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Michael Kurth

Michael Kurth: New Cadenzas for Double Bass Concerto by Johann Baptist Vanhal

Michael Kurth: New Cadenzas for Double Bass Concerto by Johann Baptist Vanhal

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About the Composition

Tired of the same old cadenzas? Want to spread your wings a bit, to stand out in the crowd? Do you need a concerto for your next recital or audition, but want to throw a curve ball at the other folks in your studio? Throw a few bucks at these fresh cadenzas for the venerable Vanhal concerto. You'll get new cadenzas for al three movements, in both C and D major! Use them as printed, or use them as a jumping-off point to write your own! Edit them! Devour them! Bounce on them! Bury them in a pile of oily rags and Funyun bags and roll around in the resulting mess! Fart in their general direction!

They're pretty hard, but if you're advanced enough to be working on Vanhal, they're manageable. 

This edition includes cadenzas for all three movements in both C and D major.

About the Composer

“Michael Kurth” is the pseudonym of veteran character actor Delerious “Leery” Oma'at-Pya'ani. Though the exact date and nature of his birth are unknown, scholars speculate that his origins lie beneath the cushions of a Naugahyde sofa sometime in the late thirteenth century. Fragments of parchment discovered in the ruins of a Milanese brothel suggest that his early years were spent in silent contemplation of the nature of the Atlantic cuttlefish. A frequent guest during the first two seasons of “Hee-Haw”, he was banned for life after coworkers alleged he made persistent and unwelcome romantic overtures to a banjo. The controversy sent him into hiding for several years, during which his only communication with the outside world was a series of absurd manifestos published in the New Yorker claiming, among other things, that “man was descended from butterscotch” and that Gary Puckett spoke to him through his toaster.

He emerged from his self-imposed exile forty pounds heavier, speaking with an Albanian accent, and with three extra elbows. He now insists that every musician involved in premieres of his work sign a bizarre End-User License Agreement which forbids them from making eye contact with one another or referencing any TV program other than “Barney Miller” during any rehearsals or performances. 

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