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The Double Bass Blog o semplicemente " Il Contrabbasso " è un Blog di carattere monotematico nel
quale il caro mastodonte viene analizzato sotto ogni aspetto classico. Vito Liuzzi
http://www.vitoliuzzi.com (Official website) FOR ENGLISH and other visitors. IF YOU LIKE TO
TRANSLATE VITO LIUZZI - BLOG about the DOUBLE BASS LOOK AT THE "RIGHT" PART OF THE
SITE AND CLICK on the word TRANSLATOR for all other languages. www.vitoliuzzi.com (Vito's website)
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SABATO 21 GENNAIO 2012
A BRIEF HISTORY OF DOUBLE BASS
TRANSCRIPTIONS
Because of their intrinsic instrumental knowledge, double bass players have
been the foremost transcribers of double bass music. Lucas Drew points out
their importance in the history of the instrument: "Wherever one looks at a
history of the double bass in an encyclopedia or dictionary, he finds three
names: Domenico Dragonetti (1763-1846), Giovanni Bottesini (1821-1889)
and Serge Koussevitsky (1874-1951). Each of these performers-composers
as well the graduates of the Prague Conservatory such as Franz Simandl
(1840-1912) contributed an important part of our original and transcribed
literature. In fact, for a hundred years (1820 to 1920), it possibly was the
main part of the double bass player's literature." 1
Such transcribed literarature has been crucial to the process of exploding
the myth that the double bass is fundamentally an orchestral rather than a
solo instrument. Turetzky agrees that this process is not fully accomplished
yet: "Some of these hallowed institutions that do offer a contrabass degree
do not even require recitals! A perusal of the contests for young
instrumentalists reveals that the contrabass is not included much of the
time, even when contest guidelines say "string instruments." 2
Domenico Dragonetti (1763-1846), the first internationally celebrated player
of the double bass, was known for cultivating the practice of transcription
when making chamber music with friends: ". . . the playing of [violinist
Nicolas] Mori [1796-1839], [violoncellist Robert] Lyndley [1776-1855] and
Dragonetti in the sonatas of Corelli, in which the double-bass was heard at
its best."3
Italian musicologist Francesco Caffi (1778-1874) called Dragonetti "Paganini
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de' contrabassi." Deeply impressed with Dragonetti's performance of
transcribed music, he reported: ". . . a Haydn quartet, alternating with
[Antonio] Capuzzi [1755-1818] the first and second violin parts. . . I was a
witness to this universal wonder whenever his prodigious solo sounded as
every instrument would have emulated."4 In another picturesque episode,
not long after having moved to London in 1749, Dragonetti offered himself to
premiere some violin duos with the composer Giovanni Battista Viotti (17551824). The unexpected outcome was also described by Caffi: "Accepted the
commitment, and scheduled the try-out day, Viotti, believing that Dragonetti
played the violin. . . : Dragonetti came in, bringing, however, the huge
violone. Viotti felt tricked, 'What kind of joke is this?,' he angrily said; but the
other one replied laughing: ‘this is not a joke, this is my violin; and it has
always been. Let's try it out, if you do not like it, we give up.’ They played in
fact; and Viotti was amazed and asked to switch parts and see how
Dragonetti would do: double wonder; and the conclusion was that they
played together at the concert."5 Caffi finishes reporting the episode by
saying that the premiere of the duets, in which Viotti and Dragonetti again
traded parts, was successfully acclaimed.
Dragonetti settled in London in 1794 and met Joseph Haydn there in 1795,
when the latter was visiting England for the second time. Later, during a trip
to Italy, Dragonetti took time to pay Haydn a visit in Vienna. It was sometime
in this period that Dragonetti met Beethoven. Thayer describes Dragonetti
as one of Beethoven's only two important acquaintances in the year 1799,
and the deep impression he made on the composer: ". . .the greatest
contrabassist known to history. . . Dragonetti was not more remarkable for
his astounding execution than for the deep, genuine musical feeling which
elevated and ennobled it. . . Beethoven and him soon met and were pleased
with each other."6 Thayer continues to tell the famous story of Dragonetti
playing a transcription of Beethoven's Sonata Op. 5 No. 2 with the composer
on the piano: "Beethoven had been told that his new friend could execute
violoncello music upon his huge instrument, and one morning, when
Dragonetti was called at his room, he expressed his desire to hear a sonata.
