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> The Purpose
> The Sources
> The Issues
> The Procedures
> Cataloging Format
> Future Development & Conclusion
The goal of this catalog is to present literally all the extant period compositions that may have used the Viennese bass - and thus further promote the study and performance of the period repertoire intended for this instrument. Given the vast amount of uncataloged period compositions in the genres of orchestra, opera and church works, these genres have been left out of this catalog for the present time. Therefore, the catalog features only the complete Solo and Chamber Works available at this stage of research. This is also the reason the catalog is titled as Beta (in development), as it will remain in such state for a foreseeable time until the research, scholarly community and the practical performance prove (or disprove) its current concept and the individual entries listed.
With a passage of time and further development of technology, it may be feasible to assemble and overview literally the entire period opus of works in all genres intended for this specific instrument. In theory this catalog will probably never be complete, but in practice it is intended to address all professionals and scholars with most up to date information pertaining to sources, instrumentation and editions of all extant scores that have ever featured - or will feature the Viennese bass worldwide.
This introduction will explain in detail all the issues that pertain to classification of period Viennese music in our time, and also take a look back at the extant bass catalogues that have covered the Viennese and general bass heritage in the past. In addition, it will elaborate on all the procedures and challenges related to locating and cataloging the Viennese bass in our digital time.
This catalog will also differ from all previous bass catalogs in the fact that it is the first electronic online bass catalog with an added thematic catalog too - all due to the convenience of offering direct links to RISM OPAC records which almost always offer the thematic incipits. The catalog's future development may also include its own thematic catalog unrelated to RISM OPAC, with the samples of the manuscript pages, links to all extant editions, CDs, recitals and even recordings with music samples - all in much greater scope that presently available.
The purpose of the catalog is to simply offer a one place portal for all students, professionals and scholars who wish to find out a current information on the background and a proper instrumentation of any particular piece form this repertoire. The digital domain of a web site allows such a task to be achieved much better than any printed publication can, and it is hoped that the this catalog (VT-cat in short) can further accelerate the interest in research and performance of this literature.
What follows is a list of sources and procedures that have been used in making of the VT-cat.
Electronic catalogs:
RISM (Répertoire International des Sources Musicales) is the world's largest online database of music manuscripts ever assembled within its division "Serie A/II" - which cover all the sources since the year 1600. For a long time the database was accessible only through the library subscriptions or CD roms, yet since the June of 2010 it has become public over internet, and in format that offers a direct link to any of its records. This was a wonderful news for the VT-cat as all of the RISM pieces related to the Viennese tradition could then be directly incorporated and linked here. The problem was only to search them all and decide on the possibility of the Viennese bass use in them.
However, although the RISM-OPAC is probably the best electronic research tool in the field - it is not a perfect one. Unfortunately, not all of the libraries that house Viennese bass music have been covered in current RISM records and some other libraries offer only a selected part of their collections in RISM. Thus what follows is a list of the libraries that are not catalogued in the electronic RISM-OPAC and yet house the valuable pieces from Viennese tradition. For them you will see the library sigla listed within records but only as the reference for particular compositions in their holdings:
Partial entries in RISM - OPAC:
> A-Wn ÖNB some compositions entered in RISM, some missing > A-M Stifft Melk some compositions catalogued, however Anton Albrechtsberger's opus missing Not in RISM-OPAC:
> A-LA Benediktinerstift – Lambach > A-MB Benediktiner-Abtei Michaelbeuren > A-Gd Bibliothek des Bischöflichen Seckauer Ordinats – Graz > A-GÖ Stift Göttweig > A-Sm Stiftung Mozarteum - Salzburg > A-Wst Wienbibliothek im Rathaus > D-Bds Berlin Deutsche Staatsbibliothek > GB-Lbl British Library, London > GB-Lcm Royal College of Music - London > SK-TR State Archive - Trnava Lastly, although the RISM offers superior information to any of the pervious printed catalogs, the quality of its records can vary and depend on the individual librarians that have cataloged scores. That was to be expected as not every librarian can also be a musicologist, and with many scores listed only an edition process and a performance could clear the matter. On further procedures as regarding to known Basso - Violone issues please refer below in "Issues" chapter.
