String instruments > Double Bass and Piano
Karl Ditters von Dittersdorf
Double Bass Concerto "E major" Krebs 172
Editor: Tobias Glöckler
Piano reduction: Christoph Sobanski
Fingering for Double Bass: Tobias Glöckler
Cadenzas: Tobias Glöckler
22.50 €
Urtext Edition, Piano reduction, paperbound
Piano reduction in D+E (with parts in solo-, orchestral- + "viennese" tuning)
Part in "Viennese tuning" (A-d-f#-a): free download Orchestral material available from Breitkopf & Härtel
Pages: 80 (IX, 35, 13, 23), Size 23,5 x 31,0 cm
Order no. HN 759 · ISMN M-2018-0759-1
With this cornerstone of the double bass repertoire we continue a still young but important part of our catalogue. This musically-charming work, full of technical trickery, is with justification demanded time and again as a test piece or set piece for competitions. In order to accommodate the “Viennese tuning” used at the time, we also provide a solo part in fret notation. The piano part in D major and E major (!) can be used to accompany the doublebass part either in its solo or orchestral version. As an alternative to the familiar cadenzas by Sperger, editor Tobias Glöckler has added two further tuneful and stylistically-appropriate cadenzas of his own.
Reviews
I want to congratuate you for your excellent cadenza for the Dittersdorf concerto. I grew up with the old edition and had to alter the cadenza or help my students compose their own.
Your cadenza is truly stylish, organic and challenging. I very much like the D minor bit which reminded me of C.Ph.E. Bach and papa Haydn. Keep up the good work.
[Bertram Turetzky in a letter to the editor, 2013]
In un periodo in cui le esecuzioni su strumenti originali sono diventate meno rare, speriamo che questa nuova uscita incentivi anche i contrabbassisti ad un approccio filologico al proprio repertorio.
[Archi magazine, 2011]
Mit wissenschaftlicher Akribie und nach exaktem Quellenstudium hat der Dresdener Bassist Tobias Glöckler zunächst eine Fassung für Kontrabass und Klavier veröffentlicht und dazu auch eigene Kadenzen geschrieben. Für diese Urtext-Ausgabe wurde Glöckler mit dem Deutschen Musikeditionspreis ausgezeichnet. Nun folgte in einer Gemeinschaftsproduktion von Breitkopf und Henle die Partitur. (...) Nun sind endlich historisch richtige Aufführungen des wohlbekannten Konzerts möglich. Es dauert etwa zwanzig Minuten. Die Öffentlichkeit kann sich darauf freuen.
[Das Orchester, 2011]
The excellent editing is more transparent than that of previous editions .… Moreover, this edition allows several performance options due to the two piano parts (in D and E) and the four bass parts. … The piano reduction … is more successful than that of the Yorke and Hofmeister editions, including readily manageable page turns and Henle’s usual high standards of accuracy and clarity.
[American String Teacher, 2007]
This edition is a gem. It is to be valued for the attention to detail, the wealth of historical knowledge, and the information on performance practice and Viennese tuning. Congratulations to Mr. Glöckler and G. Henle Verlag. One hopes that we see many more high quality, scholarly editions from them.
[Bass World, 2007]
… in working from the oldest available source material, and in championing the historic Viennese tuning, editor Tobias Glöckler has sought to make good the errors and misconceptions present in many existing editions, and provides a compelling reason for seeking out the peg winder and miscellaneous old strings. … Glöckler’s comprehensive edition allows for four different performance options … Learning the system from scratch is rendered unnecessary thanks to Glöckler’s fingering notation, which indicates pitches as though for a fourths-tuned bass. This provides quick and easy access to the tuning but makes it essential to follow Glöckler’s string and fingering choices. In addition to his meticulous scholarship, Glöckler presents two sparkling new cadenzas, stylistically appropriate, splendidly virtuosic, and tweaked to fit the different tunings.
[Double Bassist, 2006]
Riduzione e parte sono realizzati in modo esemplare nella grafica austeramente impeccabile che distingue la casa di Monaco de Baviera. Il teso musicale è preceduto da un’introduzione storico-critica (quanto mai interessante e necessaria) nella quale il curatore esplicita scelte e criteri che hanno guidato la realizzazione di quella che si propone come l’edizione di riferimento di un testo imprescindibile per qualunque contrabbassista.
[Giornale della Musica, 2006]