It is a bit of a paradox: one of Dragonetti’s showpiece, “The Famous Solo”, originally for double bass and orchestra, is largely unknown today. This cannot be down to the virtuoso work itself, but is more likely due to the unclear source situation with its different versions. In this edition Tobias Glöckler presents Dragonetti’s autograph arrangement for double bass and string quartet for the first time.
- "The Famous Solo" for Double Bass and Orchestra
Italian double bassist and composer. In London he invented his special bowing technique; it facilitated an expressive, virtuosic style of playing that was adopted beyond the borders of London, for example by Gioacchino Rossini at the Paris Conservatoire. Aside from challenging solo and chamber music works for double bass, he wrote vocal music and transcribed works by himself and others.
|1763||Born in Venice on April 7. He learns violin and guitar as an autodidact.|
|around 1775||He is trained by Michele Berini, double bassist at the Cappella di San Marco. He is soon engaged by various opera houses.|
|around 1781||He is accepted into Venice’s “Arte dei Suonatori.”|
|1787–99||A member of the Cappella di San Marco.|
|1795||He meets Joseph Haydn.|
|1799||In Vienna he plays Ludwig van Beethoven’s Cello Sonata, op. 5 no. 2, while on stage with the composer himself. He relocates to London, where he enjoys great success as a soloist, chamber musician, and solo bassist at the King’s Theatre, the Philharmonic Society, and the Ancient Concerts.|
|1808–ca. 1814||Over the course of an extended journey, he ends up in Vienna. Here he meets Simon Sechter, who writes piano accompaniments and transcriptions of some of his works for double bass.|
|1839||He becomes a member of the Accademia di Santa Cecilia in Rome.|
|1845||In Bonn he becomes involved with the Beethoven festival.|
|1846||Dies in London on April 16.|
La presente edizione è estremamente curata da tutti i punti di vista: prefazione e note esaustive, parti per contrabbasso e quartetto d'archi (due violini, viola, violoncello) e per contrabbasso e pianoforte sia in Mi minore/Sol Maggiore che in Fa# minore/La Maggiore, in modo che il contrabbasso possa suonare sia in accordatura da orchestra che in accordatura da solista. [Archi Magazine, 2014