{"id":560,"date":"2017-07-21T13:33:41","date_gmt":"2017-07-21T11:33:41","guid":{"rendered":"http:\/\/monikakwiatkowska.eu\/?p=560"},"modified":"2017-07-22T18:35:55","modified_gmt":"2017-07-22T16:35:55","slug":"concerti","status":"publish","type":"post","link":"https:\/\/monikakwiatkowska.eu\/fr\/concerti\/","title":{"rendered":"Concerti: Bottesini and Dittersdorf"},"content":{"rendered":"

\"\"<\/a><\/p>\n[Estimated reading time:\u00a02 minutes, 58 seconds<\/strong>]\n

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The concerti by Bottesini and Dittersdorff are central works in the double bass repertoire, and are of the asked for orchestra auditions. Concerti place high technical demands on double bassists. Originally written for instruments in different than modern tunings, now are greatly complicated. Basically there are a lot of hard passages, positions changings and string crossing.<\/p>\n

Giovnni Bottesini (1821-1889) is one of the most famous double bass virtuosi ever to have lived. In the age of 14, he entered the Milan Conservatory on a scholarship. He quickly became a virtuoso player and, after leaving the conservatory, established himself as an outstanding soloist. Bottesini performed throughout Europe and also toured America earning the nickname \u201cPaganini of the double bass.\u201d In later life he became a noted conductor and composer, but it is for his double bass techniques that Bottesini is best remembered, and where he made his most significant contributions.<\/p>\n

Bottesini composed his Concerto in B (the autograph full score is in C minor and titled \u00ab\u00a0Concertino in do min \/ per Contrabasso \/ G. Bottesini\u00a0\u00bb) in 1845 but it remained unpublished until 1950. Soon thereafter it became a standard work for double bass, in both its orchestral and piano reduction versions. Bottesini was using three-string bass with a solo scordatura, tuning his silk strings anything from a semitone to a fourth higher than was normal at that time (GDA). The second movement is an aria for double bass, warm and lyrical, with an understated string accompaniment, while the third features a\u00a0vigorous, muscular theme that later transforms into a march. Through his brilliant playing, Bottesini singlehandedly gave the double bass a new identity as a virtuoso instrument. He also composed a number of works that feature the double bass, although many are seldom performed today because of their extreme technical difficulty.<\/p>\n

My intrepretation of Bottesini concerto, the first movement:<\/p>\n