ROSSINI

ROSSINI
Duetto
per Violoncello e Contrabbasso
Herausgegeben von / A cura di
Edited by
Philip Cossett
Urtext
Bàrenreiter Kassel ' Basel ' London ' New York ' Praha
BA 10544
CONTENTS
/ INDICE / INHALT
Preface
ilr
Prefazione
Vorl,u'ort
V
........
Critical Commentary.
VII
l3
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PREFACE
Gioachino Rossini wrote the Duetto per Violoncello
e
Con-
during the trip to London he undertook in
1824, together with his first wife, Isabella Colbran.l As
in the case of his visits to other European centers, he
was in the habit of establishing close contacts with the
local elite from those nobles near to the King and his
trabbasso
retinue to those who r.l'ere at the pinnacle of the financial world. The efficient composer established friendly
relationships with many bankers, among them the Spaniard Aguado, the Rothschild family, as well as the Salomons family in London, whose leading representative,
Sir David, later became the first |ewish Lord Mayor of
the city. For one of Sir David's cousins, Philip Joseph,
from whom he received a sizable honorarium, Rossini prepared this Duetto per Violoncello e Contrabbnsso.2
Philip Joseph Salomons, who in his youth was a brilliant figure in London's high society, was also a gifted
amateur double bass player, whose teacher was Domenico Dragonetti, the most highly regarded double
bass virtuoso of the era.3
Born and trained in Venice, Dragonetti made his home
in London, where he was a member of the orchestra of
the King's Theatre. Along with Giovanni Bottesini he
played a decisive role in the emancipation of the lowest member of the string family as a soloistic instrument. He employed a concave shaped bow, which was
not representative even in the nineteenth century, but
which continued to be used in England alone into the
twentieth century. He also preferred a double bass that
consisted of three strings tuned in fourths (A, D, G),
very different from the usual modern instrument with
four strings.a
During the visit to London of Rossini and Colbran,
Rossini worked several times with Dragonetti, not only
at the King's Theatre, but also in severai concerts directed b;z the composer. When Rossini, a few years
1
For further information, see the article by Martina CrempÌer,
"Rossinis Dttetto per Violoncello e Contrabltasso", published on the internet site of the Center for Italian Opera Studies of The Universitv
of Chicago (http://humanities.uchicago.edu/orgs/ciao/).
2 A report by the conductor Sir George Smart speaks of fifty
pounds. It is cited in Bertram Cox - C. L. E. Cox, Leaxes front the
lournals of Sir Ceorge Srucrf (New York, Bombay, Calcutta, ryo), 6r.
3 On Dragonetti, see Fiona N4. Palmer, Domenico Dragonetti in
Englnnd h794-t846). The Career of a Double Bnss Virtuoso (Oxford,
997), as well as Rodney Slatford, "Domenico Dragonetti", Proceetlirtgs of the Royal Musícal Association 97 $97o-7r), zr-28.
,{ For an historical treatment of performance on the double bass,
see Alfred Planyavsky, Geschichte des Kontrabasses (Tutzing, ry7ol);
Dragonetti's technique is discussed in Palmer, Drngonetti, 61Íf.
later, worked
with the Conservatoire de Musique in
Paris to set up a double bass class, he invited Dragonetti to come to Paris and offered him the new professorship. Although Dragonetti did not accept the appointment, he did consult with Rossini about technical
aspects of the instrument.5
The first performance of the Duetto probably took
place in a salon in the English capital, most likely in
the home of the Salomonses. Since Dragonetti often
performed on the violoncello as well as on the double
bass, it seems likely that the double bass part was taken
by Philip Joseph Salomons, while Dragonetti plaved
the cello.
The original manuscript of the piece (A), which Rossini had given to Philip Joseph, passed after the latter's
death into the possession of Sir David Salomons, who
had married the widow of his cousin. It remained with
the family until 1968, when it was sold at auction by
Sotheby's, after which it was acquired by the Swiss collector, Rudolf Grumbacher. Following the latter's death
in 2oo4, Grumbacher's entire collection - including the
Duetto - became the property of the Paul Sacher Stiftung in Basel, where it is preserved today. Along with
Rossini's autograph the Grumbacher collection contains
parts in Dragonetti's hand for the Duetto per Violoncello
e Contrabasso (pBA), with several small modifications.
In them, Dragonetti clarified several elements in the
articulation and added dynamic levels, obviously intending to facilitate performance of the music.
The autograph manuscript consists of a volume bound
in half leather. On its cover is written: "Duetto / for Violoncello / & Contra Basso / composed by i ROSSINI /
for / M.'P. J. Salomons'1 on the inside of the cover is an
er libris of Philip Joseph Salomons. The musical manuscript consists of five folios, written on both sides of
each page (f. 5v is blank). On the first page of music the
composer wrote a dedication: "Rossini / Al Suo Amico
/ Londra li zo luglio 1824."
The manuscript is entirely in Rossini's hand, characteristically very clearly notated with only a few corrections. The signs for dynamics and articulation are
often written in great detail, which demonstrates that
the piece was by no means a hastily notated occasional
Salomons
piece. Rather the composer shows his effort, when work-
5
For the correspondence betlr.een Rossini and Dragonetti, see
Cioachino Rossini, Lettere e dot'.unrcnti, ed. Bruno Cagli and Sergkr
Ragni, 4 vols. (Pesaro, ry92, 1996, zooo, zoo4), II1:72.-73.
III
ing with a great soloist like Dragonetti, to erplore the
virtuosic capabilities of the violoncello ancl double bass.
The Duetto per Violoncello e Corúrnblrns-so is a threemovement work (Allegro - Andante mosso - Allegro),
in which Rossini follows classical sonata form. The piece
demands two players who share a high degree of technical capability. The indication Dttetto seems justifiable
on the grounds of the arrangement of all three movements: two equal partners are in dialogue, constantly
exchanging the roles of melody instrument and accompaniment, with each part supporting in turn the
virtuoso passages of the other.
