Adolf Míšek Solo Collection (Orchestral Tuning)

About the Collection

This collection of four works by Adolf Míšek, edited by David Heyes, showcases the expressive and virtuosic possibilities of the double bass in orchestral tuning with piano. From the brilliant Concert-Polonaise and lyrical Legende to the richly crafted Sonatas Nos. 1 and 2, these pieces highlight both technical mastery and late-Romantic lyricism. Together, they confirm Míšek’s place as one of the most important composer-performers to expand the solo bass repertoire in the early 20th century.

What's In the Collection

1. Concert-Polonaise

Concert-Polonaise is a virtuosic showpiece for the advanced bassist and would be an ideal final item in a recital or an encore. In one extended movement but divided into a series of contrasting moods and emotions, it combines technical and music challenges which demonstrate the amazing potential and possibilities of the solo double bass throughout its entire range.

The edition includes two bass parts - one without fingerings and one with Mišek’s original fingerings.

2. Legende Op.3

Legende Op.3 probably dates from the early years of the 20th-century and is an example of salon or characteristic music at its very best. In ternary form, the outer sections emphasize the lyrical and singing qualities of the double bass in its middle and upper register, contrasting a central section which is more animated and dramatic. The piano accompaniment is colorful and supportive, with a strongly rhythmic momentum and energy which beautifully partners the long and sonorous melodies of the double bass. Legende foreshadows the slow movements of the first two Double Bass Sonatas.

The edition includes piano accompaniments for both solo and orchestral tuning.

3. Sonata No. 1 Op. 5

Sonata No.1 was probably composed during the early years of the 20th-century and first published in 1909 by Universal Edition (Vienna). The three contrasting movements explore and exploit the virtuosic and singing potential of the double bass alongside a colorfully supportive and rhythmically inventive accompaniment.

The edition includes two solo double bass parts - one without fingerings and one with the composer’s own fingerings.

4. Sonata No. 2 Op. 6

Sonata No.2 is in four movements and is one of the most popular double bass sonatas in the solo repertoire today. Probably composed in the early years of the 20th-century it was first published in 1911 by Universal Edition (Vienna), only available in solo tuning. The four contrasting movements combine musical and technical challenges in equal measure, exploiting the virtuosic and singing qualities of the double bass, contrasting a colorfully dramatic and independent piano accompaniment which creates a late-romantic sound world, with echoes of times past.

The edition includes two bass parts - one clean and one with the composer’s original
fingerings.

About the Composer

Adolf Mišek was born in Modletín (Bohemia) on 29 August 1875, the son of a weaver and bandmaster. He studied double bass with František Simandl at the Vienna Conservatoire from 1890-94 and from 1898-1900 was a bassist with the Vienna Hofopernorchester (Court Opera Orchestra), and subsequently with the Vienna Philharmonic. He maintained his Czech connections however by conducting a number of Czech choirs and orchestras in Vienna during these years.

From 1910-1914 Mišek taught double bass at the Neue Wiener Konservatorium (New Vienna Conservatoire) but when the First Czech Republic was established in 1918, after the end of the First World War, he resigned from the orchestra and returned to Prague, where he lived for the rest of his life. He was appointed soloist of the National Theatre Orchestra (1920-34) in Prague and spent the last twenty years of his life as a freelance composer, teacher and bassist. Mišek died in Prague on 20 October 1955.

Mišek composed three sonatas for double bass and piano and the first two have become standard repertoire for almost every conservatoire, university and professional double bassist. Sonata No. 1 (Op. 5) was published in 1909 and Sonata No. 2 (Op. 6) in 1911, and it is likely they were written during the early years of the 20th-century and are completely different in terms of style, composition and scope.

About the Editor

David Heyes (b.1960) studied double bass with Laurence Gray and Bronwen Naish, later at the Royal College of Music in London, and completed his post-graduate studies in Prague with František Pošta (Principal Bass, Czech Philharmonic Orchestra). He has given recitals and masterclasses in 20 countries over the past few years and has been a juror at a number of international competitions, three times as chairman.

David's collaborative work gained him a prestigious award from the David Walter Charitable Trust of New York for his pioneering activities as a soloist, teacher, publisher, and commissioner of new music for double bass and he works with composers throughout the world to expand the double bass repertoire by commissioning new music and by rediscovering forgotten ones. Since 1983 more than 750 works have been written for him, music from one to twenty basses and from beginner to virtuoso, and he has premiered ten contemporary concertos with orchestra.

David began to compose in 2013 and has had music performed and recorded in 32 countries across five continents and is proud to be a D'Addario Performing Artist.