Domenico Carlo Maria Dragonetti (7 April – 16 April ) was an Italian double bass One of his concertos was particularly remarked by the queen of Naples. When in Vicenza for an engagement at the Grand Opera there, he acquired. Dragonetti Concerto for Double Bass and Piano. edited by David Walter. In this high-quality publication, esteemed bassist and pedagogue David Walter offers a . of one of the most popular double bass works Son, Ltd., Liben has been able to produce a totally new edition of this staple of the double bass repertoire.
|Published (Last):||27 January 2015|
|PDF File Size:||1.9 Mb|
|ePub File Size:||17.4 Mb|
|Price:||Free* [*Free Regsitration Required]|
Domenico Carlo Maria Dragonetti 7 April — 16 April was an Italian double bass virtuoso and composer with a 3 string double bass.
By that time he had become notable throughout Europe and had turned down several opportunities, including offers from the Tsar of Russia. Inhe finally moved to London to play in the orchestra of the King’s Theatreand settled there for the remainder of his life. In fifty years, he became a prominent figure in the musical events of the English capital, performing at the concerts of the Philharmonic Society of London as well as in more private events, where he would meet the most influential persons in the country, like the Prince Consort and the Duke of Leinster.
He was acquainted with composers Joseph Haydn dragonett Ludwig baass Beethovenwhom he visited on several occasions in Viennaand to whom he showed the possibilities of the double bass as a solo instrument. His ability on the instrument also demonstrated the relevance of writing scores for the double bass in the orchestra separate from that of the cellowhich was the common rule at the time.
He is also remembered today for the Dragonetti bowwhich he evolved throughout his life.
He began playing baws guitar and the double bass by himself on his father’s instruments. He was soon noticed by Doretti, a violinist and composer of ball music, who took him along for public performance in Venice. At the age of dragonetti, he was placed under the tuition of Berini, the best master for the double bass in Venice, who decided after only eleven lessons that he could not teach the boy anything more.
At the age of thirteen, Dragonetti was appointed principal player at the Opera Buffa in Venice. At fourteen he was appointed principal double bass player in the Grand Opera Seria at the San Benedetto theatre.
When about eighteen, in Trevisohe was invited to join the quartet of the Tommasini, and was noticed by Morosiniprocurator of San Marcowho indulged him in auditioning for the admission in the Chapel of San Marco.
He made a first attempt inwhich was lost to Antonio Spinelli. He finally joined the institution on 13 September as the last of the five double bass players of the Chapel with a yearly income of 25 ducats. He soon became the principal bassist. He later was offered a place by the Tsar of Russia, which was declined and got him a salary raise in the Chapel.
He became very famous at the time, gass playing solo pieces, which was exceptional at the time for the double bass, and even got elected as of the directors of a musical festival held for the coming of fourteen sovereign princes to the republic of Venice. Dragohetti of his concertos was particularly remarked by the concergo of Naples.
He was offered another position to the Tsar of Russia, which he concergo after the procurators of St Mark increased his salary to an exceptional 50 ducats.
dragonettl They even granted him a leave for a year, with a continuation in his wages, to go to the King’s Theatre in London. That leave was extended for three more years afterwards, but finally Dragonetti never returned to Venice for more than a brief period during the French occupation of the city, Dragonetti had no close family, but had many close friends in the musical world in London.
The story that he kept and often traveled with a collection of life-sized cloth mannequins, cragonetti them dragonettl his concerts and having them placed in front row seats of theaters, and even introducing one of these dolls as his wife, is completely unsubstantiated. He was an avid collector, and did indeed collect dolls, sometimes taking one along on trips to amuse the children, of whom he was very fond.
He never dragonettti learn to speak English, expressing himself in a mixture of Italian, English, French and Venetian dialect, but was an astute businessman, and in fact, helped his surviving family in Venice financially. The authoritative source for information on him is the book of Dr. Fiona Palmer, Domenico Dragonetti in England — pub.
Concegto left Venice on 16 Septemberpartly under the influence of his friend, Giovanni Battista Cimador who draagonetti a concerto for double bassand participated in the cohcerto rehearsals at the King’s Theatre, on 20 October and finally appeared as orchestra member in the opera Zenobia in Palmiraby Giovanni Paisielloon 20 December After only a few months, he became very famous in London, and his brilliant career was to last till the end.
Later he became intimate with the Prince Consort and the Duke of Leinster. He took part between andin forty-six concerts held by the Philharmonic Society of London. At the Italian Opera orchestra, he met the cellist Robert Lindleywho became his close friend and with whom he shared the stand during fifty-two years.
