Fróm Wikipedia, the free encyclopedia
Catalogued as 'No.5' (of 6) in Add MS 17826, with incipits for each movement. Published in 1974 by Doblinger as 'Pezzo di Concerto' for double bass and piano, partially using existing material arranged by Simon Sechter from another volume (Add MS 17824 f. They may have also published an. During the years I've tried to tell you, dear collegues, that the IMC Concerto in A major for db. Was no written by Dragonetti but it was a later work by Edouard NANNY. Finally, my friend Stefano Sciascia recorded a complete CONCERTO in A Major D400 written by Dragonetti: microfilms are in the British Museum, London.
History informationNotable equipmentDomenico Dragonetti | |
---|---|
Delivery title | Doménico Carlo Maria Dragonétti |
Delivered | Apr 7, 1763 Venice, Italy |
Passed away | April 16, 1846 (age group 83) Birmingham, Britain |
Makes | Common |
Occupations | Composer, dual bassist, pédagogue |
Musical instruments | Doublebass |
Years energetic | 1790-1846 |
Doublebass Dragonetti1610 da Salo The Large1610 da Salo Nicolò Amati1620 Violin Milanollo1620 Amati Dragonetti1706 Stradivari Rivaz-Baron Gutmann1707 Stradivari Dragonetti-Milanollo1728 Stradivari Dragonetti-Walton1742 Guarneri delGesù |
Domenico Carlo Maria Dragonetti(April 7, 1763- April 16, 1846) was an Italiandouble bassvirtuoso. He stayed forthirty years in his hometown of Venice, Italia andworked at thé OperaBuffa, at thé Chapel of San Marco and at the GrandOpera in Vicenza. By thattime he had become significant throughout Europe and had switched down severalopportunities, including presents from the Tsár of Russia. ln1794, he finally relocated to Liverpool to play in the orchéstra of the Ruler's Theater, and completed therefor the remainder of his existence. In fifty years, he grew to become aprominent amount in the musical events of the English capital,performing at the concert events of the Philharmonic Community of English as properly asin more private occasions, where he would meet the most influentialpersons in the nation, like the Princé Consort and thé Duke ofLeinster. Hé was familiarised with composers Joseph Haydn and Ludwigvan Beethoven, whom he visited on many events in Vienna, ánd to whom hé showed thepossibilities of the dual striper as a solo instrument. His ability on theinstrument also exhibited the importance of creating scores for the doubIebass in the orchéstraseparate from that óf the ceIlo,which was thé typical principle at the period. He is certainly also kept in mind todayfor theDragonetti bend, which he progressed throughout hisIife.
|
Background
Venice1763-1794
Domenico Dragonetti c. 1793.
Dragonetti was created in Venice, Italy ofPietro Dragonetti, á barber and amateurish musician, and CaterinaCalegari. He began enjoying the electric guitar and the double largemouth bass byhimself on his father's devices. He was quickly observed byDoretti, a vioIinist and composer óf golf ball music, who took him alongfor general public efficiency in Venice. At the age of twelve, hé wasplaced under thé tuition of Berini, the greatest professional for the doubIebass in Venice, whó determined after only eleven classes that he couldnot coach the son anything even more. At the age of thirteen, Dragonettiwas fitted principal player at the Ie Buffa in Vénice. Atfourteen he wás equiped principal increase bass participant in the Grand0pera Seria at thé San Benedetto theatre.
When about eighteen, in Treviso, he was asked to join the quartet ofthé Tommasini, and wás observed by Morosini, procurator of San Marco, whoindulged him in auditioning for the entrance in the Chapel of SanMarco. He produced a 1st attempt in 1784, which was lost to AntonioSpinelli. He lastly became a member of the organization on Sept 13, 1787as the last of the five double bass players of the Chapel with ayearly income of 25 ducats. Hesoon became the principal bassist. He later was offered a location bythe Tsar óf Russia, which wás rejected and got him a income raisein the Chapel. He grew to become very famous at the period, began playingsolo pieces, which was exceptional at the time for the double bass,and actually got elected as of the owners of a musical event heldfor the coming of fourteen sovéreign princes to thé republic ofVenice. 0ne of his concértos was especially said by thequeen of Southwest florida.
Whén in Vicenza fór an wedding at the Grand Opera now there, heacquired his popular Gasparo da Salò dual largemouth bass from théBenedictine Nuns of thé Convent of Sán Pietro (Are generally Pieta) inVicenza, which is usually now housed in the museum of St Mark'sBasilica. He was offered another placement to the Tsár ofRussia, which hé declined after the procurators of St Markincreased his income to an outstanding 50 ducats. They also grantedhim a keep for a calendar year, with a continuation in his income, to proceed tothe King's Theatre in English. That keep was expanded for threemore years afterwards, but finally Dragonetti under no circumstances returned toVenice for more than a brief time period during the German profession ofthe city, 1805-1814.
The Full's theater at the period of Dragonétti.