OCLC World-Cat is the worlds largest database of every possible library item type that can be catalogued, and it features the world's largest collection of musical scores and recordings including some manuscripts too. This database was not a primary tool in creating the VT-cat and yet it was consulted countless times to corroborate on the works of lesser composers and their printed opus. In the future, when this catalog start addressing printed editions, the links to World-cat entries may also be included here.
Printed Sources:
Josef Focht's book "Der Wiener Kontrabass" is still the best and most comprehensive written book on the subject and subsequently its entire composition listing is now incorporated in the VT-cat. The only exceptions are the church compositions Focht lists, which are yet to be covered here in the separate pages.
However, you may still be well advised to procure Focht's book as many of the analytical details Focht offers in discussing the individual compositions could not be presented here due to both the copyright and my personal respect for the originality of Focht's work.
The difference in approach between the VT-cat and the Focht's listings lies in the fact that Focht focuses on citing only the works which show clear idiomatic writing for the Viennese tuned bass, while the VT-cat tries to incorporate literally all the possible compositions that may have used this tuning - regardless of the writing or the possible key convenience. When in a due time the symphonic, operatic and church literature comes to be catalogued, it will be obvious that the keys other than D and A, were not a barrier for the use of Viennese system in these compositions. This diversity of keys may already be noticed in the larger chamber ensembles listed here and particularly in those that use the wind instruments.
Meier's venerable "Konzertante Musik für Kontrabass in Wiener Klassik" was the first catalog that explicitly cataloged the solo music for Viennese bass. To this day this work is a standard for learning the basics of Viennese tuning tradition and the individual solo pieces - as it contains the thematic catalog for the listed concertos, which Focht does not offer. The entire solo and chamber music listing of the pieces from Meier catalogue is now also incorporated in the VT-cat.
As recommended with Focht's book, you are also well advised to procure Meier's work since the detailed analysis of concertos and other solo genres presented there is so unique that it will take time for anybody to challenge its depth, and write a work that may surpass it on the analytical level.
Planyavsky's "Geschichte des Kontrabasses" still holds the world's standard for a cumulative written history of double bass today, even if printed in 1984. It is certain that Brun's book have offered access to a much wider readership by being published in English - and it is also a very valuable source, yet Planyavsky still offers much other unique information that is not accessible at any other source to this date.
The last fifth of the Panyavsky's book actually contains the catalog of the entire bass literature as divided in the solo and chamber music (p. 713-851). Thus all the items from his catalog that are not already covered by Focht and Meier have also been incorporated in the VT-cat now. In many instances Planyavsky cites the repertoire pieces from various ensembles that have performed them, so it was not always easy to discern where are the original sources for these compositions. Furthermore, it appears that in some instances some of these composition may even have been transcriptions or have assumed a freely interpreted addition of double bass to them, which would not be the case if these pieces were as well researched then as today. Nevertheless, Planyavsky also offers the listings of several very interesting printed editions that offer a possibility of belonging to the Viennese repertoire and these are all carefully cited as coming from his book.
Hehenberger's "Der Malaric-Nachlaß in der Hochschulbibliothek Mozarteum in Salzburg" is a fascinating and a little known catalog of the entire personal inheritance that has been left to us by world know editor of double bass music Rudolf Malaric. The entries in Malaric catalog do not differentiate between the various tunings, yet offer a magnificent wealth of bass compositions, and among them some interesting pieces that are not cited in any other source. All of the compositions in Malaric catalog that may belong to Viennese bass tradition are now also incorporated in the VT-cat.
A minor difficulty with this catalog however lies in the fact that Rudolf Malaric used to edit and interpret some of the solo literature in a rather liberal way in comparison to our present day standards - and thus offers a possibility that some of the pieces are not what the title says. In the genre of chamber music however, the title itself will be a good clue on the possible authenticity of the pieces as the original titles of the Viennese compositions are almost by default all in Italian, and so the terms Contrabasso or Violone as related to the classical period composers. Within the VT-cat you will find the carefully made notes that address any ambiguity with the pieces coming from Malaric catalog.
Albright's dissertation "Original Solo Concertos for the Double Bass" (1969) holds to this day some quite a unique information on the classical concertos, which he has procured from the variety of central European sources during the sixties. For some of these concertos, the author of this catalog could find only the partial source prints, and for some of them it would be necessary to go back over Albright's original correspondence to see who and how have delivered initial information to him. In any instance, this dissertation is still a valuable compendium of the concerto literature and will remain as such until someone decides to cover this entire subject again in our 21st century.