Rossini notated the cello part mostly in bass clef but
switched several times into tenor clef and occasionally
even into violin clef. In the critical edition of the score,
the original clefs are preserved; for this practical edition, however, passages in violin clef have been renotated in tenor clef.6
EDITORIAL POLICY
The following typographic conventions are used:
Dynamic levels (p ff, etc.), expressive indications (sottovoce, dolce, etc.), tempo indications (Andante), and
other such directions (Solo, a z, divisi, tr) present or extended from those present in the autograph are given
in roman type.
Where Rossini notates a dynamic level and sf simultaneously, in different parts, the sf is represented by
The appearance of the music is nrodernized in a num-
ber of ways:
r. Rossini's use
of
acciclentals is ad.rpted to moclern
practice. When doubt erists about their interpretation
small accidentals are introduced.
z. Rossini's musical abbreviations (with the exception of
abbreviated eighth notes, which WGR always rvrites
out) and signs of repetition are realized according
to modern conventions, as are his instructions for
one instrumental part to be derived from another.
Passages derived from preceding ones (e. g., "Come
Sopra" or "Bis") or notated equivocally (e. g., u,hen
violas are instructed to play 'tol Basso") are indicated in the Commentary.
Abbreviations
such as "fmo" (fortissimo), 'And.no,"
3.
or 'tres." are modernized or expanded without comment.
a.
Minor elements are norrnalized without note: whole
rests are added to blank measures, the slur from grace
note to principal note provided, necessarv fermatas
added vertically to parts that lack them, and other
particulars. Rossini does not have a consistent way
of notating triplets. WGR adopts these norms: a)
when the notes are beamed, '!" is added; b) r,vhen
they are not beamed, "3" with a bracket is added;
c) when Rossini adds slurs to triplets, WGR favors
his model, with "3" inside the slur; d) in an obvious
sequence of triplets, "3" is not repeated after the first
measure.
an accent.
Significant editorial additions to the score are dif-
On the other hand, certain aspects of Rossini's notation
have not been modernized:
ferentiated typographically and, where appropriate,
discussed in the Commentary:
r. In italics: dynamics, expressive indications, and other
such directions (ff, sottoaoce, a z, tr, Andante).
r. Transposing instruments usually foliow the principal source.
z. In broken lines: slurg crescendo and diminuendo signs.
3. ln a smaller font: missing or altered notes (as in a
z. Rossini's manner of beaming notes is preserved wher-
ever it can be musically justified.
3. Rossini's typical closed accents and closed crescendo/
diminuendo signs > are respected.
chord); accidentals when there are alternative possibilities.
4.
In
square brackets: staccatos or accents for which
there is no precise model in the primary source.
6
See mm. 55-56, 99-ro6, 723-1-2T and r3o in the first movement
and mm. r7-4o in the second movement.
IV
Philip Cossett
Patricia B. Brauner
PREFAZTONE
Rossini compose
il
DtLetto per Violoncello e Contrsbbasso
durante il viaggio a Londra fatto insieme alla prima
moglie Isabelia Colbran nel r8z4'. Come in altre sue
visite in diversi centri europei, il compositore aveva
l'abitudine di stabilire stretti contatti con lélite locale,
dagli aristocratici vicini al sovrano e alla sua corte ai
maggiori esponenti della finanza. Il pratico compositore strinse rapporti d'amicizia con molti banchieri, tra
i quali 1o spagnolo Aguado, le famiglie Rothschild a
Parigi e Salomons a Londra, il cui maggior esponente,
Sir David, più tardi diventò il primo Lord Mayor ebreo
de1la città. Rossini compose í1 Duetto per Violoncello e
Contrnbbasso proprio per un cugino di quest'ultimo,
Philip joseph, ricevendone un cospicuo onorario2. Philip ]oseph Salomons, in gioventù una delie figure piu
brillanti dell'alta società londinese, era anche un dotato
dilettante di contrabbasso. Fu suo maestro Domenico
Dragonetti, il più celebre virtuoso di contrabbasso del
tempo3.
Nato e formatosi a Venezia, Dragonetti si trasferì a
Londra, dove entrò a far parte dellbrchestra del King's
Theatre. Insieme a Giovanni Bottesini Dragonetti giocò
un ruolo decisivo nell'emancipazione dello strumento
piu grave della famiglia degli archi come strumento
solistico. Egli utllizzava un arco curvo, insolito nel
XIX secolo ma adottato soltanto in Inghilterra fino al
primo Novecento e preferiva il contrabbaso a tre corde
accordate per quarte (La, Re, 5ol), molto diverso dallo
strumento moderno a quattro cordea.
Durante il soggiorno londinese Rossini ebbe modo di
lavorare con Dragonetti diverse volte e non soltanto al
King's Theatre, ma anche in occasione di alcuni concerti ch'egli stesso diresse. Alcuni anni dopo, quando
con il Conservatoire de Musique di Parigi collaborava
all'apertura di un corso di contrabbasso, Rossini invito
1 Per ulteriori notizie si veda Martina Grempler, " Rossinis Duef lo
per Violoncello e Contrabbasso,,, consultabile sul website del Center
for Italian Opera Studies della Universitv of Chicago (http://humanities.uchicago.edu/orgs/ciao/).
2 In un suo resoconto ii direttore d'orchestra Sir Ceorge Smart
parla di cinquanta pounds. Si veda Bertram Cox
Leaues
- C. L. E. Cox,
from the Journals of Sir George Srnarl (Nen' York, Bombay, Cal-
cútta, 1907), 61.
Su Dragonetti, si vedano Fiona M. Palmer, Dontenico Dragonetti
in Ertgland (t794-t846). The Cnreer of a Double Bnss Virtttoso (Oxford,
1997) e Rodney Slatford,
"Domenico Dragonetti", Proceedings of the
Roynl Mtrsical Associrttion 97 $97o-7r), zr-28.
4 Per una trattazione storlca sull'esecuzione al contrabbasso, si
veda Aifred Planyavsky, Ceschichte des Kontrabasse-s (Tutzing, r97o);
la tecnica di Dragonetti è discussa in Palmer, Dragonetti, 63ff.
