

    Content

    Part - 5' 17''
    Tempo - 1' 52''
    Part - 36' 32''
    Character - 1' 08''
    Duration, Metrical rigor or freedom - 2' 05''
    Phrasing, Expressivity - 3' 22''
    Silence, Rigor or freedom in reading - 1' 27''
    Dynamics, Contrast - 3' 24''
    Articulation, Body gestures - 2' 30''
    Fingerings, Dynamics - 2' 42''
    Expressivity, Contrast - 1' 24''
    Sound quality, Duration - 1' 32''
  • BOTTESINI | Laine < Double bass

    Concerto for double bass and piano no. 2 in B minor

    I. Allegro moderato

    CLASS 2806: [O.V.: English]

    Content

    Part - 58' 50''
    Tuning - 1' 13''
    Dynamics, Character - 1' 09''
    Fingerings, Shifts or changes of position - 1' 16''
    Tempo, Contrast - 1' 24''
    Shifts or changes of position , Study methods - 3' 50''
    Shifts or changes of position , Tuning - 2' 04''
    Relaxation, Shifts or changes of position - 1' 02''
    Sound preparation, Shifts or changes of position - 2' 26''
    Fingerings - 1' 51''
    Metrical rigor or freedom, Expressivity - 1' 00''
    Character, Vibrato - 1' 00''
    Bow direction, Jumps - 1' 01''
    Fingerings, Shifts or changes of position - 2' 17''
    Metrical rigor or freedom, Bow direction - 1' 20''
    Bow direction, Fingerings - 1' 10''
    Shifts or changes of position , Fingerings - 1' 34''
    Contrast, Fingerings - 2' 10''
    Character, Interpenetration - 1' 17''
    Metrical rigor or freedom, Fingerings - 1' 59''
    Bow direction - 1' 12''
    Glissando, Articulation - 1' 16''
    Dynamics, Fingerings - 2' 20''
    Position, Shifts or changes of position - 1' 03''
    Metrical rigor or freedom, Phrasing - 1' 21''
    Metrical rigor or freedom, Dynamics - 1' 00''
    Rigor or freedom in reading, Dynamics - 1' 19''
    Metrical rigor or freedom, Study methods - 1' 22''
  • BOTTESINI | Laine < Double bass

    Concerto for double bass and piano no. 2 in B minor

    I. Allegro moderato

    CLASS 2812: [O.V.: English]

    Content

    Part - 37' 26''
    Evenness, Sound quality - 1' 17''
    Fingerings - 1' 06''
    Metrical rigor or freedom - 1' 14''
    Tuning - 2' 40''
    Phrasing, Bow distribution - 1' 42''
    Fingerings, Indications for the execution - 1' 10''
    Phrasing, Metrical rigor or freedom - 1' 00''
    Bow distribution, Character - 1' 33''
    Study methods, Jumps - 5' 03''
    Harmonics, Fingerings - 1' 29''
    Phrasing, Character - 1' 24''
  • BOTTESINI | Laine < Double bass

    Concerto for double bass and piano no. 2 in B minor

    I. Allegro moderato

    CLASS 8700: [O.V.: English]

    Content

    Position, Body gestures - 1' 28''
    Bow direction, Study methods - 2' 37''
    Cadence, Phrasing - 1' 33''
    Metrical rigor or freedom - 1' 16''
    Character, Vibrato - 1' 02''
    Fingerings - 2' 21''
    Bow direction, Physical motor coordination - 1' 53''
    Articulation, Metrical rigor or freedom - 2' 26''
    Vibrato, Tuning - 2' 51''
    Fingerings, Themes and motifs - 1' 18''
    Study methods, Shifts or changes of position - 4' 06''
    Vibrato - 1' 22''
    Sound quality, Tuning - 1' 45''
    Metrical rigor or freedom, Articulation - 1' 32''
    Metrical rigor or freedom, Contrast - 2' 06''
    Cadence, Jumps - 1' 54''
    Fingerings, Sound quality - 2' 06''
  • BOTTESINI | Laine < Double bass

    Rêverie for double bass and piano

    CLASS 2796: [O.V.: English]