The contrabass was sent for, and the sonata, No. 2, of Op. 5, was selected.
Beethoven played his part with his eyes immovably fixed upon his
companion, and, in the finale, where the arpeggios occur, was so delighted
and exited that at the close he sprang up and threw his arms around both
player and instrument."7
Thayer was one of the first scholars to speculate to which extent
Dragonetti's playing transcribed music influenced Beethoven's orchestral
double bass parts: "The unlucky contrabassists of orchestras had frequent
occasions during the next few years to know that his new revelation of the
powers and possibilities of their instrument to Beethoven, was not
forgotten."8 Dragonetti spent some time with Beethoven again during his
second stay in Vienna in the year 1808. There are no references to musical
cooperation between the double bass player and the composer, but, by the
end of Beethoven's life a tale sprang out among orchestra
musicians: "Umlauf conducted it [the premiere of the Ninth Symphony in
London in 1825] and Kletrinsky and Schupanzigh were the leaders. All the
basses played in the recitative but they had the story that it was written for
Dragonetti only."9 True fact or not, such a story was seriously taken by
Dragonetti himself who played the mentioned passage, which is scored for
violoncellos and double basses tutti, as a solo double bass (with no cellos or
other basses!) in the early performances of the work in England by the
Philharmonic Society of London. Anthony Scelba, one the leading experts
on Dragonetti reached the conclusion that "While it seems unlike that
Beethoven was consciously thinking of Dragonetti when he was composing
the famous double-bass passages in the Fifth and Ninth Symphonies [the
trio of the Fifth’s scherzo, and the recitative in the Ninth’s fourth movement,
respectively]. . . it is only reasonable to assume that the composer's
treatment of the instrument would have been affected by Dragonetti's
powers."10
Dragonetti had some of his double bass transcriptions published in life. His
versions of Mozart's Grand Waltz and Two Celebrated Pollacas by Jaeger
and F. H. Himmel (1765-1814) were published by N. Corri Edinburgh, c.
1820. His arrangements of some organ fugues by Bach were published by
Coventry & Hollier in 1836. Composers were so deeply impressed by
Dragonetti's virtuosity that they could even change his transcriptions into
original works for the double bass: "George Onslow [1784-1853] wrote thirtyfour quintets for strings. These were originally composed for two violins, one
viola, and two cellos, but as a cellist was missing on one occasion,
Dragonetti, the famous contrabassist offered to play the part on his
instrument. The innovation pleased Onslow so much that he rescored most
of the works referred to, arranging them for violins, viola, cello and bass."11
Of the stories about Dragonetti, his encounter with Napoleon Bonaparte is
one of the most picturesque. In 1809, during his stay in French-occupied
Vienna, Dragonetti was asked by a friend to play for Napoleon in order to
have a favor granted. Afraid of being arrested, Dragonetti hesitated, but
finally agreed. Although this is not corroborated elsewhere, Brun reports that
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Napoleon wanted to hear him play transcriptions on the double bass: "It was
reported that Napoleon had once heard Dragonetti play violoncello and
bassoon concertos on the double bass after he granted the double bass
player a wish. As Dragonetti spoke a jargon of Italian, English and French,
Napoleon was unable to understand Dragonetti's answers; impatient,
Napoleon asked him to express himself on the double bass, certain that he
would be able to understand Dragonetti's thoughts."18
Giovanni Bottesini (1821-1889), possibly the most influential double bass
soloist in the history of the instrument, built his career as a performer,
composer and conductor surrounded by the bel canto style of the Italian
opera. The majority of his double bass compositions are highly influenced
by Italian opera, or indeed, are operatic paraphrases such as La
Sonnambula fantasy and the Carnival of Venice variations. He was a
recognized opera conductor, but it was not uncommon for him to get a full
opera house for playing transcriptions of arias on the double bass between
acts. Some of the arias which belonged to Bottesini's repertory of
transcriptions were S r nade du Barbier de S ville, Final de la
Somnanbula, and Air d'il Trovatore from the operas by G. Rossini (17921868), V. Bellini (1801-1835), and G. Verdi (1813-1901), respectively.