3
Dragonetti ad andare a Parigi, offrendogli la nuova
cattedra. Dragonetti non accettò l'incarico, ma diede
a Rossini una sua consulenza su aspetti tecnici dello
strumento5.
Non si sa con certezza dove ebbe luogo la prima esecuzione del Duetto, probabilmente in un salotto della
capitale inglese e plausibilmente a casa dei Salomons,
ma dal momento che Dragonetti si esibiva spesso anche
al violoncello si potrebbe ipotizzare che Ia parte per
contrabbasso venisse eseguita da Philip ]oseph Salomons, mentre Dragonetti suonava il violoncello.
Il manoscritto originale del Duetto (A), dopo la morte
di Philip Josepku cui Rossini io avevo donatg passò in
possesso di Sir David Salomons, che aveva sposato la
vedova del cugino. Esso rimase in mano alla famiglia
fino al 1968, quando fu battuto all'asta da Sotheby's
e quindi acquistato dal collezionista svizzero Rudolf
Crumbacher. Alla morte di Grumbacher, nel zoo4 tutta la
sua collezione - tra cui 1l DtLetto - fu acquisita dalla Paul
Sacher Stiftung di Basilea, dove il manoscritto è oggi
conservato. Nel fondo Grumbacher, insieme all'autografo, sono conservate anche le parti staccate delDuetto per
Violoncello e Contrabasso (pBA) di mano di Dragonetti,
con piccole modifiche. In queste parti, Dragonetti ha
precisato alcune articolazioni e aggiunto i livelli dina-
mici, con lbvvia intenzione di facilitare l'esecuzione
deI pezzo.
Lautografo è rilegato inrnezza pelle. Sulla copertina
si legge: . Duetto / for Violoncello / & Contra Basso /
composed by / ROSSINI I for I M.' P. J. Salomons sul
";
retro di copertina è posto I'ex libris di Philip Joseph SaÌomons. II manoscritto consta di cinque folii di musica
(f.5v è vuoto) e sulla prima pagina il compositore ha
scritto la dedica: " Rossini / Al Suo Amico Salomons /
Londra li zo luglio t824."
Il manoscritto è interamente di mano di Rossini, tipicamente notato in modo molto chiaro e con pochissime
correzioni. La dinamica e l'articolazione è complessivamente molto accurata il che dimostra che non si tratta
assolutamente di una composizione d'occasione messa
giu frettolosamente. Piuttostq nel lavorare con un grande solista come Dragonetti, il compositore dimostra di
voler esplorare le possibilità virtuosistiche del violoncello e del contrabbasso.
5
Per la corrispondenza tra Rossini e Dragonetti, si veda Gioachino Rossini, Lettere e docunrcnti, a cura di Bruno Cagli e Sergio
Ragni, 4 vo11. (Pesaro, rggz, t996, zooo, zoo4), III 72-7).
V
Il Dttetto per Violoncello e Contrabbasso è in tre movimenti (Allegro - Andante mosso - Allegro), in cui Rossini adotta la forma sonata classica. La composizione
richiede due esecutori che condividano un alto livello
tecnico. Lindicazione Duetto nel titolo si giustifica alla
luce della distribuzione delle due parti in tutte e tre
i'movimenti: due partners paritari dialogano scambiandosi costantemente i ruoli di strumento melodico
e d'accompagnamento, ciascuno a turno fungendo da
sostegno ai passi virtuosistici dell'altro.
Si noti che nell'autografo Rossini scrisse la parte del
violoncello per lo pirì in chiave di basso, passando molte
volte a quella di tenore e occasionalmente anche a
quella di violino. Nell'edizione critica della partitura
sono state mantenute le chiavi originali; nella presente
edizione pratica tuttavia i passi in chiave di violino
sono stati riscritti in chiave di tenore6.
(traduttore: Daniela Macchione)
CRITERI REDAZIONALI
Le convenzioni grafiche utilízzate sono le seguenti:
Sono segnate in tondo: dinamica (p, ff, ecc.), indica-
zioni espressive (sottovoce, dolce, ecc.), indicazioni di
movimento (Andante) e altre simili prescrizioni (Solo,
divisi, tr) presenti nell'autografo o da queste estese.
Dove Rossini ha segnato simultaneamente in parti
diverse sf e un livello dinamico, sf è sostituito da un
a z,
IJaspetto della partitura è modernizzato in diversi modi:
r. r-"uso delle alterazioni di Rossini è adattato alla pra-
tica moderna. Quando esistano dei dubbi sulla loro
interpretazione vengono inseriti segni di alterazione
in corpo minore.
z. Le abbreviazioni (ad eccezione delle crome abbreviate, che WGR scrive sempre per esteso) e i segni di
ripetizione di Rossini vengono realizzati seguendo
le convenzioni moderne, come pure le prescrizioni
di ricavare una parte strumentale da un altro passo
scritto per esteso. Sezioni derivate da altre precedenti (ad es. *Come Sopra" e "Bis") o la cui scrittura
sia equivoca (ad es. quando si prescrive alle viole di
suonare " col Basso,) sono indicate nel Commento.
3. Abbreviazioni come *fmo, (fortissimo), .And.no, e
( cres. ) sono state modernizzate o sciolte senza renderne conto nelle Note.
4. Sono normalizzati senza ricorrere alle Note: l'aggiunta di pause di intero nelle battute vuote, le legature
tra acciaccatura e nota principale, le corone necessarie
integrate in verticale alle varie parti che ne sono prive
e altri particolari secondari. La notazione delle terzine in Rossini non è costante. WGR adotta le seguenti
norme: a) quando le note sono collegate aggiunge .3,,;
b) quando le note non sono collegate aggiunge 3 e
" "
un segno di collegamento; c) quando Rossini segna
una legatura sulle terzine, WGR adotta di preferenza il suo modello con <3> all'interno della legatura;
d) nel caso di una successione evidente di terzine,
* 3, non viene piu ripetuto dopo la prima battuta.
accento.