    Content

    Part - 31' 35''
    Rhythm, Phrasing - 1' 33''
    Articulation, Left hand - 2' 05''
    Fingerings, Shifts or changes of position - 2' 43''
    Rhythm, Vibrato - 2' 51''
    Dynamics, Contrast - 2' 13''
    Glissando, Bow distribution - 2' 55''
    Glissando, Metrical rigor or freedom - 1' 31''
    Tuning, Shifts or changes of position - 2' 45''
    Position, Left hand - 1' 48''
  • BOTTESINI | Laine < Double bass

    Capriccio bravura for double bass and piano

    CLASS 2804: [O.V.: English]

    Content

    Part - 57' 19''
    Articulation, The author - 2' 05''
    Harmonics, Dynamics - 1' 42''
    Vibrato, Study methods - 1' 52''
    Phrasing, Trill - 2' 20''
    Trill, Attitude of the musician - 1' 18''
    Fingers, Tremolo - 5' 31''
    Sound quality, Bridge - 3' 02''
    Articulation - 1' 19''
    Rhythm, Metrical rigor or freedom - 1' 17''
    Study methods, Shifts or changes of position - 1' 08''
    Rigor or freedom in reading, Phrasing - 1' 39''
    Attacks, Spiccato - 2' 09''
    Attacks, Spiccato - 2' 26''
    Study methods, Spiccato - 1' 04''
    Study methods, Bow - 1' 54''
    Bow - 1' 45''
    Duration - 1' 26''
    Metrical rigor or freedom - 2' 04''

DITTERSDORF, Carl Ditters von

Picture: DITTERSDORF, Carl Ditters von

Vienna, 1739 - Neuhof, 1799. Austrian composer. He was a violinist in the Prince of Saxe-Hildburghausen's orchestra in Vienna, 1751-61, then served under Count Durazzo at the imperial court theatre. As Kapellmeister to the Bishop of Oradea, 1765-9, he wrote his first vocal works. In 1770-95 he was Kapellmeister to the Prince-Bishop of Breslau; he assembled an opera troupe and had several Italian comic operas staged. He was named Knight of the Golden Spur in 1770 and in 1773 ennobled. Beginning with the highly successful Doctor und Apotheker (1786), he wrote a series of Singspiels for Vienna; in the 1790s he wrote several for Oels. Widely renowned in his day, Dittersdorf was a major figure of the Viennese Classical school. His instrumental output includes over 40 concertos, chamber music and (most important) c 120 symphonies, including 12 based on Ovid's Metamorphoses (c 1786). Witty effects, irregular phrases and folk elements appear, and some later works are tightly and subtly constructed. Most enduring were his Singspiels, which fuse folklike and opera buffa styles. He also composed other stage works, oratorios (notably Esther, 1773), cantatas and sacred music. His memoirs provide much fascinating information about musical life in his time.

Biography

  • DITTERSDORF | Laine < Double bass

    Concerto for double bass and orchestra no. 2 in E major (double bass part)

    I. Allegro moderato

    CLASS 2793: [O.V.: English]

    Content

    Part - 20' 13''
    Phrasing, Metrical rigor or freedom - 2' 56''
    Silence, Phrasing - 1' 29''
    Metrical rigor or freedom, Phrasing - 4' 05''
    Phrasing, Metrical rigor or freedom - 3' 24''
    Rigor or freedom in reading, Rhythm - 2' 35''
    Bow direction, Metrical rigor or freedom - 2' 17''
  • DITTERSDORF | Laine < Double bass

    Concerto for double bass and orchestra no. 2 in E major (double bass part)

    II. Adagio

    CLASS 2559: [O.V.: English]

    Content

    Part - 43' 25''
    Vibrato - 1' 58''
    Bowings - 1' 43''
    Bow direction, Fingerings - 1' 34''
    Glissando, Body gestures - 1' 05''
    Vibrato, Evenness - 1' 35''
    Expressivity, Fingerings - 1' 32''
    Shifts or changes of position , Phrasing - 0' 58''
    Vibrato - 2' 26''
    Improvised cadenza, Metrical rigor or freedom - 1' 50''
    Bow direction - 1' 02''
    Harmonics, Fingerings - 2' 29''
    Shifts or changes of position , Jumps - 2' 06''
  • DITTERSDORF | Laine < Double bass

