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Double Bass Concerto

HENLE VIDEO

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Johann Baptist Vanhal

A Bohemian composer and violinist. While his early compositions still employ Baroque elements, a transition to Classicism is clearly evident over the course of his output. His fame during his lifetime can be measured particularly by the many publications that contributed to dissemination of his works to places such as France and England. In his later keyboard compositions, which enjoyed great popularity, he was responding to the increasing demand from amateurs for keyboard repertoire. In addition he wrote 76 symphonies, sacred works, and chamber music, among other things.

1739Born in Nové Nechanice on May 12.
1752Takes organ lessons with Anton Erban.
around 1752He works as an organist in Opočno, becomes regens chori (choral director) in Hněvčeves, and receives violin instruction from Mathias Nowák.
around 1760He moves to Vienna at the behest of Countess Schaffgotsch. Here he takes lessons with Matthäus Schlöger and, probably, with Karl Ditters von Dittersdorf. He establishes himself in Viennese musical life as a violinist, teacher, and composer, numbering Ignaz Pleyel among his pupils.
1769–71He travels through Italy and meets Christoph Willibald Gluck as well as Florian Leopold Gassmann, assisting with the latter’s opera productions.
around 1780He reduces his concert-giving. He primarily composes sacred music, organ works, and keyboard pieces.
1784He plays in a quartet with Joseph Haydn, Wolfgang Amadeus Mozart, and Karl Ditters von Dittersdorf.
1813Dies in Vienna on August 20.

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Tobias Glöckler (校訂, コントラバスの運指とボーイング, カデンツ)

Tobias Glöckler is associate principal double bass player at the Dresdner Philharmonie and a prizewinner of the International ISB Double Bass Competition (USA). He studied with Konrad Siebach at the Music Conservatory in Leipzig, perfecting his skills with Jeff Bradetich (Chicago) and Ulrich Lau (Stuttgart). While studying, he was principal double bass player with the International Gustav Mahler Youth Orchestra under Claudio Abbado. He has performed as a soloist with different orchestras, including the Dresdner Philharmonie with Ton Koopman. In addition he has made recordings for radio and has made guest appearances at diverse music festivals. He is a founding member of and solo bass player with the “ensemble frauenkirche” and has explored a great many chamber music works with the Dresdner String Quintet.

Glöckler teaches at the music conservatory in Dresden. His efforts concerning the revival of the “Viennese Tuning” have been rewarded with a Distinguished Achievement Award for historical performance practice.

Photo © markenfotografie

Der Hrsg. Tobias Glöckler, Solobassist in der Dresdner Philharmonie, hat sich sehr intensiv mit diesem Manuskript beschäftigt und daraus eine äußerst genaue Neuausgabe erstellt, die zu dem Werk keine Fragen offen lässt. (...) Der sich ebenfalls sehr nah an den überlieferten Orchesterstimmen orientierende Klavierauszug erscheint in D-Dur sowie in C-Dur, was dem Kontrabassisten eine erfreuliche Flexibilität bei Aufführungen (Kombination mit einem Solo- oder Kammermusikprogramm) gewährleistet. Alle Stimmen sind sehr gut lesbar und bereiten keinerlei Probleme beim Blättern. (...) Insgesamt ist diese Ausgabe aufgrund ihrer Genauigkeit, guten Lesbarkeit sowie der Ausführbarkeit in verschiedenen Stimmungen eine sehr erfeuliche Neuerscheinung.

ESTA-Nachrichten, 2016

La parte del contrabbasso non si discosta quindi molto dalle edizioni pubblicate in anni precedenti, se non per il ricco apparato di note e l'interessante prefazione. (...) Apprezzabile l'intento di far conoscere la prassi di esecuzione dell'epoca, su contrabbassi accordati secondo la cosidetta "intonazione viennese", per terze e quarte.

Archi Magazine, 2016

Your new Vanhal edition is great! I’m so grateful everything worked out for us to use it with the Chicago Symphony.

Alex Hanna, Chicago Symphony Orchestra, in a letter to the editor, 2016

This opening material expands on the background of Wanhal’s concerto as mentioned above, and explains the various elements of the edition, including the basic approach used in adapting the manuscript parts, as well as various performance options aimed at making this concerto accessible to present-day double-bass soloists of all kinds. ... Again, it appears that Glöckler’s intent is to make this work as accessible to as many performers – modern players as well as period-instrument practitioners – as possible. ... Glöckler presents a wide range of performance options for the soloist that should render Wanhal’s concerto, long a staple of the modern solo double-bass repertory, eminently accessible to all twenty-first-century performers who wish to engage with it.

Eighteenth-Century Music, 2017

Tobias Glöcklers Editionsarbeit vermittelt einerseits einen klaren Einblick in die Quellenlage, legt aber auch Zeugnis ab vom Willen, einen gut austarierten Kompromiss zu finden zwischen historischer Genauigkeit und Nähe zur heutigen Spielpraxis.

das Orchester, 2019

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