Le aggiunte editoriali ritenute essenziali, descritte,
quando necessario, nel Commento, vengono differen-
Non sono stati modernizzati alcuni aspetti della nota-
ziate tipograficamente:
r. La scrittura degli strumenti traspositori segue la fonte principale.
z. I tratti d'unione usati da Rossini per il collegamento
di più note vengono mantenuti quando hanno una
giustificazione musicale.
3. Cli accenti chiusi e le forcelle di crescendo/diminuendo chiuse r.- sono rispettati.
r.
In corsivo: dinamica, indicazioni
espressive e altre
simili prescrizioni (ff, sottoaoce, a z, tr, Andante).
z. Tratteggiate: legature, forcelle di crescendo o diminuendo.
3. In corpo minore: note mancanti o cambiate (ad es.
negli accordi); alterazioni quando vi siano plausibili
zione di Rossini:
Philip Gossett
alternative.
4. Tra parentesi quadre: staccati o accenti per
non esiste un modello nella fonte principale.
i
quali
6 Si vedano batt. 55-56,99-to6, 723-1-27 e r3o del primo movi
mento e batt. r7-4o del secondo.
VI
Patricia B. Brauner
(traduttore:
D
sniela Mac chione)
VORWORT
Rossini schrieb das Duetto per Violoncello e Contrabbnsso
wàhrend seiner Reise nach Londory die er gemeinsam
bassklasse am Pariser Konservatorium beteiligt war,
plante er, Dragonetti als deren Leiter zu berufen (was
mit'seiner ersten Frau Isabella Colbran im Jahr r8z4
nicht zustande kam) und konsultierte ihn in Fragen
unternahm.' Wie bei den Aufenthalten in anderen Zentren Europas pflegte er dort engen Kontakt zur ortsansàssigen Elite vom Kónigshaus ùber den Adel bis hin
zu den Spitzen der Finanzwelt. Der geschàftstùchtige
Komponist unterhielt freundschaftliche Beziehungen zu
mehreren Bankiers, darunter der Spanier Aguado, die
Familie Rothschild sowie in London das Haus Salomons, dessen fùhrendes Mitglied Sir David spàter der
erste jùdische Bùrgermeister der Stadt werden sollte.
Fùr einen Cousin dieses Mannes, Philip Joseph, entstand gegen ein gutes Honorar das Duetto per Violon-
der Spieltechnik.s
cello e Contrabbssso.2
Philip Joseph Salomons, in seiner
jugend eine schillernde Cestalt der Londoner High Society, war ein sehr begabter Amateurkontrabassist und
sein Lehrer Domenico Dragonetti nicht weniger als der
angesehenste Kontrabassvirtuose seiner Zeit.3
Der aus Venedig stammende Wahllondoner Dragonetti, Mitglied des Orchesters des King's Theatre, spielte
neben Ciovanni Bottesini eine entscheidende Rolle bei
der Emanzipation dieses tiefsten der Streichinstrumente
als Soloinstrument. Dragonetti nutzte einen konkav geformten Bogery der schon im r9. Jahrhundert nicht die
Norm darstellte, auf der anderen Seite aber etwa in Eng-
land vereinzelt bis ins zo. fahrhundert hinein genutzt
wurde. Damit spielte er vorwiegend einen Kontrabass,
der sich von dem heute ùblichen viersaitiges Instrument dadurch unterschied, dass es sich um ein dreisaitiges, in Quarten (A-D-G) gestimmtes Instrument
handelte.n
Bei Rossinis und Colbrans viel beachteten Londoner
Auftritten kam es mehrfach zum gemeinsamen Musizíeren mit Dragonetti. AIs der Komponist Jahre spater
an dèn tberlegungen zur Einrichtung einer Kontra-
1 Ausfiihrlichere Informationen bietet
der Aufsatz von Martina
Grempler, Rossinis Duetto per Violoncello e Contrabbasso, veròffentlicht
auf den Internetseiten des Center for Italian Opera Studies von der
University of Chicago (http://humanities.uchicago.edu/orgs/ciao/).
2 Ein Bericht des Dirigenten Sir Ceorge Smart spricht von 5o Pfund
Sterling. Zitlert in: Bertram Cox, C. L. E. Cox, Lenues from the lournals of Sir George Smart, New York/Bombay/Calcutta t9o7, 5.6t.
3 Zu Dragonetti v. a. Fiona M. Palmer, Domenico Drngonettí in EngIand (t794-t846). The Career of n Double Bass Vírtuoso, Oxford 1997
sowie Rodney SÌatford, Domenico Dragonetti, in: Proceedings of the
Royal Mttsical Associntíon 97, 7g7o-i-977, S. zr-28.
4 Zur historischen Spielweise des Kontrabasses siehe Alfred
Planyavsky, Ceschichte des Kontrabnsses, Tutzing r97o; insbesondere
zum Spiel Dragonettis: Palmer, Drngonetti, S.63ff
.
Die erste Auffúhrung des Duetto dùrfte in einem der
Salons der englischen Hauptstadt stattgefunden haben,
mit einiger Wahrscheinlichkeit im Hause Salomons
und es ist gut móglich, dass dabei Philip joseph Salomons den Kontrabasspart ùbernahm und Dragonetti
das Cello, das er ebenfalls beherrschte.
Die von Rossini an Philip Joseph ùbergebene Original-
handschrift des Stúcks ging nach dessen Tod in den
Besitz von Sir David Salomons ùber, der in zweiter Ehe
die Witwe seines Cousins geheiratet hatte. 1968 verlief
es den Familienbesitz und stand bei Sotheby's zum Verkauf, wo es der zoo4 verstorbene Schweizer Sammler
Rudolf Crumbacher erwarb, dessen wertvolle Musiksammlung sich heute in der Paul Sacher Stiftung in
Basel befindet. Neben der Partitur Rossinis befinden
sich in der Sammlung Grumbacher auch die Stimmen
zum Duetto per Violoncello e Controbbasso, von Dragonetti mit eigener Hand abgeschrieben und mit einigen
kleinen Verànderungen vornehmlich in der Artikulation sowie mit Hinzufùgungen in der Dynamik versehery die offenkundig zum ZieI haben, das Stùck fùr
den Interpreten noch klarer lesbar zu machen.