    Concerto for double bass and orchestra no. 2 in E major (double bass and piano reduction)

    I. Allegro moderato

    CLASS 2794: [O.V.: English]

    Content

    Part - 50' 58''
    Contrast, Metrical rigor or freedom - 1' 21''
    Attacks, Bow - 1' 29''
    Dynamics, Fingerings - 1' 27''
    Sound quality, Metrical rigor or freedom - 1' 34''
    The public, Clarity of execution - 2' 33''
    Fingerings, Bow direction - 3' 44''
    Bow direction, Shifts or changes of position - 2' 27''
    Metrical rigor or freedom, Attacks - 1' 37''
    Fingers, Sound quality - 2' 56''
    Pressure, Fingerings - 2' 28''
    Contrast, Shifts or changes of position - 1' 03''
    Vibrato, Sound quality - 1' 41''
    Phrasing - 1' 05''
    Dynamics, Character - 1' 24''
    Expressivity, Fingerings - 3' 18''
    Fingerings, Detaché - 1' 27''
    Fingerings - 1' 08''
    Bow direction, Double stops - 1' 10''
    Vibrato, Bowings - 1' 31''
    Fingerings, Phrasing - 1' 51''
    Jumps, Harmonics - 1' 01''
  • DITTERSDORF | Laine < Double bass

    Concerto for double bass and orchestra no. 2 in E major (double bass and piano reduction)

    I. Allegro moderato

    CLASS 2803: [O.V.: English]

    Content

    Part - 5' 05''
    Part - 36' 03''
    Attacks, Dynamics - 2' 04''
    Bow direction, Dynamics - 1' 20''
    Dynamics, Bow - 1' 14''
    Phrasing, Duration - 1' 33''
    Bow - 1' 07''
    Bow direction, Spiccato - 1' 38''
    Bow-strokes, Contrast - 2' 00''
    Fingerings - 2' 07''
    Body gestures, Position - 2' 55''
    Vibrato, Fingers - 1' 43''

ECCLES, Henry

Picture: ECCLES, Henry

London, 1670 - Paris, 1742. null

Biography

  • ECCLES | Laine < Double bass

    Sonata for double bass and piano in G minor

    I. Largo

    CLASS 2802: [O.V.: English]

    Content

    Part - 3' 37''
    Part - 15' 43''
    Phrasing - 1' 14''
    Up-beat, Bow distribution - 1' 01''
    Improvisation, Bow distribution - 1' 05''
    Vibrato, Bow distribution - 2' 10''
    Shifts or changes of position , Position - 2' 19''
    Bow distribution, Evenness - 2' 02''
    Position, Relaxation - 1' 00''
    Bow inclination, Sound quality - 1' 36''
    Vibrato, Clarity of execution - 1' 44''
  • ECCLES | Laine < Double bass

    Sonata for double bass and piano in G minor

    II. Corrente - Allegro con spirito

    CLASS 2802: [O.V.: English]

    Content

    Part - 9' 36''
    Bow-strokes, Sound projection - 1' 19''
    Bow distribution, Sound preparation - 2' 17''
    Part - 12' 08''
    Sound quality, Study methods - 2' 07''
    Right hand, Study methods - 1' 26''
    Sound quality, Fingerings - 1' 30''
    Bow-strokes, Attacks - 1' 13''
    Vibrato, Fingers - 2' 26''
  • ECCLES | Laine < Double bass

    Sonata for double bass and piano in G minor

    III. Adagio

    CLASS 2799: [O.V.: English]

    Content

    Part - 8' 13''
    Rhythm, Shifts or changes of position - 2' 27''
    Fingerings, Articulation - 1' 40''
    Sound quality - 1' 47''
  • ECCLES | Laine < Double bass

    Sonata for double bass and piano in G minor

    IV. Vivace

    CLASS 2799: [O.V.: English]

    Content

    Rhythm, Interpenetration - 2' 19''
    Part - 6' 32''
    Sound quality, Attacks - 2' 18''
    Rhythm, Interpenetration - 2' 19''
    Part - 19' 02''
    Right hand, Position - 2' 33''
    Fingerings, Sound preparation - 2' 08''
    Bow distribution, Study methods - 1' 05''
    Chords, Bow - 5' 29''

