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Uncommon Sheet Music for Flute and Alto Flute

double bass

All scores that include a part for at least one double-bass.

  • Hatton - Wreck of the Hesperus - Theatre Orchestra

    hatton wreck_of_the_hesperus 250The Wreck of the Hesperus, by J. L. Hatton & H. W. Longfellow

    Arranged for theatre or salon orchestra by Peter H. Bloom

    Tenor, Flute, Clarinet, Violin, Viola, & Double Bass Parts, and Mini-Score ― PDF $19.98

    The "dramatic scena" was an especially popular entertainment at its zenith in the mid-nineteenth century throughout the English speaking world.  John Liptrot Hatton's setting of Longfellow's Wreck of the Hesperus is the very model of the dramatic scena at its finest, and a magnificent showcase for an heroic tenor. Longfellow's ballad recounts a chilling tale loosely based on conflated reports of two New England shipwrecks that occurred during a single devastating blizzard in 1839.  This arrangement of Wreck of the Hesperus for theatre or salon orchestra was made for the now retired D.C. Hall's New Concert and Quadrille Band of Boston, and their extraordinary tenor Kevin McDermott.  It can be heard on the Hall's Band's CD recording "Grand Concert," winner of the Noah Greenberg Award of the American Musicological Society. (excerpted from Peter H. Bloom's © foreword)

    Click to preview p1 of the Mini-Score for tenor, flute, clarinet, violin, viola, and double bass (rotate view after opening).

    Click the mp3 icon to listen to an audio clip of Wreck of the Hesperus from the Hall's Band CD recording Grand Concert!.  mp3 icon    

    The D.C. Hall's Grand Concert! CD is available from NSM - click to access the page. 

    Tenor part, 4 pages; Flute part, 2 pages; Bb Clarinet part, 2 pages; Violin part, 2 pages; Viola part, 2 pages; Double bass part, 2 pages; Mini-Score, 8 pages; Total, 26 pages. 

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    We also offer a professionally-printed hard copy edition of The Wreck of the Hesperus for $29.97 plus a $5.95 shipping and handling fee to addresses in the USA. Please use the Contact Us form to let us know which hard copy publication(s) you would like to purchase, along with your email contact information and USPS mailing address. We will then send you a PayPal invoice for the sale and, once we receive notice from PayPal that you have paid for the item(s), we will ship your music to the address provided.

  • Kakabadse - Russian Tableaux - String Quartet

    Kakabadse Russian nsmRussian Tableaux, by Lydia Kakabadse


    Contemporary Composition for Violin, Viola, Cello and Double Bass
    Score and Parts, PDF $18.99


    Please see the "Our Composers" section of the website to learn more about highly-acclaimed British composer Lydia Kakabadse, whom we were delighted to welcome as a new contributor to NSM's catalog in September 2017, with publication of her piece Russian TableauxRussian Tableaux is featured on The Phantom Listeners CD (Naxos 8.572524); visit the composer's website to listen to audio samples.CD image The-Phantom-Listeners-New-632x567

    Here are the composer's program notes for this beautiful work, which was written in memory of her father:

    Russian Tableaux, which was completed in September 2009 for string quartet (violin, viola, cello, double bass), displays such distinctive Russian traits as rich melody and texture, an abundance of colour, low register strings and strong bass.

    1st movement – Mother Volga
    The river Volga, which has held much importance in Russian life, is known as the mother of Russian civilization and came to be called "Mother Volga". Accompanied by the double bass, the piece opens with the cello, followed in turn by the viola and then the violin, each representing a tributary that flows into the river. The river gathers momentum as the cello announces the main theme, which is taken up by the upper strings against pizzicato double bass. The viola attempts to steer a steady course against the meandering strings and, following a variation of the main theme, brings the piece to an end with arpeggio like runs.

    2nd movement – 1917
    Depicting the aftermath of the Russian Revolution of 1917 and the ensuing misery and sense of desolation, this movement opens with the cello playing the main theme grave con dolore, accompanied by the double bass. This theme is then taken up by the violin and later by the viola in their lower register. Despite an increase in tempo, where the violin plays a variation of the theme, the feeling of despair cannot be shaken off. This is characterized by the melancholy tone reflected in the continual use of the minor key, the repetition of the same notes and a return to the opening theme.

    3rd movement – Dance of the Matryoshka Dolls
    Also known as a Russian doll, the matryoshka is a hollow wooden doll containing a number of smaller dolls. The dance starts fast and lively and the first theme announced by the violin, characterizes the dainty dancing of the smaller dolls. In contrast, the 2nd theme when played by the double bass at a far slower tempo characterizes the heavy plodding movements of the larger dolls. The tempo reverts back to the original allegro where the first theme is now played by the viola followed by frequent interplay between the strings, bringing the dance to a fast and furious close.

    —Lydia Kakabadse, September 2017

     

    Here's what Sarah-Jane Bradley (www.sarahjanebradley.com), one of the UK's top violists, has written about Russian Tableaux, a piece she has performed a number of times both in concert and for recording: "Russian Tableaux is a magical depiction of scenes of life in Russia, infused with nostalgic folksong-like melodies and the Eastern flavour of harmonic minor tonality. Lydia Kakabadse makes excellent and highly effective use of the unusual quartet combination, featuring the rich, dark sonority of the double bass as well as virtuoso writing for all four instruments in the final Dance of the Matryoshka Dolls. Well worth exploring - a joy for performers and listeners alike."

    Score, 24 pages; Parts for Violin, Viola, Cello and Double Bass, 6 pages each; Total, 58 pages.

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