Click here to download the catalog as a PDF file. To view this site you need Adobe Flash Player and your browser must allow javaScripts. Go here to get the latest Flash Player. SHAR APPRENTICE REVIEWS Sasha Brandt, Double Bass 4846 108 Bottesini: Concerto No. 2 in A Major. Bottesini's Second Concerto is the triumph of the bass player's repertoire. It is a moment captured from the Bel Canto era, when all focus was placed on a player's virt uosity and expressiveness, above all other musical considerations. The result is an intensely lyrical concert o that will stretch the capabilities of any performer. Try Something New! sharmusic.com/apprenticereviews 4638 111 Dragonetti: Concerto in A Major. The Dragonetti Concerto (secretly by Edouard Nanny) is one of the most popular pieces in the student bassist's repertoire. It's a fun romp across the positions, with catchy melodies and a lot of energy shot into the first and third movements. The second movement is a pleasant contrast, full of lyricism and expression. The concerto is fun to play, and can also serve as an introduction into harmonics for younger players. 4635 107 Dittersdorf: Concerto in E-Flat Major K 171. T h rough the ages, the bass has gone through many flavors of tuning; the Dittersdorf conc e rto was written during an interlude where the bass was most often a three-stringed instrumented with an A-D-A tuning (B-E-B in solo tuning). I mention this because going back to that perfect-fourth and perfect-fifth tuning makes this piece much, much easier, turning it from a piece that seems more challenging than it's wo rth into a light-hearted, witty concerto in E-Major. 4392 108 Petracchi: Simplified Higher Technique. Petracchi developed an extremely methodical approach to working in the higher positions; he set up a system of three hand positions (chromatic, semi-chromatic, and diatonic) that are extremely functional for most playing. The etudes in this book focus on strengthening your left hand in these simple shapes, and using those positions to achieve better intonation in chords, shifts, and tricky passages. 4678 111 Koussevitzky: Chanson Triste. Koussevitzky wrote four smaller pieces, and I cherish this one; it is brief, but conveys great depth and grief, with a frenzied, emotional cadenza you wouldn’t normally expect to see in a piece so short. 4662 007 Hindemith: S o n a t a. I love eve rything about this piece, with one exception; it’s hard to find a pianist who is willing to tackle it with you! I’ve always found the spirit of this piece very appealing, and I have a soft spot for lopsided rhythms and harmonic passages in the lower positions. It’s a great piece for the bassist looking for a modern flair to their playing. 4379 108 Bottesini: Method for Double Bass Vol. 1. This volume is full of fun and lyrical etudes for the beginning and intermediate bassists. They’re a great way to explore keys while learning small, compact solos! 4644 111 Faure: Apres un Reve. This piece is famous for the intensity of its mournfulness. The voice of the bass matches that tone ve ry well; the warmth and depth of the bass’s tone works beautifully with a melody that speaks so eloquently of abandonment. Charles Dwyer, Cello 5425 075 Selections from The Four Seasons for String Quartet. These c o n c e rt os are some of the most well known pieces in classical music, and they’re famous for a reason! The Four Seasons is easy and enjoyable to listen to, and your audience is bound to recognize it! 5069 103 Hungarian Folk Melodies for Violin and Cello. B a rtok's Hungarian Folk Melodies are very challenging, but very exciting! These short pieces are bound to capture the interest of anyone listening to them and leave a lasting impression. This piece, however, is not for the faint of heart! 6077 102 Klavierquartett Piano Quartet. This is one of Mahler's earlier compositions, and it is quite repre s e ntative of the style. Like his famous operas, it features lush harmonies and dramatic phrases, with a bombastic, exciting ending. 5122 106 Beethoven: D u et 'with two Obligato Eyeglasses' for Violin and Cello. Being a cellist myself, I really enjoy this lyrical and interesting duet for its warm and dark sound that the absence of a violin creates. I can't imagine a better way to showcase the rich sound of the viola as a solo instrument! 8 Order by phone: 800.248.SHAR • On the web: www.sharmusic.com • Or by fax: 800.99.STRAD