FRYBA, Hans

Picture: FRYBA, Hans

Reisenberg, 1899 - Gramatneusiedl, 1986

Biography

  • FRYBA | Laine < Double bass

    Suite in Stile Antico for double bass solo

    I. Prélude

    CLASS 2792: [O.V.: English]

    Content

    Part - 24' 27''
    Metrical rigor or freedom, Position - 3' 08''
    Duration, Dynamics - 1' 06''
    Dynamics - 1' 05''
    Bow, Phrasing - 1' 37''
    Articulation, Dynamics - 1' 59''
    Phrasing, Duration - 1' 25''
    Dynamics - 1' 12''
    Tuning, Evenness - 2' 23''
    Fingerings, Tuning - 1' 45''
    Part - 8' 40''
    Tuning, Fingerings - 1' 18''
    Tuning, Tempo - 1' 34''
    Metrical rigor or freedom - 1' 10''
    Articulation, Metrical rigor or freedom - 1' 37''
    Metrical rigor or freedom, Breathing - 2' 19''

GENERALITIES, GENERALITIES

Picture: GENERALITIES, GENERALITIES

Biography

  • GENERALITIES | Laine < Double bass

    Double bass Technique exercises

    CLASS 2559: [O.V.: English]

    Content

    Left hand - 2' 09''
    Scales, Shifts or changes of position - 2' 17''
    Articulation - 1' 03''
  • GENERALITIES | Laine < Double bass

    Double bass Technique exercises

    CLASS 2795: [O.V.: English]

    Content

    Tuning, Study methods - 3' 25''
    Position, The public - 2' 25''
  • GENERALITIES | Laine < Double bass

    Double bass Technique exercises

    CLASS 2799: [O.V.: English]

    Content

    Part - 9' 01''
    Arm, Relaxation - 4' 16''
    Relaxation, Body gestures - 3' 21''
  • GENERALITIES | Laine < Double bass

    Double bass Technique exercises

    CLASS 2802: [O.V.: English]

    Content

    Part - 9' 59''
    Left hand, Body gestures - 1' 19''
    Body gestures, Position - 1' 40''
    Scales, Tuning - 1' 40''
    Shifts or changes of position , Position - 3' 10''
  • GENERALITIES | Laine < Double bass

    Double bass Technique exercises

    CLASS 2803: [O.V.: English]

    Content

    Part - 9' 47''
    Scales, Shifts or changes of position - 3' 39''
    Left hand, Relaxation - 2' 17''
    Vibrato, Relaxation - 3' 43''

KOUSSEVITZKY, Sergey

Picture: KOUSSEVITZKY, Sergey

Vishny-Volotchok, 1874 - Boston, 1951. Russian-born U.S. conductor. A virtuoso double-bass player, he was self-taught as a conductor. With his father-in-law's financial help, he debuted with the Berlin Philharmonic in 1908. In the following years he founded his own orchestra, which toured the Volga by riverboat. After leaving the Soviet Union in 1920, he established the Concerts Koussevitzky series in Paris before becoming permanent conductor of the Boston Symphony Orchestra (1924-49). He gave about 100 premieres there, including commissioned works such as Igor Stravinsky's Symphony of Psalms, and many works by U.S. composers, inspiring his musicians to legendary performances by the force of his personality. The Tanglewood Music Center in Lenox, Mass., was established during his tenure in Boston.

Biography

  • KOUSSEVITZKY | Laine < Double bass

    Concerto for double bass and orchestra in F sharp minor op 3 (double bass and piano reduction)

    I. Allegro

    CLASS 2613: [O.V.: English]

    Content

    Part - 28' 14''
    Position - 2' 40''
    Position - 2' 21''
    Fingerings, Articulation - 1' 12''
    Body gestures, Jumps - 3' 06''
    Dynamics, Attitude of the musician - 3' 24''
    Bow, Dynamics - 2' 42''
    Position, Vibrato - 1' 09''
    Fingerings, Bow - 1' 07''
    Shifts or changes of position , Jumps - 1' 12''
  • KOUSSEVITZKY | Laine < Double bass