Das Autograph umfasst einen Band, dessen Halbleder-
einband auf der Vorderseite die Aufschrift ,,Duetto /
for Violoncello / & Contra Basso / composed by / ROSSINI i for / M.'P. |. Salomons" und auf der Innenseite
das Ex libris von Philip loseph Salomons tràgt. Der Notentext verteilt sich auf fùnf Blàtter, die jeweils vorne
und hinten beschrieben sind, mit Ausname des letzten
Blatts, dessen Rùckseite leer blieb. Auf der ersten Seite
des Notentextes findet sich in der Hand des Komponisten die Widmung ,,Rossini / Al Suo Amico Salomons /
Londra lí zo luglio 1824."
Das Manuskript ist vollstàndig in Rossinis Hand abgefasst, in der fùr ihn charakteristischen klaren Notenschrift mit nur wenigen Korrekturen. Die teilweise minutiós notierten Anweisungen zu Dynamik und Artikulation zeigen, dass es sich keineswegs nur um ein
f lùchtig hingeworfenes Auftragswerk handelt. Vielmehr
scheint der Komponist die Zusammenarbeit mit einem
5
Dazu der Briefrvechsel zr,r'ischen Rossini und Dragonetti: Gioachino Rossini, Lettere e doctLnrcnti, hg. von Bruno Cagli und Sergio
Ragni, 4 Bde., Pesaro rg9z, t996, zooo, 2oo1, III S.7z-73.
VII
hochklassigen Solisten wie Dragonetti zum Anlass genommen zu haben, die virtuosen Móglichkeiten von
Violoncello und Kontrabass auszutesten und zu nutzen.
Bei dem Duetto per Violoncello e Contrnbbasso handelt
es sich um ein dreisatziges Werk (Allegro - Andante
mosso - Allegro), in dem Rossini auf die klassische Sonatenform zurùckgriff. Das Stùck fordert zwei Spieler,
denen es ein hohes MaB an spieltechnischen Fàhigkeiten abverlangt. Die Bezeichnung Duetto erscheint aufgrund der Anlage aller drei Sàtze nur zu gerechtfertigt:
zwei gleichwertige Partner treten in einen Dialog, vertauschen immer wieder die Rollen von Melodieinstrument und Begleitung, der eine unterstùtzt jeweils die
virtuosen Passagen des anderen.
Die Cellostimme notierte Rossini grundsàtzlich im
Bassschlùssel, wechselte aber mehrfach sowohl in den
Tenor-, als auch (seltener) in den Violinschlùssel. In der
kritischen Ausgabe der Partitur wurde die originale
Handhabung der Schlússel unveràndert beibehalten, fùr
die vorliegende praktische Ausgabe hingegen die Passagen im Violinschlússel in den Tenorschlùssel gesetzt.6
(Ubersetzung: Mqrtina Grempler)
ZUR EDITION
Folgende graphische Konventionen werden verwendet:
In gerader Schrift erscheinen: im Autograph oder aus
diesem ùbernommene Angaben zur Dynamik (p, ff,
usw.), zum Ausdruck (sottovoce, dolce, usw.), Tempo
(Andante) sowie sonstige vergleichbare Anweisungen
(Solo, a z, divisi, tr).
Wenn Rossini in verschiedenen Stimmen gleichzeitig sf und eine Anweisungzur Dynamik schreibt, wird
sf durch einen Akzent ersetzt.
Grundlegende Zusatze der Herausgeber erscheinen
typographisch abgesetzt und werden, falls nótig, im
kritischen Bericht diskutiert:
r.'Kursiv erscheinen: Angaben zu Dynamik, Ausdruck
und Ahnliches (ff,
sottoaoce, a 2, tr, Andante).
z. Gestrichelt erscheinen: Bindebógen, Crescendo- und
Diminuendo-Gabeln.
3. In kleinerer Schrift: fehlende oder veranderte Noten
(2.8. in den Akkorden); Vorzeichen, falls es sich um
plausible Alternativen handelt.
4. In eckigen Klammern: Staccatopunkte oder Akzente,
fùr die in der Hauptquelle kein pràzises Modell existiert.
6 t. Satz: Takt 55-56; 99-to6; 723-a27; r3o. z. Satz: Takt
VIII
r7-4o.
Das Erscheinungsbild der Partitur wird auf folgende
Weise modernisiert:
r. Rossinis Gebrauch der Vorzeichen wird an die moderne Praxis angepasst. Falls Zweifel zu deren Interpretation existieren, werden die Vorzeichen in kleinerer Schrift eingefùgt.
z. Musikalische Abkùrzungen (mit Ausnahme der abgekùrzten Achtel, die WGR stets ausschreibt) und Wiederholungszeichen Rossinis werden nach modernen
Konventionen realisiert, ebenso seine Zeichen, dass
eine Instrumentalstimme einer anderen entspricht.
Abschnitte, die vorausgegangenen entsprechen (2. B.
,,Come sopra" und ,,Bis"), oder deren Schreibweise
(2. B. wenn fiir die Bratschen vorgeschrieben wird, ,,col Basso" zu spielen), werden im
missverstàndlich ist
Kritischen Bericht angezeigt.
3. Abkùrzungen wie ,,fmo" (fortissimo), ,,And.no" und
,,cres." werden ohne Kommentar modernisiert oder
aufgelóst.
