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Sadie Harrison: After Colonna: Cello: Score and Parts
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Sadie Harrison: After Colonna: Cello: Score and Parts
Violoncelle, Piano
[Partition]
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University Of York Music Press
After Colonna was expertly composed in 2001 by Sadie Harrison. First performed...
(+)
After Colonna was expertly composed in 2001 by Sadie Harrison. First performed at Hampstead Town hall in March 2001 by Miriam Lowbury and David Carhart. AfterColonna later featured on Harrison’s 2002 album No Title Required.Australian born freelance composer and performe Sadie Harrison’s unique fusion of elements fromindigenous Lithuanian music and poetry with her own modernist often abrasive style have led her to be compared with Bartok but with her own warmth and grandeur. Since 2012 Harrison has been working alongside a long list of well accomplished musicians; Paul Carey Peter Sheppard Skaerved Sergej Okrushko Alex South Duncan Honeybourne are among many who have had the privilege to work with Harrison sofar. Performances of Harrison's works have been given across the world by Lontano London Chamber Symphony Music Projects/ London Ixion Okeanos Bournemouth Sinfonietta Kokoro and the St. Christopherus ChamberOrchestra and many others.
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N. Hester: The Bull Steps Out: Double Bass: Instrumental Work
4.95
N. Hester: The Bull Steps Out: Double Bass: Instrumental Work
Contrebasse, Piano (duo)
[Partition]
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Yorke Edition
Ideal for a popular school or informal concert. Programme note by Rodney Slatfor...
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Ideal for a popular school or informal concert. Programme note by Rodney Slatford 2008:Jack Snow Hester was born on 2 March 1907 in Chorlton Lancashire and joined the music profession as a double bass player when he was seventeen. His father Arthur Darrell Hester appears on his birth certificate as 'Manufacturer (chemicals)'; his mother was Minnie Frances Hester formerly Stamp and the family lived in South Manchester. During the 1930s as Norman Hester he worked at Daly's Theatre the Piccadilly Theatre the Palace Theatre and other London variety houses in West End productions. He married Isabella Dawson Davidson on 1 July 1940 in Worcester and shedied in 1973. He died in 2001 after a long period of ill health.During the 1960s Norman was an active freelance player working as an extra bass player with the London symphony orchestras including the BBC. Quite when The Bull Steps Out was written isn't certain but Norman sent me a copy to consider for republishing – it is assumed that the original publication appeared sometime during or just after the war. It was a 'one off' that he probably played for light music evenings in the theatres.The piece has been very popular and has been used for examinations on various syllabuses around Grade 7 level.An unpublished manuscript copy of a double bass 'method' is on file that Norman Hester wrote when he retired but it is mainly a compilation of various scales and exercises similar to many that were published in the early 20th century. A photograph of him as a young man is held at the Royal Society of Musicians in London which he joined in 1930 and of which he was a loyal supporter until he died.
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Steven Bryant: MetaMarch: Concert Band: Score & Parts
91.99
Steven Bryant: MetaMarch: Concert Band: Score & Parts
Orchestre d'harmonie
[Conducteur et Parties séparées]
BCM International
The Music of BCM InternationalIn this third installment of a series of pieces th...
(+)
The Music of BCM InternationalIn this third installment of a series of pieces that quote and rework familiar band themes (after Chester Leaps In and ImPercynations) composer Steven Bryant uses the classicmarch themes Americans We Liberty Bell March and National Emblem as the basis of this humorous and unexpected take on the traditional march. Slightly warped but unmistakably entertaining this well-constructednovelty is sure to bring a smile. (4:00)
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Steven Bryant: MetaMarch: Concert Band: Score
19.99
Steven Bryant: MetaMarch: Concert Band: Score
Orchestre d'harmonie
Hal Leonard
The Music of BCM InternationalIn this third installment of a series of pieces th...
(+)
The Music of BCM InternationalIn this third installment of a series of pieces that quote and rework familiar band themes (after Chester Leaps In and ImPercynations) composer Steven Bryant uses the classicmarch themes Americans We Liberty Bell March and National Emblem as the basis of this humorous and unexpected take on the traditional march. Slightly warped but unmistakably entertaining this well-constructednovelty is sure to bring a smile. (4:00)
19.99 GBP - vendu par Musicroom GB
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Anthony Payne: Adlestrop: Soprano: Instrumental Work
Soprano, Piano
[Partition]
Chester
A3 Size Score-Edward Thomas was born in Lambeth on 3rd March 1878 and spent mo...