    Concerto for double bass and orchestra in F sharp minor op 3 (double bass and piano reduction)

    I. Allegro

    CLASS 2795: [O.V.: English]

    Content

    Part - 41' 50''
    Aptitude, Relaxation - 1' 13''
    Tuning, Jumps - 2' 23''
    Tuning, Attitude of the musician - 1' 16''
    Shifts or changes of position , Study methods - 1' 31''
    Shifts or changes of position , Relaxation - 1' 34''
    Metrical rigor or freedom, Study methods - 2' 25''
    Fingerings, Study methods - 2' 11''
    Bowings, Study methods - 2' 04''
    Clarity of execution, Study methods - 1' 42''
    Relaxation, Shifts or changes of position - 3' 53''
    Phrasing, Bow direction - 2' 00''
    Dynamics - 0' 58''
    Vibrato, Study methods - 1' 44''
    Tuning, Phrasing - 1' 50''
  • KOUSSEVITZKY | Laine < Double bass

    Concerto for double bass and orchestra in F sharp minor op 3 (double bass and piano reduction)

    I. Allegro

    CLASS 2800: [O.V.: English]

    Content

    Glissando, Fingerings - 2' 39''
    Harmonics, Phrasing - 2' 48''
    Bowings, Contrast - 2' 29''
    Metrical rigor or freedom, Clarity of execution - 1' 55''
    Dynamics, Glissando - 2' 07''
    Bowings, Glissando - 3' 04''
    Metrical rigor or freedom, Dynamics - 2' 38''
    Bow direction, Fingerings - 1' 40''
  • KOUSSEVITZKY | Laine < Double bass

    Concerto for double bass and orchestra in F sharp minor op 3 (double bass and piano reduction)

    I. Allegro

    CLASS 2805: [O.V.: English]

    Content

    Part - 8' 03''
    Rigor or freedom in reading, Melodic rigor or freedom - 2' 25''
    Part - 34' 47''
    Sound preparation, Attitude of the musician - 1' 27''
    Tuning, Attitude of the musician - 1' 08''
    Fingerings, Articulation - 1' 24''
    Dynamics, Contrast - 1' 32''
    Clarity of execution, Character - 1' 59''
    Fingerings, Jumps - 1' 39''
    Metrical rigor or freedom, Score - 1' 24''
    Metrical rigor or freedom - 1' 38''
    Sound projection, Vibrato - 1' 32''
    Vibrato, Fingers - 4' 58''
    Study methods, Attacks - 2' 14''
    Vibrato, Fingerings - 2' 02''
    Bow direction, String-crossing - 1' 28''
    Dynamics, Attitude of the musician - 1' 56''
    Fingerings, Relaxation - 1' 02''
  • KOUSSEVITZKY | Laine < Double bass

    Concerto for double bass and orchestra in F sharp minor op 3 (double bass and piano reduction)

    I. Allegro

    CLASS 2807: [O.V.: English]

    Content

    Part - 18' 29''
    Study methods, Double stops - 2' 44''
    Phrasing, Articulation - 2' 31''
    Vibrato, Fingerings - 1' 41''
    Rigor or freedom in reading, Cadence - 1' 07''
    Glissando, Metrical rigor or freedom - 2' 30''
    Tuning - 2' 02''
    Metrical rigor or freedom, Bowings - 1' 22''
    Tempo, The public - 1' 35''
  • KOUSSEVITZKY | Laine < Double bass

    Concerto for double bass and orchestra in F sharp minor op 3 (double bass and piano reduction)

    II. Andante

    CLASS 2795: [O.V.: English]

    Content

    Part - 5' 30''
    Tuning, Fingerings - 2' 05''
  • KOUSSEVITZKY | Laine < Double bass

    Concerto for double bass and orchestra in F sharp minor op 3 (double bass and piano reduction)

    II. Andante

    CLASS 2797: [O.V.: English]