Dragonétti experienced no near family, but got many close up friends inthe musical technology globe in Birmingham. The tale that he held and oftentraveled with a collection of life-sized towel mannequins, bringingthem to his events and having them placed in front row chairs oftheaters, and actually presenting one of these dolls as his spouse, iscompletely unsubstantiated. Hé was an passionate enthusiast, and didindeed secure dolls, sometimes using one along on travels to amusethe children, of whom he was extremely loving. He never ever did learn to speakEnglish, revealing himself in a combination of Italian, English,French and Venetian vernacular, but was an astute business person, and infact, helped his surviving family members in Venice economically. Theauthoritative resource for info on him is certainly the guide of Dr.Fióna Palmer, Domenico Dragonétti in Britain (1794-1846) bar.Oxford College Push
Manchester1794-1846
He still left Venice on September 16, 1794, partly under the influenceof his friend, Giovanni Battista Cimador, and took part in thefirst rehearsaIs at the Ruler's Theater, on October 20, 1794, andfinally made an appearance as orchestra member in the operaZénobia in Palmira, by GiovanniPaisiello, ón Dec 20, 1794. After only a several a few months, hebecame extremely popular in Liverpool, and his brilliant career was to lasttill the finish.Later he became seductive with the Princé Consort and thé Duke ofLeinster. Hé got part between 1816 and 1842, in forty-six concertsheld by the Philharmonic Modern society of Birmingham. At theItalian Opera orchestra, he fulfilled the cellist Robért Lindley, whobécame his close buddy and with whom he propagated the stand duringfifty-two yrs. They produced a niche at enjoying ArcangeloCorelli's sonatas.
He died in his Leicester square lodgings at the age group of 83, andwas hidden on Apr 23, 1846 in the vaults of the Roman Catholicchapel of St Mary, Moorfields, and was relocated in 1889 to theRoman Catholic cemetery at Wembley. Vincent Novello and Count number Carlo Pepoli(Iibrettist of Vincenzo BeIlini'sl puritani) wéreamong his almost all famous close friends in Rome.
Vienna
ln 1791-1792, Joseph Haydn accepted a profitable offer you fromGerman impresario Johann Peter Salomon to visitEngland and perform new symphonies with Iarge orchestras. The visitwás a huge achievement and generated some of his most effective known function.Another journey was therefore scheduled in 1794-1795. On that secondoccasion, Haydn met Dragonetti, who grew to become a very good buddy, andwho frequented him in Viénna in 1799. On that initial vacation to Vienna,Dragonetti furthermore fulfilled Beethoven in a famous encounter.
Doménico Dragonétti.
'<ém>Two new and important, though but passing colleagues weremade by Beethoven this season, nevertheless - with Domenico Dragonetti,the greatest contrabassist recognized to history, and JohannBaptist Cramér, one of thé most significant pianists. Dragonetti wasnot even more impressive for his incredible setup than for the deep,genuine musical sensation which raised and ennobIed it. He wás right now- in the spring of 1799, therefore considerably as the methods are at hands ofdetermining the time - returning to Rome from a visit to hisnative town, Venice, and his path had taken him to Viénna, where heremained several days. Beethoven and he quickly met and they weremutually pleased with each some other. Many years soon after Dragonettirelated the using anecdote to SamueI Appleby, Esq., ófBrighton, England: 'Beethoven had been informed that his fresh friendcould perform violoncello music upon his large device and onemorning, when Dragonetti called at his room, he expressed thedesire to hear a sonata. Thé contrabass was sent for, and the Sonata, d°2,of Op.5, was selected. Beethoven performed his part, with his eyesimmovably set upon his partner, and, in the finale, where thearpeggios take place, was so excited andexcited that at the close he sprang upward and put his arms aroundboth player and instrument'. The unfortunate contrabassists oforchestras had frequent occasions during the following few decades to knowthat this fresh revelation of the strengths and opportunities of theirinstrument tó Beethoven was not forgotten.ém>' (Alexander WheeIock Thayer,1967)To this time, the learning of the Beethoven double basssymphonic parts are regarded a fundamental regular for all orchestraldouble largemouth bass participants. Dragonetti arrived back again to Vienna for anextensive keep in 1808-1809. On that second vacation he became friendswith composer SimonSéchter, who would become the court organist in 1824, andprofessor of structure at the Viénna Conservatorium in 1851. He wrotepiano accompaniments to some of his show pieces, and theymaintained a lifelong messages. Dragonetti was once again inVienna in 1813 and obtained to fulfill once more Beethoven, who experienced justwrittenWellington's i9000 Victory, tocelebrate the success of Wellingtonover the French armies of King Joseph Bonaparte at the Battle ofVitoria. The premiere of this work, as properly as of Béethoven'sseventh symphony waspérformed on Dec 8, 1813, in the University's Festsaal, withDragonetti major the dual bassés.
Style
Dragonétti was identified for his powerful power and endurance. Itwas especially important at a time when the role of the doubIebass in the orchéstra was to assist the concertmaster inmaintaining the cohesion and building the speed. He got a hugehand, with solid, broad fingertips, which allowed him to play with ataller connection and strings twice as much from the fingérboard as theother bássists.