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A3 Size Score-Edward Thomas was born in Lambeth on 3rd March 1878 and spent most of his childhood in London. His holidays however were spent with relatives in Swindon and it was there that he developed his abiding love of all things rural. He was educated at St Paul's Hammersmith and was encouraged in his creative writing by James Ashcroft Noble whose daughter he secretly married after her father's death and to the great disapproval of her family. Despite growing anxiety over poverty ill health and literary discouragement which exacerbated a natural tendency to depression Thomas worked unstintingly as a reviewer and wrote and published over 30 books between 1897 and 1917.'Adlestrop' was written with four other poems between 7th and 9th June 1915. He enlisted in 1915 at the age of 37 and was called to the Front in 1917. He arrived at Arras on 9th February 1917 and was killed on the 9th April Easter Monday by a shell blast in the opening minutes of the offensive.This work for Soprano and Piano is set to the text of Edward Thomas.
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Edward Gregson: Aztec Dances (Flute/Piano): Flute: Instrumental Work
19.99
Edward Gregson: Aztec Dances (Flute/Piano): Flute: Instrumental Work
Flûte traversière et Piano
[Partition]
Novello & Co Ltd.
Aztec Dances was commissioned by Christopher Orton with the assistance of the B...
(+)
Aztec Dances was commissioned by Christopher Orton with the assistance of the BBC Performing Arts Fund. The first performance was given by Christopher Orton (recorder) and Magdalena Nasidlak (piano) at a concert in the Manchester Midday Concerts series at the Bridgewater Hall Manchester in March 2010.The version for flute and piano was premiered by Wissam Boustany (Flute) and Aleksander Szram (Piano) at St James?s Church Piccadilly on Thursday 19 May 2011.1. Ritual/Pastorale2. Fertility Dance3. Ghost Dance/Song4. Sacrificial Dance Composer's Note The idea for the genesis of thiswork and indeed its title and individual movements came after visiting an exhibition at the British Museum entitled Moctezuma ?Aztec Ruler. The exhibition traced the events following the election in 1502 of Moctezuma as Supreme Ruler of the Aztecs and the subsequent invasion of 1519 by a Spanish expedition led by Hermán Cortés ? an event that was to eventually lead to the demise of the Aztec civilisation.Part of the exhibition explored the role that music and dance played in Aztec life. The primitive recorder together with trumpets and drums were used as an important part of the formal ritual ceremonies (including rather gruesomely human sacrifice) that took place to appease the many Gods which the Aztecs worshipped as well as for other more informal occasions in their social and cultural life.I have tried to reflect some of these highly contrasting and dramatic ideas in this four movement work. Edward Gregson
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Edward Elgar: Litany: SATB: Instrumental Work
2.25
Edward Elgar: Litany: SATB: Instrumental Work
Chorale SATB
SATB, Orgue
[Partition]
Novello & Co Ltd.
Litany is the first chorus from Edward Elgar’s ‘The Dream of Geron...
(+)
Litany is the first chorus from Edward Elgar’s ‘The Dream of Gerontius’ scored for SATB Voices and Organ or Piano accompaniment in this Novello edition.The Dream of Gerontius Op. 38 is a work for Voices and orchestra in two parts composed by Edward Elgar in 1900 to text from the poem by John Henry Newman. It relates the journey of a pious man's soul from his deathbed to his judgment before God and settling into Purgatory. Litany is sung by the chorus (‘Assistants’) after Gerontius’ deathbed prayer. Elgar disapproved of the use of theterm 'oratorio' for the work though his wishes are not always followed. The piece is widely regarded as Elgar's finest choral work and some consider it his masterpiece.Sir Edward Elgar was an English composer many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations the Pomp and Circumstance Marches concertos for Violin and Cello and two symphonies. He was appointed Master of the King's Musick in 1924.
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Piano Pieces For Adult Beginners
19.50
Piano Pieces For Adult Beginners
Piano seul
[Conducteur]
-
Facile
Amsco Wise Publications
An excellent collection of over 100 pieces in a variety of styles specially arra...
(+)
An excellent collection of over 100 pieces in a variety of styles specially arranged for the adult student. Includes works by Beethoven, Chopin, Liszt, Mendelssohn, Mozart, Tchaikovsky and many more. / Piano
19.50 EUR - vendu par LMI-partitions
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Tchaikowsky P.i. - The Seasons And Other Works - Piano
26.90
Tchaikowsky P.i. - The Seasons And Other Works - Piano
Piano seul
Dover Publications
Finest single-volume edition includes authoritative scores of The Seasons, Op. 3...