4. Die Anpassung kleinerer Elemente erfolgt ohne Kom-
mentar im Kritischen Bericht: ganze Pausen in leeren
Takten werden hinzugefiigt, Bindebogen zwischen
Vorschlag und Hauptnote eingesetzt, notwendige Fermaten werden in den Stimmen ausgeschrieben, wo
sie fehlen, und andere Details. Rossinis Notation der
Triolen ist nicht einheitlich. WGR wàhlt folgende Normen: a) sind die Noten verbunden, so wird ;" hinzugefugt; b) sind die Noten nicht verbunden, so wird
,3" hinzugefùgt sowie eine Klammer; c) schreibt Rossini einen Bindebogen ùber die Triolen, ùbernimmt
WGR bevorzugt sein Modell, mit einer,,3" innerhalb
des Bindebogens; d) im Falle einer offensichtlichen
Folge von Triolen
wird die ,,3" nadn dem ersten Takt
nicht mehr wiederholt.
Auf der anderen Seite werden einige Besonderheiten
der Notation Rossinis nicht modernisiert:
r. Die Schreibweise der transponierenden Instrumente
folgt normalerweise der Hauptquelle.
z. Rossinis Art, mehrere Noten zu verbinden, wird
ùbernommen, wann immer sie musikalisch plausibel
erscheint.
3. Die fùr Rossini typischen geschlossenen Akzente und
Gabeln r.- fùr Crescendi/Diminuendi werden beibehalten.
Philip Gossett
Patricia B. Brauner
(lJb ersetzung:
Martina Grempler)
Duetto per Violoncello e Contrabbasso
--.4j,
Íím
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2
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íG>:-î>
:'=
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---------
:-a-,->, .'-'---'
4
98
10
il1
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IF
tl
tl
IE
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IF
l-
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li
IE
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C.ntrabbasso
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tr
CRITICAL COMMENTARY
Trrll
-f
hert' is no title in the hand of Rossirri (R). The title used in
WGR comes from the label added to the cover of A; "Dr-retto" also appears in pBA.
25
These
Cnrrrcer Norss
notes art'divided into two sections. In the first.rrt.
A The articulation of
this theme is relatively stable, although
frequently there are lacunae. All signs integrated into the readings of A are differentiated typographically in WGR.
25 32,33-40,99-106,107-114
cliscussed problems arising in the editing of the Drrello from
A; secondary sources are cited when they prove useful in
resolving these problems. In the second are discussecl issues not alreadv discussed in the first section pertainirrg
to performance options found in pBA. No effort is macle to
covcr the contents of pBA exhaustivt'lr-.
staccato dots. Dragonetti in pBA regularly
inserted siurs for the triplets (also at 15), with
staccato dots also added for Vc at 15. WGR
chooses a staccato articulation for the triplets
at 23, foliowing R's clear models at 15.
The 'îolce" is derived from R's explicit marking at the parallel 99.
47
@ / V., there is no articulation; WGR extends the
models from earlier in the measure and from 43.
@ / r" yc at 44-46
and 118-120 and in Cb at 63-65 and 137-139,
R notated the identical figuration differentlv
11- 16,63-65, 118-120,137-139
A
in
Eorrrxc Norns
Allegro
2-3,
6-7,92-93,96-97 Sources At2-3
and 6-7, R wrote
a slur over the ascending sixteenth notes tn
both parts, as well as a staccato dot together
with the accent on the first eighth note in Vc
at 3 alone (there are no explicit staccato dots
in Cb). In the recapitulation, at 92-93 and
96-97, he drew the slur to the eighth note and
generally omitted the staccato dots on the
eighth note (the situation is uncertain in Cb
at 97). Irr fact, at 96-97 he seems to have written a shorter slur at 96 alone, then extended
it to the follor,ving downbeat. In both parts of
pBA, Dragonetti restricted the slur to the srxteenth notes (the slur is lacking in Cb at 96).
WGR accepts the difference between the ex-
position and the recapitulation, as in A. The
parts are inconsistent about the use of staccato dots on the first eighth note; WGR omits
the dot, of which there is only one clear
model in A, in Vc at 3.
Cb: the slur covers only @-@ and there
are staccato dots on both quarter notes at @
and @; WGR extends the model clearly
established in the previous measures (slur at
e-@, staccato dot only at @). In pBA Dragonetti originally copied A, then emended
12
A
13-r4
A
Vc: the tie, written at the 13114 bar line, is qurre
A
clear; although absent in pBA, it has been
adopted by WGR.
R wrote neither staccato dots nor a slur for
the triplet in Vg but for that in Cb he originally wrote a slur, then replaced it with three
it
23
as
in WGR.
thc. exposition and in the recapitulation.
Furthermore, the only slur in the exposition
is in Cb at 65, where it covers only the last
tr,\'o notes; slurs over all four sixteenth notes
are found everywhere in the recapitulation.
WGR follows R's notational differentiation
between the passages, but interprets the slr-rr
at 65 as incorporating the eighth note as n.ell
as the two sixteenths.
47-48, 66-67, 121-122, 1,40-141 A The beaming and
slurs in these measures for Vc at 47-48
and 121-122 and Cb at 66-67 and 140-141 are
not coherent. At 47-48, 66, and 140i@-@ the
beaming is by the beat, at 67, 121-122, 740
@-@, and 141 by the half measure. Slurs
are by the half measure at 47-48, 121, and
I22le-@, and bv the beat at 66-67 and l-ltr
At 122l@-@ in Vc, there are three slurs over
the eight sixteenth notes, covering notes 1-3,
5-6, and 7-8. These dif{erences are hard tcr
justify, even in terms of a shift between the
exposition and recapitulation. WGR regr_rlarizes the notation with beaming and slurs bl
the half measure.
50
@-@ / Vc: a single slur covers @ and the first
three notes of @; WCn continues to slur the
part by the beat, as in the previous measurr..
5I-52,70-77,125-126,144-145 A C, @/ The stacc.rrr,
dots on the separately-flagged eighth notes rrr
Vc at 51-52 and 125-126 and Cb at 70-71 .rn.l
744-745 are derived from two models: Cb at
70l@ and 1441@. Many of these staccato dtrts
are added by Dragonetti in pBA.