Bottesini's well-known Grand Duo Concertante for violin, double bass, and
orchestra, is in reality a transcription from the original for two double basses
and orchestra.
The history of double bass solo playing in association with transcriptions
seems to have developed chronologically behind that of most instruments.
While transcribed music in general enjoyed most popularity in the second
half of the nineteenth century, transcriptions for the double bass reached
their peak in the first half of the twentieth century. This period coincides with
the development of the modern double bass schools: the German school
with Franz Simandl (1840-1913), the Italian school with Isaia Bill (18741961), and the French school with duard Nanny (1812-1943), and the
emergence of a greater number of virtuosos. Serge Koussevitsky's (18741951) preference for transcriptions as a double bass soloist in the early
twentieth century illustrates this situation. His repertory was basically
constituted of nine of his transcriptions which included Mozart's Bassoon
Concerto, Max Bruch (1838-1920)'s Kol Nidrei Op. 47, Henry Eccles (c.16451711)'s gamba sonatas, a John Galliard (c.1687-1749)'s cello sonata, two
etudes from Scriabin (1872-1915)'s Op. 74, and Ravel (1875-1937)'s Pi ce
en forme de habanera.
The Comprehensive Catalogue of Available Literature for the Double Bass
by Murray Grodner, the first study to thoroughly survey double bass music
worldwide, shows in its second edition of 1964 that over half of the repertory
for solo double bass and piano consisted of transcriptions at that time. It
also shows that it was through transcriptions that the music of significant
composers became available for the double bass. Although Grodner lists
the bulk of today's known eighteenth-century solo double bass repertory as
original, it was actually written for the violone. Since the violone differed
substantially from the double bass in construction, number of strings (five or
six instead of four), and tuning (for example, the Viennese solo tuning contra
F, contra A, great D, great F-sharp, great A instead of contra E, contra A,
great D, great G), its solo repertory should be considered a transcribed
repertory when performed on the double bass. One should add to this vast
solo repertory important orchestral passages such as the solos in the trios of
the menuetts of F. J. Haydn’s symphonies Le Matin, Le Midi and Le Soir
(1761?).
The scholarly researches on musical autograph manuscripts, the trend
towards urtext editions and the great evolution of idiomatic instrumental
writing in the first half of the twentieth century developed into a purism that
reserved little room for transcriptions. English composer Frederick Delius
(1862-1934)'s viewpoint on the "degeneration of present-day music"
illustrated well this situation in 1920: ". . . the scores of long-dead musicians
are pressed into service. No one is immune . . . In this direction
irresponsible 'editors,' 'adaptors,' and 'transcribers' are as much to blame as
the dancing cranks. It is time a law was passed to keep good music from
being violated."
Another composer on the crusade against transcriptions was Paul
Hindemith (1895-1963). Hindemith's hypercritical viewpoints on originality in
music led him to become the most important composer to develop the
original repertory for neglected instruments. In fact, he was the first major
composer in the history of music to write an important solo work for the
double bass (again, the violone is not being considered). His Sonata for
Double Bass and Piano was written in a single breath on 17 and 18 August,
1949, during a two-week holiday in Taos, New Mexico. On the other hand,
Hindemith failed, to understand the need to develop a quality repertory of
pre-twentieth-century music for some instruments. His violent criticisms on
transcriptions were presented in the Charles Elliot Norton Lectures at
Harvard University in 1949-1950: "A very popular activity that satisfies such
longings [the performer's public success] is producing arrangements of other
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people's creations. How do you do it? You take some older music written for
harpsichord, organ, or any other relatively unattractive instrument or group
of instruments, and dress it up with all sorts of more fashionable trimmings.