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Finest single-volume edition includes authoritative scores of The Seasons, Op. 37. Album for the Young, Op. 39. 10 Characteristic Pieces, Op. 72. Dumka, Op. 59. Valse sentimentale, Op. 51, No. 6. 4 Pieces, Op. 40. Theme and Variations, Op. 19, No. 6. plus 5 early pieces. Content :
Five early pieces
Romance (Op. 5)
Valse-scherzo ' Waltz-scherzo (Op. 7)
Capriccio (Op. 8)
Polka de salon (Op. 9, No. 2)
Nocturne (Op. 10, No. 1)
Thème original et variations ' Original theme and variations (Op. 19, No. 6)
From Twelve Pieces (Op. 40)
No. 2 Chanson triste ' Sad song
6. Chant sans paroles ' Song without words
9. Valse ' Waltz
10. Danse russe ' Russian dance
Valse sentimentale ' Sentimental waltz (Op. 51, No. 6)
Doumka (Scène rustique russe) ' Dumka (Russian village scene) (Op. 59)
From Eighteen Characteristic Pieces (Op. 72)
No. 1 Impromptu
2. Berceuse ' Lullaby
3. Tendres reproches ' Gentle reproaches
4. Danse caractéristique ' Characteristic dance
8. Dialogue
9. Un poco di Schumann ' A bit of Schumann
12. L'espiègle ' The rascal
13. Echo rustique ' Countryside echo
15. Un poco di Chopin ' A bit of Chopin
16. Valse à cinq temps ' Waltz in five-beat time
Album for the Young (after Schumann) (Op. 39) [Restored to Tchaikovsky's original sequence]
Note
No. 1. Prière de matin ' Morning prayer
2. Le matin en hiver ' Winter morning
3. Maman ' Mama
4. Le petit cavalier ' The little horseman
5. Marches des soldats de bois ' Marches of the wooden soldiers
6. La nouvelle poupée ' The new doll
7. La poupée malade ' The sick doll
8. Enterrement de la poupée ' The doll's burial
9. Valse ' Waltz
10. Polka
11. Mazurka
12. Chanson russe ' Russian song
13. Le paysan prélude ' The peasant plays an introduction
14. Chanson populaire (Kamarinskaya) ' Folk Song
15. Chanson intalienne ' Italian song
16. Mélodie antique française ' Old French melody
17. Chanson allemande ' German song
18. Chanson napolitaine ' Neapolitan song
19. Conte de la vieille bonne ' The old maid-servant's tale
20. La sorciére (Baba-Yaga) ' The witch
21. Douce rêverie ' Sweet reverie
22. Chant de l'alouette 'Song of the lark
23. A l'église ' In church
24. L'orgue de barbarie ' The hurdy-gurdy
The Seasons (Op. 37bis)
Note and epigraphs
1. Janvier: Au coin du feu ' January By the fireside
2. Février: Carnaval ' February: Carnival
3. Mars: Chant de l'alouette ' March Song of the lark
4. Avril: Perce-neige ' April: Snowdrop
5. Mai: Les nuits de mai ' May: May nights [ White nights ]
6. Juin: Barcarolle ' June: Barcar
7. Juillet: Chant du faucheur ' July: The reaper's song
8. Août: La moisson ' August: The harvest
9. Septembre: La chasse ' September: The hunt
10. Octobre: Chant d'automne ' October: Autumn song
11. Novembre: En troïka ' November: In the troika
12. Decembre: Noël ' December: Christmas
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Wim Laseroms: Mountain March: Concert Band: Score & Parts
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A fanfare introduces This festive march is introduced by a lively fanfare which ...
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A fanfare introduces This festive march is introduced by a lively fanfare which leads into the first playful melodic line which features a regular dynamic alternation and a light syncopated rhythm. After the traditional bass solo the first theme returns. The initial theme performed by piano and cantabile trio later sounds in a jubilant forte with various figurations in the higher woodwinds. The fine work Mountain March is suitable as a street march but will also gain much appreciation on the concert platform.
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Wim Laseroms: Mountain March: Concert Band: Score
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A fanfare introduces This festive march is introduced by a lively fanfare which ...
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A fanfare introduces This festive march is introduced by a lively fanfare which leads into the first playful melodic line which features a regular dynamic alternation and a light syncopated rhythm. After the traditional bass solo the first theme returns. The initial theme performed by piano and cantabile trio later sounds in a jubilant forte with various figurations in the higher woodwinds. The fine work Mountain March is suitable as a street march but will also gain much appreciation on the concert platform.