57-58,76-77, 73I-732,150-151 A The long staccatLrs i:Cb at 57-58 and 131*132 and in Vc at 76-il
and 150-151 are derived from five example:
in Vc at 76.
l-ì
74-75,
I04
I4B-I49 A
Cb: "Flautate" is written across
74-75 (begínning at 741@ and concluding
after the 74175 bar line) and at 149, betrveen
the two notes; since the difference in placement makes no sense and 148-149 is Ltigher
than 74-75 WGR moves both signs to the
beginning of the phrase.
O / CU' there seems to be an augmenting dot
after the first note, but in the context it makes
no sense; WGR eliminates it.
Vc : -; WGR modifies the part, adding a g on
the downbeat, as in all other appearances of
this motive. Dragonetti did not intervene in
A
1'42 A
pBA.
144-145
A
Andante
mosso
I
A
Cb: R wrote regular diminuendos at 144 and
entered no signs at 145; WGR adopts his
markings at the similar 70-71, making the
diminuendos at 144 closed and suggesting a
crescendo at 145.
The tempo marking is unclear: pBA
reads
some hesitatiory then, WGR accepts the
musi-
cally more convincing 'Andante mosso".
1, 3,9,71, 52,54 A The articulation is sometimes incomplete, but never did R write anything that
contradicts the complete model, found in Vc
52.
55-56 A
at
12-13
9,
11 A
'
17-18 A
55-56 A
T4
A
third through sixth notes are practrcally illegible because of an ink blot that
Vc: the
reflects a correction. Nonetheless, the reading
is reasonably clear, since the music repeats 4
and 12.
63-70, 71-78 A Vc: it seems clear that R intended to
slur these entire phrases, but he did not write
continuous slurs. The actual fragments occur
at 63-65, 67-69,74-75, and76-77. Nonetheless, WGR uses fuli slurs in each passage,
without typographical distinction, as did Dragonetti at 63-70 in pBA.
112 A @ / V.' there seems to be a staccato dot over
the eighth note, but it is probably just an ink
spot. There are no similar models anywhere
in the final Allegro.
119-126 ,4 These measures are the "Bís" of 111-118.
PsnronueNcs Issuns (rnov rBA)
'Andante moiio", as do modern editions, Not
oniy is it a strange marking, but - contrary to
R's normal practice - the "t" is not crossed.
On the other hand 'Andante mosso" requires
an interpretation of the consonants contrary
to R's normal way of writing a double "s",
with the first "s" longer than the second (see
his many signatures and his "PiÌr mosso"
throughout his autograph manuscripts). With
4-5, 12-13,
Allegro
28
@ 7 fne slurs at 4-5 in Vc
in Cb are derived from
R's model
and
in Vc
at 55.
Vc: the slurs on @ and @ begln on the second sixteenth note, probably for lack of space;
those on @ include ail four notes, the model
adopted by WGR and extended to 13, where
there are no slurs.
Vc: the slur starts at17@ and concludes on
the second eighth note of 18/@; WGR notates
it over both measures and extends it to the
Allegro
5
8,98
Vc: Dragonetti explicitly wrote this p.
Cb: Dragonetti seems to have added staccato dots
on all five notes.
10
33
Cb: in both measures Dragonetti added a
'îolce"
that is not present in A.
76,24 @ / CU, Dragonetti seems to have copied the
version of A, then modified R's notation in both
measures to place this second d an octave higher.
21 Cb: Dragonetti added syncopated accents for the
second, fourth, sixth, and eighth notes.
23 Cb: Dragonetti added f at @.
25,29 @-@ / Vc: Dragonetti added slurs in the second
half of each measure.
26,27,30 O-@ / Vc: Dragonetti added the slurs suggested
in WGR. He also added the one for Cb at 35.
31 @ / V., Dragonetti actuaÌly wrote the staccato dot
suggested by WGR.
46
@ / V., Dragonetti added the diminuendo suggested
by WGR.
51,52
Vc: here and elsewhere, Dragonetti did not adopt
R's characteristic closed dimimrendos.
57
simllar
The f is present also in the Cb part.
57-58,76-77, 137-132,150-151 Dragonetti tied the whole
notes in Vc at 57-58 and in Cb at76-77 and
150-151, but not those of Vc in 131-132.
60, 62 Vc: the accents integrated by WGR are present in
pBA.
Cb:
66,72
Cb: Dragonettididnotwritep
at the second note of 72.
76
86
90
Cb: Dragonetti introduced f at76 (but wrote
21.-22.
afterwritingameasure-longslurat53,R
had room at 55 to place a slur only over the
first four notes, and he did not then write a
slur at 56. WGR extends the slur at 55 for the
whole measure and adds the slur at 56; this is
also the reading of pBA.
at66,butaddedit
ff in Vc).
Vc: Dragonetti introduced f at 86/@.
Vc: there is no fermata. After the measure Dragonetti wrote a double bar with an indication to
repeat the exposition (1-90) and then the develop-
menthcc.rlìitLrì;rtion (91 168), a sLrggcstion .rcloptecì
in both rnodern etlitions. Tl'rerc is rrrr srrch sign irr
A, hon'ever.
97,95
Vc: l)ragor"retti added p.
99-105 Vc: Dragonetti made many of the. s.rme extensjons
n1.l-(ù./ Vr': Ilr'.rgrrnt,tti rr'r'rrtt' ,l.i(.1ìt\ on tlrt,dollr'!i rlllallir', tìtrtt:, rrl-it,.it tn r\,ìi,'i.1'1'5i';1i rr11i1 .11
tr l, Lrui irt' does Jt()t ('()ìlliì.ìLì(' tirlnr t,lst.rr iiurt'.
10, 26 Vc: Dragrnetti n'rote f insteatl oi Tì': ff
l0 l.l,5l-52,55-5h
\,- Ll,: [)r.,S,'r]Ltil riìtr(),
for the two sirttenth notes in \', .rt
l() ll .rnrl in C[',.rt il 5].rn.l 55 1i,.
