Thanks to its wealth of invention, elegant workmanship, and technical and musical challenges, Franz Anton Hoffmeister's Concerto "no. 1" has emerged as the preferred concerto for double bass auditions. Tobias Glöckler's edition leaves no wishes unfulfilled: the double bass part appears in solo and orchestral tuning with piano reductions in D major and C major. Moreover an additional part, written in fingering notation, has been specially designed for use with the "Viennese tuning" customary in Hoffmeister's days. It allows players to use this resonant historical tuning immediately without tedious retraining. Finally, a separate part is also provided for the solo violin appearing in the second movement.
Content/Details
- Double Bass Concerto "no. 1" (with Violin obligato)
- ABRSM: Double Bass FRSM
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Preface
Franz Anton Hoffmeister (1754–1812) left behind a total of three concertos for double bass of which the one included in the present volume is by far the most frequently performed. Today, thanks to its wealth of invention, elegant workmanship, and technical and musical challenges, it has even emerged as one of the preferred concertos for auditions. It was composed in Vienna … more
About the composer
Franz Anton Hoffmeister
A German composer and music publisher, whose two careers complemented one another. He therefore composed with an eye toward the market, bearing in mind the current preferences and demands of the interested lay musician. He published, variously, works by Wolfgang Amadeus Mozart, Ludwig van Beethoven, Johann Sebastian Bach, Joseph Haydn, and Ignaz Pleyel. His compositional output comprises all genres, including chamber music, symphonies, piano music, stage works, and vocal music.
| 1754 | Born in Rottenburg am Neckar on October 27 (according to church registers). |
| around 1768 | He studies law in Vienna. |
| 1778 | He is musical director for Count Franz von Szecsenyi and follows him to Hungary. |
| 1784 | Back in Vienna, he founds a music publishing house. He maintains professional and personal contact with Wolfgang Amadeus Mozart. |
| 1798 | Sets off on a concert tour with flautist Franz Thurner. In Leipzig he meets Ambrosius Kühnel. |
| 1800 | With Ambrosius Kühnel he founds the Leipzig publishing house Bureau de Musique on December 1. His wife Theresia Hoffmeister takes care of the day-to-day business. |
| 1805 | He leaves the Leipzig publishing house and transfers his residence entirely to Vienna. |
| 1806 | He ends his work at the Viennese publishing house. |
| 1812 | Dies in Vienna on February 9. |
About the authors
Tobias Glöckler (Editor, Fingering and bowing for Double Bass, Cadenzas)
Tobias Glöckler is associate principal double bass player at the Dresdner Philharmonie and a prizewinner of the International ISB Double Bass Competition (USA). He studied with Konrad Siebach at the Music Conservatory in Leipzig, perfecting his skills with Jeff Bradetich (Chicago) and Ulrich Lau (Stuttgart). While studying, he was principal double bass player with the International Gustav Mahler Youth Orchestra under Claudio Abbado. He has performed as a soloist with different orchestras, including the Dresdner Philharmonie with Ton Koopman. In addition he has made recordings for radio and has made guest appearances at diverse music festivals. He is a founding member of and solo bass player with the “ensemble frauenkirche” and has explored a great many chamber music works with the Dresdner String Quintet.
Glöckler teaches at the music conservatory in Dresden. His efforts concerning the revival of the “Viennese Tuning” have been rewarded with a Distinguished Achievement Award for historical performance practice.
Photo © markenfotografie
Tobias Glöckler, Kontrabassist der Dresdner Philharmonie, der sich einen Namen als fachkompetenter Bearbeiter und Herausgeber machen konnte, stellt jetzt in einer Neuausgabe den verlässlichen Urtext vor. (…) Die Neuveröffentlichung ist eine große Hilfe für die Aufführung dieses reizenden und hörenswerten Konzerts, das man nicht nur für die Probespiele studieren sollte.
One can only hope that Glöckler will continue to publish such useful editions of valued repertoire.
Tobias Glöckler’s fingerings and bowings are minimal, his cadenzas seem effective, and his historical notes are interesting and informative.
Henle’s excellent presentation is what we have come to expect from this publisher – fidelity to the text and a large format with clear type on quality paper. This is a model for editions of double bass music. Tobias Glöckler and the Henle Verlag are to be congratulated for their efforts in making this concerto available in such a practical and attractive form. One hopes for more such editions in the future.
This new edition of Hoffmeister’s best known double bass concerto (he wrote three) is the most complete edition to date.
This concerto has been available for many years (Leipzig, 1966) but this is the first time an urtext edition has been published. Tobias Glöckler is making a name for himself as an editor of classical double bass music and much time and care has been taken over this excellent edition. The detailed, informative and well written preface (German, English, French) sets the work in context. ... The music is nicely and clearly typeset, on a good quality paper, and time and care have been taken over the publication. G. Henle and Tobias Glöckler have produced an excellent edition which I recommend that every serious bassist, should have in their collection.