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Prevision (Cd Incl.)
227.70
Prevision (Cd Incl.)
Fanfare
[Conducteur et Parties séparées + CD]
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De Haske Publications
Rhapsody For Fanfare. Par DE HAAN JAN. The work Prevision has been composed in a...
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Rhapsody For Fanfare. Par DE HAAN JAN. The work Prevision has been composed in a freefantasy form. Sunk in thought the composersketches his prevision: the development of hissmall grandson growing up to be an adult man. After a brilliant introduction, a slow march follows, which symbolises the first steps toward adulthood. Aspects such as love and a sense of security, thatare indispensable for a positive development, arepresented in a calm middle section, after which anenergetic closing part refers to the rebelliousnessof an adolescent. The grand finale of Previsionexpresses the grandfather’s and composer’spositive picture of the future. / Niveau : 3 / Pièce de concert / Répertoire / Fanfare
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57.00
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Fanfare
[Conducteur]
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De Haske Publications
Par VAN DER ROOST JAN. This major concert work cosists o five movements. 1st mov...
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Par VAN DER ROOST JAN. This major concert work cosists o five movements. 1st movement: La Laguna del ShimbeSituated high up in the Andes mountains in Northern Peru are the Huaringas, a group of lagoons in isolated and mysterious surroundings. The water has healing powersand for centuries traditional healers have settled there in small villages. From far the sick come to the Huaringas to be treated in nightly rituals, in which the hallucinating juice of the San Pedro cactus gives the prophet a look inside hispatient. The biggest lagoon is the “Laguna del Shimbe”, one of the countless wells of the immense Amazon stream. 2nd movement: Los AguarunasFurther downstream in Northern Peru we come across the rain tribe of Los Aguarunas. It’s a proud, beautiful andindependent race, which has never succumbed to domination, not even from the Incas. They live from everything the forest has to offer: fish, fruit, plants, . . . . They also grow some crops and live as semi-nomads. They take their fate into their ownhands and after having made contact with modern civilisation, they have integrated new elements into their lives without betraying their own ways. 3rd movement: MekaronMekaron is an Indian word meaning “picture”, “soul”, “essence”. The Indians are theorigina inhabitants of the Amazon region. They either live in one place as a group or move around a large region. They all have their own political system, their own language and an intense social life. At the same time they are master of music andmedicine. “Everywhere the white man goes, he leaves a wilderness behind him”, wrote the North American Indian leader Seatl in 1885. As a result of these contacts with the whites, the disruption of most Indian societies began. (In this century alone, 80 tribes have vanished completely). 4th movement: KêêtuajêThis is the name of the initiating ceremony of the Krahô tribe in the Brazilian state of Goias, in which young boys and girls enter adult life. They are cleansed with water, painted with redpaint and covered with feathers, after which the ritual dance holds the entire tribe spell-bound. 5th movement: Paulino FaiakanIn 1988 the Indian chiefs Faiakan and Raoni Kaiapo came to Europe to protest against the building of the Altamira dam inBrazil. As a result of the dam the Indians would be driven from their traditional land and enormous artificial would be created. The project was supported financially by, amongst others, the European Community. In February 1989 the Indian tribesaround Altamira held a protest march for the first time in their history together. Amongst other things they paid tribute tot Chico Mendez, who, murdered in 1988, was the leader of the rubber syndicate and a fierce opponent of the destruction of theBrazilian rain forest. Brazilian and world opinion was awakened. The building of the dam was -albeit temporarily - stopped. / Niveau : 6 / Pièce de concert / Répertoire / Fanfare
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254.80
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De Haske Publications
Par VAN DER ROOST JAN. This major concert work cosists o five movements. 1st mov...
