Mozart Symphony No. 40 (Great G Minor) – Bass Part
Edited by Paul Ellison
Title: Symphony No. 40
Composer: Wolfgang Amadeus Mozart
Edited By: Paul Ellison
The bass part for Mozart's Symphony No. 40 in G minor, K. 550 (nicknamed the Great G Minor Symphony) has been edited by Paul Ellison, in-demand double bassist, professor, presenter, and former Houston Symphony Orchestra principal bassist of 23 years. Ellison's bowings, fingerings and other editorial markings have been added throughout the score.
Mozart's Symphony No. 40 is the second of his last three symphonies, a set he composed in rapid succession during the summer of 1788. Some consider the last three symphonies as a unified work. In particular, Symphony No. 40 functions as the middle work, having no introduction (unlike No. 39) and no large-scale finale (unlike No. 41). It is sometimes referred to as the Great G Minor Symphony, distinguishing it from Symphony No. 25, the Little G minor symphony. These two are the only symphonies Mozart wrote with a primary minor key, and the Great G Minor is unquestionably regarded as one of Mozart's greatest works.
Download and print the score today to gain access to expertly edited Mozart Symphony No. 40 bass fingerings and bowings from Paul Ellison!
Dear bassist or interested party,
All my editing is done in the spirit of "living editions." They are never finished or to be considered set in stone. Bowings, articulations, fingerings, dynamics and phrasings may change with conductors, historical performance considerations, change of instrument, bow or strings, differing venues, individual physical considerations, change of climate or altitude not to mention additional acquired knowledge or change in personal taste. Asking oneself to have about five ways to play most passages seems to cover the fluctuating circumstances mentioned in addition to giving oneself reason and context for choices to be made. Each set of performances of any major work is likely to prompt some change(s). The very nature and future of music as an art form demands live, dynamic, fresh interpretations which frequently necessitates realizing that there actually is no "rule book" and that the "bass police" will never actually show up.
Please accept this editing in the spirit of knowing that our skills and abilities are in constant flux and may require many possibilities. Here's to great music making.
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