Bottesini – Gran Duetto No.2 for Two Double Bass – Download as PDF File .pdf), Text File .txt) or read online. Sheet Music – £ – Giovanni Bottesini – Gran Duetto 1 For Double Basses. Giovanni Bottesini, born 22nd December , studied the violin, singing and tympani as a young. When, in , his father entered him for a scholarship at the.
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Email or Phone Password Forgot account? He was however proved to be more than accurate, becoming the greatest double bass soloist of the 19th-century, and travelling to every continent during a long and successful career.
His great friend, Alfredo Piattithe eminent Italian cellist who was a classmate at the conservatoire, stated that after his three years of study Bottesini never played better, but only gained experience. Giovanni Bottesini was born on 22 December in Crema Lombardy into a musical family and his father, Pietro, a clarinettist and composer, encouraged his musical talent.
Towards the end of Pietro Bottesini heard that at the Musical Conservatoire of Milan there were two free scholarships open competition, one for the fagotto serpent the other for the double-bass, asked his son which of the two he would prefer to compete for. Our boy decided for the latter – not indeed because the mastodontic proportions of the instrument had any peculiar attractions for him, but for the simple reason that he had already acquired a certain knowledge of the “king of stringed instruments” while under the tuition of his uncle Cogliati.
A week before the day fixed for the competition he proceeded with his father to Milan, and was presented to M.
Giovanni Bottesini – Gran Duetto 1 For Double Basses
Luigi Rossi, professor of double-bass at the Conservatoire, who offered in the meantime to give him some further notions of the instrument. At the examination a few bars written off hand by the vice-censor Ray, were put before him, which at once brought on a cold perspiration.
The wretched boy had had in all, four lessons of Rossi! Taking courage however, he tried to execute them – but perceiving at once that he was playing horribly out of tune for want of fingering, he stopped short, and turning to his judges, apostrophised them as follows: Bottesini remained at the Conservatoire untilstudying the double-bass under his professor Luigi Rossi, attending at the same time to composition under the guidance of professors Piantanida and Ray, of the famous Basily, and the no less celebrated composer Vaccai.
He left the Conservatoire three years before the usual time, not so much because he thought himself sufficiently advanced in his instrument to begin to turn it to account, as to be able to devote himself in a freer and more quiet atmosphere to composition, to which he felt himself irresistibly attracted The title page of the manuscript reads “Three grand Duets for two Double Basses.
Composed by Giovanni Bottesini. Luigi Rossi transcribed many violin studies by Polledro, Spohr, Libon and Mayseder for double bass duet, adding an accompaniment below the original, which he obviously used in his class to develop both technical and ensemble skills.
With this in mind it is likely that Bottesini’s duets were written as the ultimate challenge for two solo double basses and he followed the bel canto tradition of the time, which he combined with some of the most advanced double bass virtuosity.
Although it is likely that Bottesini performed these works during his studies in Milan, there appears to duetfo no documentation that they were ever performed publicly.
Gran Duetto No.1 for 2 Double Basses (Bottesini, Giovanni)
Although the music is primarily soloist and accompanist, two players of equal abilities are needed to match the virtuosic workout that Bottesini demands.
When played with style, elegance and a touch of ‘joie de vivre’ these become works which are worthy of a place on the concert stage.
Possibly the inclusion of the repeats may be pushing it a little, but there is sufficient variety of musical ideas and technical challenges to keep an audience entertained and intrigued. The slow movement is wonderfully lyrical and expressive, beginning with three-part harmony which sounds blttesini organ-like. The finale, a Polacca, is a rousing duetfo lively piece with botteisni rhythmic and driving accompaniment, mostly in double stops, against a fun and jaunty melody.
The movement ends with a dramatic and exciting passage, mostly in thirds and with a driving triplet figure, which pushes through to the very end and a successful and rousing climax. Are these great pieces?
Are they Bottesini at his best? However, with two great players, all three duets have something to offer players and audiences alike. They deserve to be performed and recorded and, for a teenage composer, they are remarkable works indeed!
Bottesini: Three Duets for Double Bass – Dynamic: CDS – download | Presto Classical
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