Murray Grodner Catalog:
Grodner's "Comprehensive Catalog of Music, Books Recordings and Videos for the Double bass" (2000) has not been consulted in making this online catalog. Although a very comprehensive book, Grodner's catalog features only the contemporary printed editions, many of which actually are even transcriptions, and not the original manuscripts. This magnificent source however, will be of use in the future when the VT-cat starts covering all the printed editions of the Viennese bass literature.
Other Sources:
Composers' Thematic Catalogues:
The individual thematic catalogues from the link listing have been used in making the VT-cat. As the work on individual composers progresses so will this listing be updated with new composers or the information on the lack of thematic catalogues for some.
Composers' biographies:
This site at this time does not offer universal listing of all composers biographies cited in composers' listing, although in the future it may. Among the biographies consulted so far is a Dittersdorf's autobiography.
Music Histories, Lexicons, Encyclopedias and Contemporary reports:
Period works on composers and their output and the later 19th century encyclopedias have been consulted in making this VT-cat. The complete listing of the authors and their works is yet to be assembled in a separate listing, and for the moment let it suffice to randomly mention just the most consulted names - such as: Burney, Dlabacz, Eitner, Fetis, Gerber, Hiller, Junker, Krebs, Lipowsky, Meusel, Pillwein
This library listing has brought out perhaps the most interesting part of the research required to assemble the VT-cat. Every library would present some aspect of search or classification system individual to its own setup - thus it was a challenge and quite often a fun to discover a unique search patterns that may yield some other compositions beyond the known titles listed in the sources above. Quite often it was possible to discover manuscript titles that indeed seemed unnoticed by the other compilers, and yet many of them were simply inconclusive for the inclusion in the official listing.
In the future, when this author gets the ability to check all these inconclusive sources in person and perhaps even tries to revive them in live performances, the better sense of the true heritage of that remaining literature will hopefully be gained. Meanwhile, please be welcome to continue to the "Procedures" section of this introduction which will explain all the checkups and rules used in hope to separate the true Viennese bass literature from the rest.
As most bass players are aware, since the beginning of the historical double bass research after the World War II there was an ongoing debate among the scholars and performers on how to interpret the bass parts in pre Baroque, Baroque and also Classical music. In simple terms it was often a matter of contention on how many bass instruments, of what type and in what combination should be placed under one (or more) nondescript "basso" parts. Leaving the pre Baroque and Baroque discussion aside, the Viennese tuning in a from covered within this site is concerned only with pre-Classical, Classical and early Romantic compositions - and that makes the task of selecting the pieces somewhat easier.
Thus let us present here the current issues a cataloger of such music would face:
1. The basic criterions for selection: If we perceive the issue of making the criterion for including the certain compositions in this catalog, than there are basically two main questions that had to be addressed with each piece from the onset:
1. How to determine if a double bass in a certain piece is intended for Viennese or some other type of orchestra tuning - and along offer some evidence that the double bass itself would be the instrument that qualifies for that part (instead of violoncello or bassoon for example)?
2. How to determine the number of bass instruments that would have participated in the original performance from a particular preserved manuscript? As in Baroque music, sometime in the Classical repertoire the intentions of the composer were not so clearly marked and some type of cutting decision had to be made one way or the other in order to classify the piece.
The difficulty in perceiving these two issues lies in the fact that most period compositions simply did not offer any indication on desired tuning of the bass instrument, or the bass instrument itself. Thus the the decisions made here were in most cases based on the following 4 factors:
1. the work of predecessors
2. the idiomatic nature of bass part writing
3. the information on extant period Viennese basses
4. the conjecture based on the assumption that Contrabasso and Violone in the Central European - Austro German states were the general synonyms for Viennese tuned double bass.
2. How do we know the piece is for Viennese bass and not some other basso instrument?
As of yet we don't have the evidence that any type of Baroque Violone has remained in use during the early Classical period but do have a plenty of evidence that many early Viennese basses were constructed even prior to the onset of the early Classicism! The fact that in many works of the same classical composer, the terms Violone and Contra Basso appear interchangeable, leaves no doubt in the mind of this author of the intended instrument. The only exception to this rule could be the small basses that were in use during the Classical period. However and so far, unfortunately the scholarship has not found the way to investigate how these small basses may be recognized in particular classical scores. Thus, the abovementioned classification will hold for this catalog until further research can offer better information.
