We have uncovered a true delight for double bass players: a collection of twelve stylized waltzes by Beethoven’s contemporary Domenico Dragonetti. The “Paganini of the double bass” grew up in Venice, but moved to London as an adult. It is there that he probably wrote the twelve waltzes. They are quite likely the earliest surviving works for double bass solo. These charming pieces have until now not been published in their entirety. Despite their virtuosic impression, the technical hurdles can be comfortably mastered; the pieces are therefore not only suited for the concert hall but are also perfect encores. Our quality Urtext edition, is thus able to fill a true gap in the repertoire.
- Twelve Waltzes for Double Bass Solo
Success as a soloist early in his career brought Domenico Dragonetti (1763– 1846), double bassist at the Chapel of St Mark’s in Venice, lucrative invitations from abroad. Like many of his countrymen he chose to go to London, where he resided almost exclusively from 1794, quickly rising to the position of a virtuoso and lauded by press and public. Il Drago was soon … 続き
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.|
I would suggest the Henle edition takes us closer to the autographed copies left by Dragonetti so will be preferred by those who like to make their own editorial decisions when it comes to performance.
Dass ein Kontrabass auch ohne Begleitung wunderbar klingen kann, beweist dieser Zyklus mit 12 Walzern. Sie sind virtuos, gleichzeitig melodiös, und auch von Schülern (ab Mittelstufe 2, Schwierigkeitsgrad 4) gut zu bewältigen.
La Henle Verlag ha pubblicato una edizione Urtext dei Dodici Walzer di Domenico Dragonetti (1763-1846), i primi sei dei quali erano già stati pubblicati da Josef Marx nel 1961 e 1976 a cura di Bertram Turetzky, in una buona edizione che confrontata a quella odierna presenta solo piccole differenze: alcune legature aggiunte nel n. 3, la soppressione dei mordenti presenti nel testo originale del n. 4, e l’aggiunta di acciaccature alle terzine del n. 5.
This excellent edition continues the same scholarly approach and quality printing that is found in an earlier Glöckler/Verlag release of Karl Ditters von Dittersdorf Kontrabasskonzert E-dur. … As with any Glöckler/G. Henle Verlag collaboration, past or future, this edition is a winner. The bass community anxiously awaits their next publication.
Impaginazione, grafica e apparati critici e informativi sono all’altezza degli standard Henle.
Como anteriormente ya habiá hecho con los famosos conciertos de Dittersdorf y Hoffmeister, Tobias Glöckler nos presenta una cuidada edición de los muy poco conocidos 12 Walzer de Domenico Dragonetti … Una edición de lujo, ejemplo de que las cosas están cambiando en el mundo del contrabajo.
Erfreulicherweise verzichtet Glöckler auf Artikulationsanpassungen in den Parallelstellen.
... entspricht diese Ausgabe so allen Erwartungen an eine zeitgenössische Urtextedition; das Vorwort und der Bericht sind beispielhaft verfasst. Verlag und Herausgeber führen damit ihre seit einigen Jahren anwachsende Reihe von Urtexteditionen der Sololiteratur für Kontrabass weiter. Lange Zeit wurden Urtextausgaben bei der Kontrabassliteratur, vermutlich auch aus ökonomischen Gründen, vernachlässigt. Die aktuelle Generation bestausgebildeter Kontrabassistinnen und Kontrabassisten wissen es sehr zu schätzen, dass der Henle-Verlag nun diese Lücke füllt.
With their rythmic drive and intricacies of bowing, they are achievable by an advanced high school student and attractive enough for a professional recital. Although the works were already available...
This edition is valuable for its transparency of editing and clarity of presentation: one sees a text that is very close to what Dragonetti wrote and can largely verify, in the editorial notes, changes that were made. This edition continues the major contribution that Glöckler and Henle are making to classic double bass repertoire.