For the connoisseur this is an artistic procedure of about the same value as
providing a nice painted skirt and jacket for the Venus of Milo, or dolling up
the saints of Reims and Chartres with tuxedos, mustaches, and hornrimmed spectacles. Yet, if accused of ordinary falsification, you only need to
point out that without your efforts those wonderful compositions would
remain unknown to the great public or that some sparsely covered branches
of instrumental literature need some afforesting. It is of course
understandable that musicians who for want of creative talent cannot
experience the power of the vivifying fire directly, try to catch at least a little
reflected spark of it. . . since Bach himself was a great arranger of other
composer's pieces, our arrangers love to cite his name as a vindication of
their own work. They forget that an arrangement is artistically justified only
when the arranger's artistic effort is greater than the original composer's."
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Exponents of the double bass world are unanimous to recognize the poor
quality of the double bass repertory's staples. For Russian virtuoso Rodin
Azarkhin (b. 1931) ". . . the Koussevitsky concerto [is] admittedly a rather
superficial opus. . . " Barry Green (b. 1945), also a transcription advocate
and the author of The Inner Game of Music, shows no enthusiasm for the
traditional repertory: ". . . too much of what I consider to be second-rate
music, for instance, the Dragonetti-Nanny Concerto." Stuart Sankey (b.
1927), one of the most successful double bass pedagogues and
transcribers of the twentieth century, summarizes the restricted repertory of
the instrument: "Solo music for the bass falls into three specific categories works by established composers who write in many genres, pieces written
by bassists for their own instruments and then the broad scope of
transcriptions." He goes on to justify the need for transcriptions: "Mozart has
a somewhat off-beat aria for bass voice with string bass obligato. Dittersdorf
has some concertos, and there are other by even more minor figures of that
period - mostly insignificant. Master composers of the 19th century
practically ignored the bass. . . Most of the 19th century bassists wrote for
their own instruments, and much of their product is highly forgettable."
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The long standing tradition of transcriptions in the history of the double bass
have significantly influenced the compositional style of the instrument’s
original music. Composers, following the path open by transcribers, tended
to focus on the high register of the double bass and use the solo scordatura
contra F-sharp, contra B, great E, great A, which is a whole step above the
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Although he did not mention specific examples, Hindemith surely directed
his criticisms to controversial transcriptions from the first half of the twentieth
century such as Leopold Stokowsky (1882-1977)'s orchestral transcriptions
of J. S. Bach keyboard music and Arnold Schoenberg (1874-1951)'s
transcription for cello and full orchestra of a harpsichord concerto by
Mathias Georg Monn (1717-1750). Ironically, a significant number of
Hindemith's compositions, including major works such as Nobilissima
visione and Symphonie Mathis der Maler, were transcribed by the composer
himself. It is convincing in these transcriptions, however, his argument
that "the arranger’s artistic effort" was "greater than the original composer’s."
Indeed Hindemith approved Gary Karr (b. 1941)’s idea to play the last
variation of the third movement (mm. 76-92) of his Sonata for Double Bass
and Piano one octave higher, what can be appreciated in Karr’s excelent
rendition in the recording Apr s un R ve. This exemple shows that the
practical side of performers-transcribers many times prevails upon theory.
Here, the usually stubborn Hindemith abdicated from his method of
calculating chord roots and the concept of harmonic fluctuation, which he
advocated in the first volume of The Craft of Musical Composition (and
began to put in practice in his music from the 1940’s onwards), to favor a
brighter performance.
The rejection of transcribed music that marked the musical scene in the first
half of the twentieth century only began to echo in double bass circles in the
second half of the century, when composers had already turned to the
increasingly attractive colors of extreme instrumental registers.
Contemporary double bass expert Bertram Turetzky, an advocate of the use
of the low register of the instrument and orchestra tuning for solo, describes
this transitional period: "The Sonata for String Bass (1964) by Peter Phillips,
is a classic example of solo music written with a heightened awareness of
the instrument's physical and acoustic/sonic realities. This sonata was not a
victim of cello-envy, a contagious disease that swept the compositional
world [of double bass music] during the 1950's and began to disappear in
the mid 1960's. Turetzky played, and still plays, a major role in the
development of original solo double bass compositions, which owes him for
much of the post-World War II repertory. While he has helped to change the
image of the instrument ". . . [satirically] exemplified by Saint Sa ns [18351921]'s L'Elephant," and the repertory of "mostly cello-conceived
compositions transcribed one octave lower and slower," Turetzky apparently
seems reluctant to the need for a quality double bass repertory transcribed
from music of all periods.