3. What about orchestra music and other genres such as opera and church music?
Most of the specialist literature that have covered this subject so far (Meier and Focht) have based their composition selection primarily on the basis of the idiomatic writing suitable for the Viennese triadic tuning of the few specific keys. Yet the fact stands, that along the triadic-convenient concertato writing for Viennese bass, the same instrument was used in an exceptional number of regular nonconcertato compositions from the chamber, opera and orchestra genres and in a variety of other keys. Therefore, this catalog will try to list all of them here.
4. Can we determine the borders of the geographic regions where the Viennese basses were used?
Since all the genres will be listed in this catalog, the large issue was to decide on some sort of geographic border to this general Central European - Austro German realm; and than decide what manuscripts within what collections could belong to that realm.
Obviously the Violones mentioned in English, Belgian, Swedish and Dutch libraries would not fit the muster, yet if the pieces by the known Viennese masters were found there (as in few instances), than possibly they may have been conceived originally for the Viennese Violone yet due to the convenience likely played by some other double bass type common in the northern lands. These pieces could than be named as "transmigrational" (for the lack of better word).
In specific terms the geographic border deciding this issue is still somewhat ambiguous. The "line" appears to be going somewhat along the Catholic - Protestant division. In general, the area covers the southern Germany, Switzerland (monasteries), Austria, Bohemia, Hungary, Croatia, Romania and on the North-East side even parts of Poland, while on the South side there may be a possibility that even some northern Italian cities & monasteries may have used it. A detailed research of all the cited compositions should yield a better answer to this issue sometime in the future.
5. Can the summary of the bass part instrumentation within a certain piece be made?
This question leads to an issue of general summaries that are always sought for didactic and practical applications. The type of summary by which a period bass specialist would expect to find out how many basses and-or violoncellos, should one expect on a typical divertimento or classical symphonic work. On that inquiry, the author of this catalog can only reply, that such summary will be difficult to make, as it appears that the local instrumentation practice of a single particular place was clearly dependent on the number of instrumentalists of that particular court, church or the very occasion for which it was written. In simple terms - the practice was always very localized and may not be a good source for the generalizations.
Thus in practical terms, all one could hope to emulate would be just the recreation of that particular setup from a particular group in particular location. If there are two or more versions of the same piece from different regions or years, than one would need to pick a particular version and emulate its specific orchestration. Needles to say - and to the regret of many tutti bassists - it will be a surprise to find out that most of the lesser symphonies in the classical period were actually performed with only one (or two) bassists.
6. What would be the number of performers per part?
The previous discussion of the bass instrumentation leads naturally to the question of the number of other performers per part. In this catalog, and based on the evidence you will see in the listing of several hundreds of chamber compositions presented here - the classical performance practice indicates the use of one performer on the part. Unless the part was labeled in plural (Violini for example). To corroborate this fact one can only point out that there is hardly any exception where you would have the single part with Violini on it, or more parts than instruments when the instrument is cited in singular (ex. Violino) within the title of the composition. Moreover, if we take a common sense that the paper, ink and copying labor were all far more precious then they are to us today, you will find that no extra part was produced unless absolutely necessary for that particular performance. When you do find the additional parts in relation to the title, you will also find that they are of a different age and paper type, which clearly points to a different occasion when the ensemble had to be enlarged from its original setup. As a last argument you may also refer to the multitude of iconographic evidence where you will see musicians seated in all different types of arrangements unusual to us today - but almost always with a single part in front of them!
7. Our time and the contemporary compositions for Viennese bass.
At this stage this catalog does not list the modern compositions but in the future it will as well. Due to the exceptional efforts of Berlin Philharmonic bassist Edicson Ruiz we already have several contemporary pieces written for Viennese bass and consequently these will be eventually included in the separate tables too.
As a conclusion, since all these issues had to be profiled in a particular consistent set of procedures for the classification purposes, what follows is a list of them that was applied in selecting and making the records for this catalog.
On the individual procedures for selecting and including certain composition within a certain genre or instrument ensemble, you can read more within in the particular sections of this catalog - addressing the solo or chamber pieces. This chapter will cover only the general procedures that apply to the entire VT-cat, along with the other basic sources of reference that have been used:
1. The work of previous musicologists - researchers:
The VT-cat was started with the premise that all of the specialist literature that have already decided on solo and chamber music for Viennese system should be reevaluated and included (Focht and Meier). These compositions have been selected by respective authors primarily on the basis of their idiomatic writing for the Viennese triadic tuning, Yet the fact stands, that along the specialist solo concertato writing for the Viennese bass, the same instrument was used in an exceptional number of regular nonconcertato compositions which this catalog will now try to list all.