    Content

    Part - 32' 06''
    Tempo - 1' 04''
    Bow, Fingerings - 2' 01''
    Fingerings, Harmonics - 1' 19''
    Dynamics, Bow direction - 1' 53''
    Fingerings - 2' 15''
    Metrical rigor or freedom, Bow - 1' 57''
    Bow, Bow direction - 2' 44''
    Interpenetration, Metrical rigor or freedom - 2' 15''
    Fingerings, Metrical rigor or freedom - 1' 50''
    Fingerings, Bow direction - 2' 24''
    Metrical rigor or freedom - 1' 48''
    Character, Repetition - 1' 55''
  • KOUSSEVITZKY | Laine < Double bass

    Concerto for double bass and orchestra in F sharp minor op 3 (double bass and piano reduction)

    II. Andante

    CLASS 2807: [O.V.: English]

    Content

    Part - 26' 44''
    Sound quality, Bow direction - 2' 12''
    Fingerings, Study methods - 1' 57''
    Bowings, Styles and periods - 1' 00''
    Body gestures - 1' 09''
    Bow direction, Contrast - 2' 12''
    Fingerings, Shifts or changes of position - 1' 53''
    Jumps, Metrical rigor or freedom - 2' 03''

MISEK, Adolf

Picture: MISEK, Adolf

Modletin, 1875, 1954. null

Biography

  • MISEK | Laine < Double bass

    Sonata for double bass and piano no. 2 in E minor op 6

    II. Andante cantabile

    CLASS 2561: [O.V.: English]

    Content

    Part - 27' 35''
    Rhythm, Fingerings - 2' 55''
    Fingerings, Bow distribution - 1' 07''
    Sound quality, Shifts or changes of position - 2' 30''
    Articulation, Dynamics - 3' 04''
    Tension - 1' 16''
    Part - 11' 14''
    Metrical rigor or freedom, Attitude of the musician - 3' 05''
    Study methods, Dynamics - 2' 51''
  • MISEK | Laine < Double bass

    Sonata for double bass and piano no. 2 in E minor op 6

    I. Con fuoco

    CLASS 2801: [O.V.: English]

    Content

    Part - 5' 54''
    Sound quality, Care of the instrument - 1' 46''
    Fingerings - 0' 59''
    Part - 5' 09''
    Bow distribution, Duration - 2' 36''
    Metrical rigor or freedom - 1' 27''
    Part - 12' 41''
    Dynamics, Timbre - 1' 53''
    Vibrato, Relaxation - 1' 22''
    Bow distribution, Dynamics - 1' 24''
    Sound planes - 1' 11''
    Dynamics, Pizzicato - 4' 37''
    Part - 30' 54''
    Attacks, Metrical rigor or freedom - 1' 48''
    Shifts or changes of position , Fingerings - 2' 17''
    Sound quality - 2' 17''
    Duration, Bow distribution - 2' 25''
    Ending of the sound - 2' 59''
    Attacks, Detaché - 1' 14''
    Tempo - 1' 27''
    Sound preparation, Shifts or changes of position - 2' 42''
    Sound quality, Weight - 1' 14''