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Par VAN DER ROOST JAN. This major concert work cosists o five movements. 1st movement: La Laguna del ShimbeSituated high up in the Andes mountains in Northern Peru are the Huaringas, a group of lagoons in isolated and mysterious surroundings. The water has healing powersand for centuries traditional healers have settled there in small villages. From far the sick come to the Huaringas to be treated in nightly rituals, in which the hallucinating juice of the San Pedro cactus gives the prophet a look inside hispatient. The biggest lagoon is the “Laguna del Shimbe”, one of the countless wells of the immense Amazon stream. 2nd movement: Los AguarunasFurther downstream in Northern Peru we come across the rain tribe of Los Aguarunas. It’s a proud, beautiful andindependent race, which has never succumbed to domination, not even from the Incas. They live from everything the forest has to offer: fish, fruit, plants, . . . . They also grow some crops and live as semi-nomads. They take their fate into their ownhands and after having made contact with modern civilisation, they have integrated new elements into their lives without betraying their own ways. 3rd movement: MekaronMekaron is an Indian word meaning “picture”, “soul”, “essence”. The Indians are theorigina inhabitants of the Amazon region. They either live in one place as a group or move around a large region. They all have their own political system, their own language and an intense social life. At the same time they are master of music andmedicine. “Everywhere the white man goes, he leaves a wilderness behind him”, wrote the North American Indian leader Seatl in 1885. As a result of these contacts with the whites, the disruption of most Indian societies began. (In this century alone, 80 tribes have vanished completely). 4th movement: KêêtuajêThis is the name of the initiating ceremony of the Krahô tribe in the Brazilian state of Goias, in which young boys and girls enter adult life. They are cleansed with water, painted with redpaint and covered with feathers, after which the ritual dance holds the entire tribe spell-bound. 5th movement: Paulino FaiakanIn 1988 the Indian chiefs Faiakan and Raoni Kaiapo came to Europe to protest against the building of the Altamira dam inBrazil. As a result of the dam the Indians would be driven from their traditional land and enormous artificial would be created. The project was supported financially by, amongst others, the European Community. In February 1989 the Indian tribesaround Altamira held a protest march for the first time in their history together. Amongst other things they paid tribute tot Chico Mendez, who, murdered in 1988, was the leader of the rubber syndicate and a fierce opponent of the destruction of theBrazilian rain forest. Brazilian and world opinion was awakened. The building of the dam was -albeit temporarily - stopped. / Niveau : 6 / Répertoire / Fanfare
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136.50
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Gobelin Music Publications
In ‘Land of Legends’ German composer Andreas Ludwig (what’s ...
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In ‘Land of Legends’ German composer Andreas Ludwig (what’s in a name) Schulte takes you along to the fictional world of legends myths and fairy tales. The introduction to the first part (The Castle) describes the majestic contours of the sceneof action. Its instrumentation (horns) immediately makes you imagine being in Medieval spheres. The addition of trenchant copper instruments even gives the part a heroic tinge. After entering through the gate a lot of hustle and bustle appearsto be going on in the courtyard. Pages squires and soldiers are busy attending to their arms. Beer is being brewed flax is being spun cattle are being tended and some craftsmen from neighbouring villages are busily at work. In the upperchamber of the round tower lives an old man (The Old Wizard). He hardly ever comes out and nobody knows exactly what he is doing. It is said that he is engaged in wizardry and magic. It is all very mysterious. There are also festivities some ofthem sober others exuberant. The wedding in the third part is celebrated in a grand manner. With a flourish of trumpets the bride makes her entrance at the hand of her father. Afterwards at the party there is dancing to the music played byminstrels and of course a plentiful banquet follows.
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Andreas Ludwig Schulte: Land of Legends: Fanfare Band: Score
24.99
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Intermédiaire/avancé
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In â??Land of Legendsâ?? German composer Andreas Ludwig (whatâ??s in a name) ...
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In â??Land of Legendsâ?? German composer Andreas Ludwig (whatâ??s in a name) Schulte takes you along to the fictional world of legends myths and fairy tales. The introduction to the first part (The Castle) describes the majestic contours of the sceneof action. Its instrumentation (horns) immediately makes you imagine being in Medieval spheres. The addition of trenchant copper instruments even gives the part a heroic tinge. After entering through the gate a lot of hustle and bustle appearsto be going on in the courtyard. Pages squires and soldiers are busy attending to their arms. Beer is being brewed flax is being spun cattle are being tended and some craftsmen from neighbouring villages are busily at work. In the upperchamber of the round tower lives an old man (The Old Wizard). He hardly ever comes out and nobody knows exactly what he is doing. It is said that he is engaged in wizardry and magic. It is all very mysterious. There are also festivities some ofthem sober others exuberant. The wedding in the third part is celebrated in a grand manner. With a flourish of trumpets the bride makes her entrance at the hand of her father. Afterwards at the party there is dancing to the music played byminstrels and of course a plentiful banquet follows.
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Thomas Duffy: A Precixe Prelude And an Excellent March: Concert Band: Score &
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American Composers Forum
Playing one wrong note can ruin the performance of a piece right? Well compose...