2. The personal work invested to extend the realm of repertoire beyond the extant catalogues:
Following on the work of previous musicologists, all the other compositions have been discovered independently through the RISM - OPAC and by using the other sources cited above. In practice however, the process of selecting the pieces has started long before the introduction of online RISM - OPAC and stretches more than two decades ago. Thus technically, that "other" non-Meier and non-Focht catalog has existed long before the entries of these two sources have cumulatively been joined with the author's independent research. The RISM - OPAC has simply accelerated the search and research process to finally bring this catalog to existence.
Let us now present the practical procedures used in selecting the pieces:
1. The initial test that every composition has to pass is the presence of some indication that the very piece is intended for the Viennese bass. The most common source for such an information is a title - thus every composition that would feature either Contra Basso or Violone (in any of the variants and sub variants) would be considered. This would also include a classification of single instrument as "vlne" and or "cb" within the electronic RISM-OPAC. "vlne" and "cb" being a RISM shorthand for Violone or Contra basso - the most common terms used in classical period music to designate double bass. It should be added that this practice relied strongly on the RISM's own staff to identify the "vlne" part as such, but it is trusted that they would not have done it without a reason as in many instances they have also assigned many "b"s - which simply stands for nondescript Basso part.
2. Once a Violone or Contra basso was discovered, than the dates and places of activity of that particular composer would be checked. If it appeared that the composer was active within the general circle of known classical Viennese masters, than the composition would pass the other check mark.
3. A third step would be to access the present location of the composition in relation to where it may have originated. In many instances you would find an answer to that question either in relation to the collection of particular bass virtuoso (Sperger for example of D-SWl) or the location itself such as multitude of Austrian monasteries that have a particularly well preserved collections of Viennese bass chamber music. With a known location - where we knew there was a Viennese bassist in house, it was usually not a problem to ascribe a Viennese tuning to the bass, as it was the only bass in the house!
4. A fourth step would be to evaluate a genre of the piece, and determine if it belonged to the variety of classical genres. The genre would in most cases belong to one of the cited in the right column of the chamber music "genre listing" - and than it would be included. Should the genre appear of a Baroque origin and particularly if the dates were bellow 1730es, than the composition would not be included.
5. The upper limit for the dates have been extended to between 1810 and 1815 - or nearby. Some chamber pieces imply the possible use of Violone even later, but these may need further research, and probably present the exception rather than a rule for the Viennese bass use.
6. Also, there are some compositions that fit well in all criteria from 2 to 5 but not the number 1. - as they are listed simply under famous (and nondescript) Basso term. In that case a conjecture was usually made based on all other available evidence. For example, are there in existence the other pieces of a similar setup of the same composer, location and timeframe that can perhaps point to a series of pieces where by accident the Basso was exchanged for Violone? This scenario has indeed been noted on several occasions and you will notice such entries in the catalog. Also, how big the ensemble is? In general for all entries larger than sextet a basso is considered a Violone unless some information may suggest otherwise. It should be noted that in no case a citation of a single Violoncello on the bass part even within the larger ensemble was tried to be explained as a "possible Violone". Cellists have their literature and that was respected strictly within this catalog.
7. The problem with a borderline regions where a castle, church or a regional library may own a collection that features some Violone piece but belongs to northern region where the regular basses may have been used. In that case after weighting all the options a decision was made and all the evidence pro and contra presented with the common addition "further research needed". By doing it that way, hopefully a space is open for further research to offer better evidence based on closer examination of music and further discoveries.
Thus as you will see here we have a true Beta (in development) catalog, as you will find many pieces whose true provenience will be determined only through the careful examination of parts, a possible edition projects and lastly the complete performances with the Viennese bass. Once the composition has passed the entire editing and performing process, a much better idea would emerge on the composition's background and the affiliation with the Viennese bass tradition.