MOZART, Wolfgang Amadeus

Picture: MOZART, Wolfgang Amadeus

Salzburg, 1756 - Vienna, 1791. Austrian composer from the Classical period. Regarded as one of the most prominent in the history of Western music. Born in Salzburg on 27 January 1756, baptized as Johannes Chrysostomus Wolfgang Amadeus Mozart. Studied with his father Leopold Mozart, a renowned composer and violinist who had a post at the court orchestra of the Archbishop of Salzburg. At the age of six Mozart was already a master keyboard player, an accomplished violinist, and showed extraordinary improvisation and sight-reading abilities.The five small pieces he composed at that age are still performed today. In 1762 Leopold took his son on performance tours to several courts in Europe. During that time he composed sonatas, for both hapsichord and violin (1763), a symphony (1764), an oratorio (1766) and the comic opera 'La finta semplice' (1768). In 1769 was appointed Konzertmeister at the Archbishopric of Salzburg, and at the Scala di Milano, Pope Clemens XIV created Mozart a Knight of the Golden Spur. That same year he composed 'Bastien und Bastienne', his first singspiel (an opera, usually comic and in German with spoken dialogue). The following year he was commissioned to compose his first opera, 'Mitridate, re di Ponto', which he wrote in Milan. That piece contributed to consolidate his reputation as an extraordinary musician. Mozart returned to Salzburg in 1771. His post in the city was not remunerated, but it allowed him to compose a great number of important works, that is, undermining his finances. In 1777 he was given permission to engage in a concerts tour, and he set out to Munich with his mother. At twenty-one, Mozart travelled the courts of Europe with the purpose to find a well-paid and satisfactory employment, but he didn't succeed. He went to Mannheim, the musical capital of Europe at the time, with the aim of finding a position in the orchestra, and there fell in love with Aloysia Weber. Leopold sent his wife and son to Paris. His mother's death in the French capital in 1778, together with Weber's rejection and the disdain from the aristocrats he worked for, made that two year period between his arrival in Paris and his return to Salzburg in 1779, one of the gloomiest in Mozart's life. Back in his hometown, Mozart composed two Masses and a great number of sonatas, symphonies and concertos. These works reveal, for the first time, a distinctive personal style and an exceptional musical maturity. The considerable success of his Italian opera 'Idomeneo, re di Creta', commissioned and composed in 1781, led to an invitation to visit the Archbishop of Salzburg in his palace in Vienna, but once there, Mozart felt offended at being treated like a servant and left. He then started teaching at a house that some friends rented for him. There he composed the singspiel 'Die Entführung aus dem Serail', commissioned in 1782 by Emperor Joseph II. The same year he married Constanze Weber, Alysia's younger sister; together they suffered chronic financial troubles until Mozart's death. The operas 'Le nozze di Figaro' (1786) and 'Don Giovanni' (1787), on librettos by Lorenzo Da Ponte, were not well received in Vienna in spite of having been a success in Prague. From 1787 until the creation of 'Così fan tutte' (1790, also on libretto by Da Ponte), Mozart didn't have any new commissions for operas. He composed 'La clemenza di Tito' for the coronation of emperor Leopold II in 1791, on a libretto by Metastasio. The great symphonies from 1788 No. 39 in E flat

Biography

  • MOZART | Laine < Double bass

    Symphony no. 40 in G minor K 550 (double bass part)

    I. Molto allegro

    CLASS 2810: [O.V.: English]

    Content

    Part - 9' 08''
    Fingerings, Attacks - 1' 00''
    Metrical rigor or freedom, Detaché - 1' 04''
    Metrical rigor or freedom, Duration - 1' 18''
    Bow direction, Tuning - 1' 08''

SCHUMANN, Robert

Picture: SCHUMANN, Robert

Zwichau, 1810 - Endenich, 1856. Robert Schumann was born 8 June, 1810 in Zwickau, Germany. He was the son of a book publisher and writer. As a child, Robert Schumann showed early abilities in both music and literature, but was not considered a prodigy by any means. At sixteen, after the tragic deaths of his sister and father, he was sent to the University of Leipzig at his mother's insistence. He studied law there until he was able to convince his mother of his need to study music. In Leipzig, from 1830, he worked under the renowned piano teacher Friedrich Wieck, whose favourite daughter, Clara, was already a well-known piano prodigy. It is thought that Schumann and Clara were lovers by 1835. His own ambitions as a pianist were hampered by a weakness in the fingers of one hand (possibly caused by they syphilis that would later claim his sanity), but the 1830s nevertheless brought a number of marvellous compositions for the instrument. Robert Schumann's work is noted for its links to literature. Many of his compositions allude to characters or scenes from poems, novels, and plays; others are like musical crossword puzzles with key signatures or musical themes that refer to people or places important to him. This intimate relationship with the written word gives his music an extra dimension. At the same time, its sheer joyfulness ranks it among the best loved music of the age. Schumann was not only interested in literature, he was also a working journalist who edited his own influential musical magazine, the Neue Zeitsfchrift fur Musik. This put Schumann in a unique position: his music was often inspired by the world of words, while his work as writer and critic kept him in touch with the Romantic musical scene at large. Through his music journal he helped to bring the young Chopin and, later, the young Brahms to the attention of the German-speaking public. Schumann's courtship of and marriage to Clara Wieck is one of the most famous romances in music history. Clara's father was one of Schumann's piano teachers. He predicted a great future for his pupil, but he fiercely opposed the young man's request to marry his daughter. He not only disapproved of Schumann's drinking, he also wanted Clara to become a famous pianist in her own right. For years Friedrich did everything he could to keep Schumann and Clara apart. Schumann eventually took Wieck to court and obtained permission to marry her, but it had been a long and bitter struggle. Overall, Robert Schumann's early piano compositions, many of which were played by his wife Clara, are the most original and daring of his works. As a composer, he tended to concentrate on one type of music at a time. For instance, his songs qualify him as a worthy successor to Schubert. And while his great orchestral works remain closer to the traditional Classical forms of Haydn, Mozart, and Beethoven, he is regarded as a talented, but not masterful. Nor was he successful as a composer of operas. It is in his piano music and his songs - Carnival ("Dainty Scenes on Four Notes") in particular - that he accomplished his greatest work. In 1850 Schumann was appointed Music Director to the city of Dusseldorf, where he enjoyed no great success. Suffering from hallucinations and rapidly declining mental facilities, he resigned in 1853. Mounting fears of insanity plunged Schumann into a serious mental break-down, and in 1854 he attempted suicide by throwing himself into the Rhine. He was then confined to an asylum at Endenich,