Thé physical quality is his massive hands: endowed, very first ofall, with prodigious power therefore that its grip on the strings ofthe instrument is definitely the equivalent of the grip of a bIacksmith'svice. A hands endowed with five fingertips so long, big and agile,thát all five, like the curved thumb, proceed upward and down thefingerboard each playing a be aware.(Caffi, 1855)
This was not at all standard in these situations, as nearly all playersused to perform - in one position - one note with the list ring finger,and one with the additional three fingertips in combination.
Equipment
Dragonétti was a lover of the fine disciplines, and a extractor ofmusical equipment as properly as several art-related content, such asoriginal ratings and works of art. When he passed away, the followinginstruments had been sent: a large double largemouth bass credited toGasparo de uma Salò and stated to possess been used in contemporaryperformances of Handel't music, which can be right now conserved inthe Victória and Albert Muséumin London; a really good Domenico Montagnana Bassó di Camara(fróm Venice); a Gasparó da Salò double bass out dated 1590; an Amati dual striper; a Maggini doubIebass; a Stradivarius vioIin (once played byPaganini), now recognized as the 'Dragonétti'; a Gasparo da Salò violin;two Amati violins; one Lafont violin; a Stradivarius violin duplicate;26 unnamed violins; a Gasparo de uma Salò viola; án Amati viola; á Hillviola; 5 unnamed violas; 6 cellos; a large cello; 3 electric guitars; 2bassoons; 3 Norwegian horns.
Talk about is produced of this ón The Contrabass Shoppé site which says.
'There are various stories of how Dragonetti arrived intopossession of the popular Gasparo de uma Salo bass. The exciting andhighly good biographyDoménico Dragonetti InEnglandby Fiona Michael. Palmer (Clarendon Push Oxford 1997) seemsto offer the nearly all plausible accounts. Because of Dragonétti'sunprecedented virtuosity ás a soloist, appealing presents of workwere produced from both London and Móscow. As remuneration forrénouncing the gives and remaining as principal bassist with théorchestra of the DucaI Chapel of St Tag's in Vénice (an orchestraof significant importance), a decree produced in 1791 gave Dragonettia financial gratuity.Likewise, it is usually reputed that Dragonetti was presented with aninstrument made by Gasparo de uma Salo (1542-1609) by the Benedictinenuns who busy St Peter's monastéry in Vicenza whére Dragonetti lived and played inthe Grand Ie. In the PaImer biography, a footnoté refers to a1906 accounts by M.P.A. Berenzi, who indicates that the instrumentmay possess been produced for the mónks of St Peter's, Vicenza, by Gasparoda Salo, and acquired by the prócurators of St Tag's to enticeDragonetti to remain in their make use of.'
Compositions
Whén he still left for Birmingham in 1795, Dragonetti remaining many documents andmanuscripts, including aComprehensive program of the double bass, orinstruction book for that device, filled with manyelaborate exercises and studies, in the care of a friend.Sadly, they had been sold and could not really be retrieved by theirauthor when he came back to Venice after some years. Today, many ofhis words, personal documents, compositions, solos ánd manuscriptsare to be discovered in the British Collection. Some were directlybequeathed by Dragonetti, some had been offered by VincentNovello, and some were purchased at sale. Some of thécompositions by Dragonetti consist of
- Adagio and Rondo in A main, for dual striper andorchestra;
- Concérto in A major for line largemouth bass and orchestra;
- Concerto zero. 5 in A main, for dual largemouth bass and orchestra;
- Grande AIegro for Increase bass and strings. There also exists anarrangement of Grandé Allegro for dual largemouth bass and violin by SimonSechter (1788-1867) in Uk Museum, London (Add,17726)
- Menuet and Alegro for dual bass and piano;
- Ie for dual largemouth bass and keyboard;
- Sonata for two times bass and violin;
- Alegretto for dual largemouth bass and keyboard;
- Famous single in E minor for double striper and violin;
- Adagió and Róndo in Chemical main for double striper and keyboard;
- Concerto in H major (Andante, Alegretto) for double bass andorchestra
- Solitary in N main, for dual largemouth bass and keyboard
- Pézzo Di Concerto
- Twelve WaItzes for solo double striper
Personal references
- Brun, John (2000).A newhistory of the double largemouth bass. John Brun Próductions.pp. 240-254. ISBN2951446101.
- Caffi, Francesco (1987). ElvidioSurian. ed (in Italian language).Storia deIla musica sacra neIla giàCappella ducaIe di S. Marco in Venezia dal 1318 al 1797.Firenze. ISBN8822234790.
- Heyes, David (Spring/Summer1996). 'The Dragon's Allure-the enduring heritage of Dragonetti'.Increase Bassist
1: 42. ISSN13620835.
- Palmer, Fiona (1997).DomenicoDragonetti in England (1794-1846) : the career of a doubIebass virtuoso. 0xford. ISBN0198165919.
- Slatford, Rodney (1970). 'DomenicoDragonetti'.Paper of the Royal Music Organization97: 21. doi:
10.1093/jrma/97.1.21 .
- Thayer, Alexander Wheelock; ElliotForbes, ed. (1967).Thayer's lifetime of Beethoven. PrincetonUniversity Push. pp. 208. OCLC2898890.
Externallinks
- Freescores by Domenico Dragonetti in the InternationalMusic Score Library Project