They made a specialty at playing Arcangelo Corelli ‘s sonatas. At the age of 82, Dragonetti visited Bonn in August to participate in the 3-day music festival held as part of the inauguration of the Beethoven Monument there.
He died in his Leicester square lodgings at the age of 83 and was buried on 23 April in the vaults of the Roman Catholic chapel of St Mary, Moorfields. In his remains were moved to the Roman Catholic cemetery at Wembley.
InJoseph Haydn accepted a lucrative offer from German impresario Johann Peter Salomon to visit England and conduct new symphonies with large orchestras.
Domenico Dragonetti – Concerto for Double Bass – Music Sales Classical
The visit was a huge success and generated some of his best known work. Another trip was therefore scheduled in On that second occasion, Haydn met Dragonetti, who became a very good friend, and who visited him in Vienna in On that first trip to Vienna, Dragonetti also met Beethoven in a famous encounter.
Dragonetti was not dragonstti remarkable for his astounding execution than for the deep, genuine musical feeling which elevated and ennobled it. He was now – in the spring ofso far as the means are at hand of determining the time – returning to London from a visit to his native city, Venice, and his route took him to Vienna, where he remained several weeks. Beethoven and he soon met and they were mutually pleased with each other.
Many years afterwards Dragonetti related the following anecdote to Samuel Appleby, Esq. Beethoven played his part, with his eyes immovably fixed upon his companion, and, in the finale, where the arpeggios occur, was so delighted and excited that at the close he sprang up and threw his arms around both player and instrument”.
The basz contrabassists of orchestras had frequent occasions during the next few years to know that this new revelation of the powers and possibilities of their instrument to Beethoven was not forgotten.
To this day, the mastering of the Beethoven double bass symphonic parts are considered a basic standard for all orchestral double bass players. Dragonetti came back to Vienna for an extensive stay in On that second trip he became friends with composer Simon Sechterwho would become the court organist inand professor of composition at the Vienna Conservatorium in He wrote piano accompaniments to some of his concert pieces, and they maintained a lifelong correspondence.
Dragonetti was again in Vienna in and got to meet once more Beethoven, who had just written Wellington’s Victoryto celebrate the victory of Wellington over the French armies of King Joseph Bonaparte at the Battle of Vitoria. The premiere of this work, as well as of Beethoven’s seventh symphony was performed on 8 December in the University’s Festsaal, with Dragonetti leading the double basses. Dragonetti was known for his formidable strength and stamina.
It was particularly important at a time when the role of the double bass in the orchestra was to assist the concertmaster in maintaining the cohesion and establishing the tempo.
He had huge hands with strong, broad fingers, which allowed him to play with a taller bridge and strings twice as far from the fingerboard as the other bassists. The physical quality is his huge hand: A hand endowed with five fingers so long, big and agile, that all five, including the bent thumb, go up and down the fingerboard each playing a note. This was not at all standard in these times, as most players used to play – in one position – one note with the index finger, and one with the other three fingers in combination.
Dragonetti was a lover of the fine arts, and a collector of musical instruments as well as many art-related articles, such as original scores and paintings.
When he died, the following instruments were dispatched: Mention is made of this on The Contrabass Shoppe web site which says Palmer Clarendon Press Oxford seems to offer the most plausible account.
Because of Dragonetti’s unprecedented virtuosity as a soloist, attractive offers of work were made from both London and Moscow. As remuneration for renouncing the offers and remaining as principal bassist with the orchestra of the Ducal Chapel of St Mark’s in Venice an orchestra of considerable importancea decree made in gave Dragonetti a financial gratuity.
Similarly, it is reputed that Dragonetti was presented with an instrument made by Gasparo da Salo — by the Benedictine nuns who occupied St Peter’s monastery in Vicenza where Dragonetti lived and played in the Grand Opera. In the Palmer biography, a footnote refers to a account by C. Berenzi, who suggests that the instrument may have been made for the monks of St Peter’s, Vicenza, by Gasparo da Salo, and acquired by the procurators of St Mark’s to entice Dragonetti to remain in their employ.
When he left for London inDragonetti left many papers and manuscripts, including a Complete system of the double bass, or instruction book for that instrumentcontaining many elaborate exercises and studies, in the care of a friend. Unfortunately, they were sold and could not be retrieved by their author when he returned to Venice after some years.
Double Bass Concerto in G major, Op.1 (Dragonetti, Domenico)
Bas, many of his letters, personal papers, compositions, solos and manuscripts are to be found in the British Library. Some were directly bequeathed by Dragonetti, some were offered by Vincent Novelloand some were bought at auctions.