Il, 2E llil i t'., I)ragontLti adrlerl tlrt siuls lrri tlrt, 1i.1i1-'
o1 sirttctrth trotcs,:uggcsir''l L,r ltCl{ i'rr ilt.. lrrsi:
clrtced slurs
as does WGR.
127-728 Vc: R's cre.scenclo is ìacking.
131 Vc: Dragonetti n'rote f insteacl oi f f ancl aclcled no
ff ior Cb is pr'1.sq'111
in pLO.
@ / Cf, the part continues r'r,itlr clirninucndos,
dynamic markinp; in Cb. Thc
145
2 3
17
of [ì's notation at .1.
CD t t b' tltt'rc ts t:r, \t.tc(.ii,r ilot ir.r titt' ìast t'r$hth
3+
llotr'.
'l
he ff {}cclrrs in Cb. ratlr,'r tlr,trr rn
rather than introducirrg a crcsccnclo, r'rtt'r-rclr.d
from7l in WGR.
147*149 Cb: Dragonetti skipped l;17 anr-l imnrccliatelv
wrote 148-149; realizing his error hc sign.rlcd an
emendation at the end of the movr.ment.
150 Vc: Dragonetti added f.
166, 167m@
aO, Dragonetti added slurs in Lroth
\t.
35, .19,'1.ì Cb: [)raeorìettt adcjer-i ,rr.e i'rts otr thc strconcl
36, t0,
notc; rìctlc arr' pr-r'scnt ut A.
lfi
Cb. L)r'.rgonrlti acldctl rnanv sìrir* L,r't!rt,
bt'.lt tlirottglltrilt iht'stt llìr'.1\itli's (sonte ìn pc'ncil).
Fle did not add anv in \"'
1-1,
Andante mosso
38, l6 (-1.. I)r';iìorre tti rr rott' f ,rt ilrL'Ì.r':tì:rrrint r-rf e.rclr ol'
tlìt.sl nl'.t:;rirt,s.
('lr: lor the recurrence ol tli. f,rin, ipal tirenrc irr
5l
(. b, [-tr.rgLrnetti gave the irr..lrLr( irllì ''ciuir-c".
7
5:l
|r:.J.
O-@ / Vc: Dragonetti
added a slur for which
there is no autograph model.
The "sottor.oce" of A is present onlv in Vc at E,
whereas in pBA there is another such mark in Cb
8
at
1,2
these
16
triplets; 1n WGR those at 12-13 are sup;gested, btrt
the slur at 14 does not seem appropriate.
Cb: the p is Ìacking, but Dragonetti included it in
47
45
Vc: Dragonetti changed R's ff to f.
@ / Ct , Dragonetii adopted the f suggested bv
Vc.
57
WGR.
Vc: al1 the addded slurs of WGR in these mcasures \trere written by Dragonetti in pBA.
@ / Ct , Dragonetti added a slur for the triplet,
although there are no autograph models in this
57
position.
65-67 Cb Dragonetti added p on the seconcl note of 65
and f at 66l@.
66-67 Yc, Cb: Dragonetti indicated a "Bts" for these trvo
measures; there is no such indication in A.
Allegro
1,
B0
C-b: berreath
thc
trr',
' i.r'i ..tilir1,., lf sirllL'ntlr
rolr:s, t)ragonctti adcie.il | \i'( ) .ìc('cn t:; i n
1-rr-.n c i
l.
5-1
U I Cb: Dlagor-retti .rdtit,rì .riittulrIru]ì. ,t \trL(-.lt(ì
dol on thc eighth notr:.lic] ..- 'lLrr lrl ilrt tì\(, sr\-
57
O
ter'nths.
added the slurs suggcsted
in WGR.
12-14 @ / CU, Dragonetti drew a slur over each of
54, 56,
r
9.
O-@ / Vc: Dragonetti
(!l i
Cb: neither staccato dots nor a slur is present at 1,
but they are present at 79a, u'here the repeat begins a measure earlier than in A (= 1).
@ i Cb: the siu|s :uggestecl in WGR r,vere
.rtldcd br, [)r.rgone.ttr.
5S Cb: Dr.rgonctti r,r't'trte f tustL'.rel ,-ii ìì's ff.
60 6i Lìb: l)ragor-retti acìded .r: r:L rrì.:tion marks as in
WCR to equaiìrc 6()-(-i \\;tlr -iò 59.
8()--ll{) Writing ihcsc mensrrll' in jirll, l)raet)netti introrl rrcecl sevt'ral v ariarrts:
In \/c at fì() Itr rr rott, pp inst,.'.ìLl oi lì's p; irr \t at
tI atrtl S5 he nrrric.ì(!;(ì!i,ìtì1r.ìs to tqrralizet il-re
tieuraturn; in Ch at 57 ht' ,rtlricd .r staccar{o cloi ol
thc f irsl r.rotc, .t .,ìgl fcr rr ltrcir tirerc is no pru'cedent in A; in Vc .rt 8fì ht' ir rLrit' ff insttad oi lì's f;
in Vc.rrrtl ('b at 10.1 he rlrtrtt. f insk.ad oi R's ff.
ll8
Vc: Draqonetti notatcd tlrr''irir\ t,)r'tlrc triplt.ts
sttggeslt'tl I'r WGR.
ll9-lli.Vc, C-b: rvriling tht. repetitìiin ìn l.rrlÌ, Ilr,rronctti
irrtroilucctl s()nlc' vrrrv doLrbtIL;I lli'ir.irnic markings
jtr ottt'ttr both parts. At il') hr'rvrirlt'p lliighiv r.rrtlikell u,ith the trichorrl.l, rr ìth f ;t tht' dort'nbe.at
of 113 and p at 123/l1r) íin ('b therr'is a clinrinuentlo betr'r'ten tlrese tvlo srr:ns).
127 Cb: thorc alc sltirs for r,.rL h scxtlrpLt,t, nonc of
rvhich is presetìt in A; I)r,rqorrttti dicl not add
thcm at l2tJ, r-ror ìn e itlrt'r rrreasurt' ior Vc.
l5