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Playing one wrong note can ruin the performance of a piece right? Well composer Thomas Duffy actually wants the performers to make mistakes in this clever composition! The precise imprecision comes to life as students are askedto intentionally play wrong notes in various parts of the march. After performing this work you and your students will never look at “perfection” the same way again! (Includes score parts and CD-ROM.) Freeinterdisciplinary curriculum for the piece is available for download at http://www.BandQuest.org.
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[Partition]
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This work which gives a musical interpretation of the Last Discourse of Christ after the Last Supper was commissioned by Lord and Lady Marks for the Byzantine Festival in London 1998. It was first performed in March 1998 at St. Paul's Cathedral London by Patricia Rozario Stephen Richardson Barry Guy the Choir of St. Paul's Cathedral; and the Choir of the Syrian Orthodox Patriarchate of Antioch conducted by John Scott.Double Bass part. Duration c. 20mins.
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Robert Jager: Esprit de Corps: Orchestra: Score
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Deluxe Score-Esprit de Corps was originally commissioned by the United States Marine Band of Washington D.C. Col. John R. Bourgeois conductor. Based upon “The Marine's Hymn ” Esprit de Corps is a kind offantasy-march that serves as a tribute to the Marine Corps as well as to the Marine Band.Composed immediately after the 1983 bombing of the Marine barracks in Beirut Lebanon the composer chose to forego an elegy-typetribute in favor of a work that reflects the positive spirit of the Corps full of energy and dynamism. Even the tempo marking “Tempo di Bourgeois ” reflects the dramatic and spirited conducting of Col. John R.Bourgeois who was conductor of the Marine Band at the time of composing.
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Dragonetti / Nanny - Concerto A Major (solo Tuning) - Contrebasse and Piano
16.30
Dragonetti / Nanny - Concerto A Major (solo Tuning) - Contrebasse and Piano
Contrebasse, Piano (duo)
Recital Music
SOLO TUNING See RM722 for Orchestral Tuning The 'Dragonetti Concerto' was first...
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SOLO TUNING See RM722 for Orchestral Tuning The 'Dragonetti Concerto' was first published in 1925 by Alphonse Leduc in Paris as No.23 of Edouard Nanny's 'Les Classiques de la Contrebasse'. For many years no one questioned its authenticity, but as more research into Dragonetti's original works for double bass was made, concerns began to arise. Many of Dragonetti manuscripts survive in the British Library, thanks to Vincent Novello who donated them in 1849, three years after Dragonetti's death and on Novello's retirement to Italy, but there is no original manuscript for this work. As bassists began to edit and perform a wide range of Dragonetti's works it became clear that this concerto bore little resemblance to any of his other pieces. The work does, however, have many similarities to Nanny's Concerto for double bass, also to his other solo works and even studies from his Method. Eventually most people came to the conclusion that this work is not an original work by the great Venetian bassist but is by Edouard Nanny, and in the style of the late 18th-century. Having said that, this is still a charming and evocative work which has much player and audience appeal and is very easy on the ears. Many of the challenges for the soloist are technical and, almost a century after its first publication, it is still as popular as ever. Published in 1925, the first movement was performed at London's Wigmore Hall on 15 April the following year by Victor Watson (double bass) and Sidney Crooke (piano), and was described a 'Contrabass Concerto by Dragonetti-Nanny. ERRATA: Piano part: page 8 (1st movement), bar 87 - final chord of bar in right hand should be D/E/G# - a dominant 7th chord in A major Edouard Nanny was an important French double bassist and teacher, also composing and transcribing many works for double bass. He was born in Saint-Germain-en-Laye on 24 March 1872 and he studied at the Paris Conservatoire with Professor Verrimst, also teaching there from 1920-1940. He performed often as a soloist, also working as an orchestral bassist with many orchestras such as the Paris Symphony Orchestra, Concerts Lamoureux and the Orchestra de l'Opera Comique, and in 1901 he founded the Henry Casadeus Society of Old Instruments, chaired by Camille Saint-Saens, and intended to revive the works from the past centuries. Nanny's Method for double bass is still in print, over 90 years since its first publication and both volumes contain a wealth of excellent technical studies and exercises which are as relevant today as they were in the 1920s. His other volumes of studies are mostly out of print and Recital Music plan to reprint some of his orginal works for double bass, transcriptions and educational music to keep alive the name of Edouard Nanny into the 21st-century. Edouard Nanny died in Paris in 1942.
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