In the following section a description map for a typical composition entry is presented and there you can find all the details that are not explained in the records tables. Once you are familiar with the basics of cataloging within the VT-cat, you will be ready to begin your own research and perhaps even find your own argument for inclusion or exclusion of some of the cited entries. Moreover, you will be well equipped to try your own research if you find yourself browsing through the catalog of some European library. Then perhaps you may even be able to suggest some of your own compositions that are missing here.
The entire catalog follows a simple cataloging format that should be familiar to all who are versed in using the University online catalogs. For the sake of clarity a typical sample entry has been presented here and every individual column described in detail.
| No. | Composer | Index no. | RISM no. | Original Title | Key | Ms. location | Ms. no. |
ex. 1 - There is no particular significance to this number except to show the actual number of compositions in a particular table and thus provide us with an easy way to asses the number of compositions within the particular genre or the ensemble type. |
ex: Musicus, Johannes Petrus - The name of every composer is listed individually for each composition. If there is a link to the name it implies that a separate page was already made for that particular composer. All the names are cited in the variants used within the Anglo-Saxon library system (thus it is Vanhal - not Wanhal as the Germans would catalog him) |
ex: KV 525 - The Köchel - Verzeichnis used to index Mozart's works is known worldwide, and so for every other composer whose works were fortunate to be indexed so far, the composition number will be listed here. For those who did not have this fortune - and indeed there are plenty of minor masters whose works are still awaiting categorization - the number will simply be missing. - In some instances the same composition may be of spurious authorship with two or even more possible authors. In that case all the index numbers are cited. |
ex: 123.456.789 - this is where you will find a direct link to a RISM record if such exists. If it does not, the field will be left blank |
ex:
Cassatio per il Violino primo, Violino secundo, Viola / e / Violone - If the original title is preserved it will be cited here in italicized letters. In many cases the title will come from the parts or even other sources. All these titles - if original - will be italicized. Only if the title is not preserved and the genre or type of composition is determined on its musical features (Divertimento for example) the title will not be italicized. - after the title you will commonly find the explanatory notes in the following order: 1. individual instruments cited - if not mentioned in the title 2. the reason this particular piece is listed in this catalog. If there is no explanation, than the title will probably contain the word Contra basso or Violone and these citation in conjunction with the composer, date and location of piece will be sufficient to list the piece 3. Lastly, if the data is inconclusive, you will simply see note "further research needed" as will be the case with many pieces whose true heritage is yet to be determined through modern editions and subsequent performances |
ex: D maj - the key is cited here. This catalog is unfortunately not indexed with the years of composition yet, as such an undertaking would have required a whole new level of commitment. Eventually, in the future the years will be indexed too. |
ex: D-SWl - here you will find the RISM siglum (abbreviated library name) for the library that house this particular piece. In most cases the cited library sigla will link you directly to the Name and actual online page of the particular library. |
ex: Ms. hs. 15.407 - This is where you will find the actual manuscript number for this particular piece. These numbers will differ from collection to collection and from library to library. - Some libraries now even offer an option of linking directly to their record, so where possible you will also see here an active link to the actual composition record within its home library. |
The further work on a much larger scale awaits this catalog in the areas of complete orchestra and opera music featuring the Viennese instrument. Yet, the biggest and most comprehensive part of the catalogization should concern systematization of the entire Church music opus, which in scope is likely to quadruple the number of compositions featured in the instrumental music sections.
The catalog in this format is just an informative listing of the extant Viennese pieces, very few of which have been printed and performed. The future development of this catalog envisions broadening every separate entry in to the full record that may feature a manuscript page sample, the music editions list, the recordings list and likewise the music samples - if available. The time to complete this endeavor - as most will realize - will take years if not decades.
So, far some two years of specialized research work spread over more than 3000 working hours have been invested in browsing literally the thousands of Library records and countless sources within individual books, lexicons, and encyclopedias - and than conceiving and creating this catalog. This work by itself can not be considered for, and probably never will be met with a reward it could yield if invested in some other more profitable fields. Yet, the idea was from the beginning to construct a platform that can move the basic knowledge in the field one step forward, and provide a tool that can offer a conclusive answer to the true extant of our double bass heritage. In that sense if you find anything of interest here please be welcome to explore it further and bring it to the level of the editions or performances yourself if you can. The author of this site would love nothing more than to see the entire listing checked by peers and colleagues, and would gladly receive any criticism or updates that could further the extent of these listings for the benefit of all.
Igor Pecevski
November 1, 2011
Posted: November 1, 2011
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