Biography

  • SCHUMANN | Laine < Double bass

    Phantasiestücke for clarinet and piano op 73 (version for double bass and piano)

    I. Zart und mit Ausdruck

    CLASS 2808: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 2' 42''
    Part - 12' 09''
    Vibrato - 2' 08''
    Study methods, Jumps - 1' 30''
    Attitude of the musician, Body gestures - 2' 50''
  • SCHUMANN | Laine < Double bass

    Phantasiestücke for clarinet and piano op 73 (version for double bass and piano)

    II. Lebhaft, leicht

    CLASS 2808: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 3' 38''
    Part - 7' 10''
    Up-beat, Bow - 1' 37''
    Attitude of the musician, Attacks - 2' 52''
    Attitude of the musician, Attacks - 2' 21''
  • SCHUMANN | Laine < Double bass

    Phantasiestücke for clarinet and piano op 73 (version for double bass and piano)

    III. Rasch und mit Feuer

    CLASS 2808: [O.V.: English] [Tras: Spanish ]

    Content

    Part - 4' 30''
    Part - 16' 24''
    Metrical rigor or freedom, Sound balance - 1' 31''
    Sound quality, Bow - 1' 59''
    Vibrato, Position - 2' 53''
    Fingerings - 2' 33''

STRAUSS, Richard

Picture: STRAUSS, Richard

Munich, 1864 - Garmisch-Partenkirchen, 1949. German composer and conductor. He emerged soon after the deaths of Wagner and Brahms as the most important living German composer. During an artistic career which spanned nearly eight decades, he composed in virtually all musical genres, but became best known for his tone poems (composed during the closing years of the 19th century) and his operas (from the early decades of the 20th). Coming of age as a composer at a time when the duality of bourgeois and artist had become increasingly problematic, Strauss negotiated the worlds of art and society with a remarkable combination of candour and irony. Averse to the metaphysics of Wagner and indifferent to Mahler's philosophical intentions in music, Strauss exploited instead the paradoxes, inconsistencies and potential profundities to be found in modern, everyday life. The new possibilities he envisioned for music were exemplified in the eclecticism of the opera Der Rosenkavalier, in which the juxtaposition of contemporary with intentionally anachronistic elements creates a stylistic pluralism that adumbrates subsequent experimentation of the later 20th century.

Biography

  • STRAUSS | Laine < Double bass

    Tod und Verklärung for orchestra op 24 (double bass part)

    CLASS 2811: [O.V.: English]

    Content

    Part - 34' 26''
    Fast passages, Rhythm - 1' 57''
    Fingerings, Metrical rigor or freedom - 1' 45''
    Rhythm, Bow distribution - 1' 38''
    Sound quality, Fingerings - 1' 33''
    Metrical rigor or freedom, Fingerings - 5' 01''
    Bow distribution, Bow-strokes - 1' 28''
    Fingerings, Shifts or changes of position - 3' 25''
    Dynamics, Fingerings - 2' 26''

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