Sheet Music – £ – Part 1 of Giovanni Bottesini’s fine method for Double Bass which contains exercises. Mr. Karr, would you teach me how to drive a double bass? by In the introduction to his method, Botessini emphasizes the importance of Solfege. All the etudes. Bottesini, Giovanni – Method For Double Bass Part 1 – Yorke Edition. Bottesini $ Bille – New Method Part 1 for Double Bass – Ricordi Edition |
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Giovanni Bottesini 22 Fof — 7 Julywas an Italian Romantic composer, conductor, and a double bass virtuoso. Born in Crema, Lombardyhe was taught the rudiments of music by his father, an accomplished clarinetist and composer, at a young age and had played timpani in Crema with the Teatro Sociale before the age of eleven.
He studied violin with Carlo Cogliati, and probably bottesni have continued on this instrument except for a unique turn of events. His father sought a place for him in the Milan Conservatorybut due to the Bottesini family’s lack of money, Bottesini needed a scholarship. Only two positions were available: He prepared a successful audition for the double bass scholarship in a matter of weeks.
At the conservatory, he studied with Luigi Rossi, to whom he would later dedicate his Tre grandi duetti per contrabasso. Only four years later, a surprisingly short time by the standards of the day, he left with a prize of francs for solo playing. This money financed the acquisition of an bottesink of Carlo Giuseppe Testoreand a globe-trotting career as “the Paganini of the Double Bass” was launched.
On leaving Milan, he spent some time in America and also occupied the position of principal double-bass in the Italian opera at Havana, where he later became director. Here his first opera, Cristoforo Colombowas produced in In he made his first appearance in England, playing double bass solos at one of the Musical Union concerts. After this he made frequent visits to England, and his extraordinary command of his unwieldy instrument gained him great popularity in London and the provinces.
Baws and he conducted in Palermo, supervising the production of his opera Marion Delorme inand in in Barcelona. During these years he diversified the toils of conducting by repeated concert tours through Europe. When conducting opera, Bottesini would frequently bring his double bass on stage during the intermission to play fantasies on the evening’s opera. His fantasies on Lucia bottesnii LammermoorI puritani and Beatrice di Tenda are virtuosic tours de force that are still popular with those who are highly accomplished on the instrument.
Bottesini wrote three operas besides those previously mentioned: He also wrote The Garden of Oliveta devotional oratorio libretto by Joseph Bennettwhich was produced at the Norwich festival ineleven string quartets, a quintet for string quartet and double bass, and many works for the double bass, including two concertos for solo double bass, the Gran Duo Concertante originally for two double basses, Passione Amorosa for two double basses, and numerous pieces for double bass and piano.
Shortly before his death, in he was appointed director of Parma Conservatory on Verdi’s recommendation. Bottesini died in Parma on 7 July His solo works remain standard repertoire for accomplished double bassists to this day. Bottesini was widely acclaimed, and his virtuosic skill in ddouble bass paralleled that of Paganini himself on the violin.
Because of the contributions of Bottesini along with those of Sperger and Dragonetti to bass technique, many have come to view the double bass as a diverse and versatile instrument. Most notably there are many virtuoso bass players who draw inspiration from the early renaissance of the double bass. Bottesini’s bass was said to be a unique instrument with a remarkable sound.
It was built by Carlo Antonio Testore in The instrument was owned by several unknown bass players. It nearly met its end in the s as it sat backstage in a marionette theater in Milan. Bottesini purchased the Testore in for lire. The Testore bass was later converted back to a four-stringed instrument, and then to a three. Eventually, it was changed back to a four-string configuration and is now in the possession of a private collector in Japan.
Bottesini was also one of the first performers to adopt the French-style bow grip for the double bass. This style was previously used solely by violinists, violists and cellists. From Wikipedia, the free encyclopedia.
List of compositions by Giovanni Bottesini. This article includes a list of referencesrelated reading or external linksbut its sources remain unclear because it lacks inline citations.
G. Bottesini – Method for Double Bass Part
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