31/10/2012
normal tuning. At times, performers resorted to even higher scordaturas. For
example, Koussevitsky tuned his instrument up a third for his Berlin recitals
in 1906. One of the reasons for that procedure was the less projecting
sound of the gut strings used then. Although some bassists such as Rodney
Slatford think that this procedure has not been necessary since the advent
of steel strings, solo strings became very popular in double bass recitals.
Today, even higher scordaturas are common, such as tuning the first string
to small C (the so-called "high C" string). Many times, trancribers solved
problems resulting from the transcribing tonality by ingenuously using new
scordaturas. Stuart Sankey, for example, changed the perfect fourth
between the third and fourth strings into a perfect fifth in his versions of
Mozart’s aria Per questa bella mano and F. Schubert (1797-1828)’s
Arpeggione Sonata. Composers, taking a step further, have experimented
more radical scordaturas. Gunther Schuller asks for a tritone between
strings I and II in his Double Bass Quarteto and Alcides Lanza, in his piece
Strobo I, demands to tune the two top strings of the bass as high as
possible and the two botton ones as low as posssible.
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Etichette: A BRIEF HISTORY OF DOUBLE BASS TRANSCRIPTIONS
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Another important aspect of double bass transcriptions is the dynamic
interaction between the innovative techniques achieved through the
performance of transcribed music and the evolution of original writing for the
instrument. Practices such as artificial harmonics, double-stops of various
intervals, several kinds of pizzicato, the use of the double bass as a
percussion instrument, combinations of the bass and the bassist’s sounds
and indeed, imitation of period instrument’s alleged sounds are becoming a
common part of the double bass vocabulary. Even the traditional techniques
are not fully exploited yet. The performances of Aton n Dvor k (18411904)'s Violoncello Concerto Op.104 on the double bass by Azarkhin, Barry
Green, and, mostly admirable, by Gary Karr, have opened new doors for the
instrument's idiomatic writing. Aware of the revolution in double bass playing
resulting from transcriptions practices, composers seem to be more open to
the performer’s viewpoints. For example, Ernst Mahle (b. 1929), one of the
most important Braziliam composers of today and, undoubtedly, the most
prolific of solo and chamber double bass music, agreed with my suggestion
to incorporate some register changes and cadencial double stops in his
Concertino para Contrabaixo e Orquestra de Cordas in order to bring more
the soloist to the fore and enhance the virtuosic characteristics of the work.
Transcriptions have ultimately become an integrating territory where
performers and composers communicate.
Finally, there are other reasons that justify the practice of double bass
transcriptions: they can historically balance recital programs, provide varied
pedagogical materials at all levels, help master left-hand techniques and
sightreading at specific ranges of the instrument, and make possible the
pleasure to perform from simple ancient Chinese songs to irresistible arias
from Italian operas. Double bass players can surely delight audiences and
themselves with Jacopo de Bologna (1340-?1360)’s fourteenth-century
madrigals in charming versions coloured with ethereal natural harmonics
by . . . guess who? Turetzky!
Pubblicato da Vito Liuzzi a 1/21/2012 07:09:00 p.
Reazioni:
1 commento:
chief gabril 08 febbraio 2012 15:18
Nice! The bass is essentially an orchestra rather than a solo
instrument and the bass have significantly influenced the style of
original music composition tool.
Thanks for information!
31/10/2012
Grazie per la Sua partecipazione. Vito Liuzzi
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glued. It is a very
short stroke, and
begins with the bow
lightly contacting
the string with a
distinct a...
LE SCUOLE DI
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ei
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I ( II )
Giovanni
BOTTESINI nato a
Crema il 24
Dicembre 1821,
morì a parma il 7
Luglio 1889 studiò
con Luigi Rossi.
Giovanissimo iniziò
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BOW STROKES
(examples) ( 1 ) (violin)
Molti mi hanno
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DIE
GO
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HA
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Emil Tabakov:
Motivy VII
DIEGO
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ABB
ASS
O:
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CONTRABBASSO:
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Queste due foto
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Pagina 1 di 19 The Double Bass Blog

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