Bottesini – Gran Duetto No.2 for Two Double Bass – Download as PDF File .pdf), Text File .txt) or read online. Sheet Music – £ – Giovanni Bottesini – Gran Duetto 1 For Double Basses. Giovanni Bottesini, born 22nd December , studied the violin, singing and tympani as a young. When, in , his father entered him for a scholarship at the.

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A week before the day fixed for the competition he proceeded with his father to Milan, and was presented to M. None of your bottesoni hold this item.

Lists What are lists? Gran duetto 1 [music]: This single location in All: Subjects Double bass music Double basses 2 — Scores. Composed by Giovanni Bottesini.

Gran Duetto No.3 for 2 Double Basses (Bottesini, Giovanni)

Bottesini remained at the Conservatoire untilstudying the double-bass under his professor Luigi Rossi, attending at the same time to composition under the guidance of professors Piantanida and Ray, of the famous Basily, and the no less celebrated composer Vaccai.

Tags Botteslni are tags? The finale, a Polacca, is a rousing and lively piece with a rhythmic and driving accompaniment, mostly in double stops, against a fun and jaunty melody. David Heyes [9 June ]. Sections of this page.

Are these great pieces? This single location in Queensland: He was however proved to be more than accurate, becoming the greatest double bass soloist of the 19th-century, and travelling to every continent during a long and successful career.


Separate different tags with a comma. Set up My libraries How do I set up “My libraries”? Towards the end of Pietro Bottesini duefto that at the Musical Conservatoire of Milan there were two free scholarships open competition, one for the fagotto serpent the other for the double-bass, asked his son which of the two he would prefer to compete for.

Add a tag Cancel Be the first to add a tag for this edition. The movement ends with a dramatic and exciting passage, mostly in thirds and with a driving triplet figure, which pushes through to the very end and a successful and rousing climax. The title page of the manuscript reads “Three grand Duets for two Double Basses.

Public Private login e. Bottesini ; [edited by Rodney Slatford]. The wretched boy grwn had in all, four lessons of Rossi! Email or Phone Password Forgot account?

Luigi Rossi transcribed many violin studies by Polledro, Spohr, Libon and Mayseder for double bass duet, adding an accompaniment below the original, botgesini he obviously used in his class to develop both technical and ensemble skills. View online Borrow Buy. Uniform Title Grande duetto, no. When played with style, elegance and a touch of ‘joie de vivre’ these become works which duwtto worthy of a place on the concert stage.

However, with two great players, all three duets have something to offer players and audiences alike. To include a comma in your tag, surround the tag with double quotes.

Giovanni Bottesini – Gran Duetto 1 For Double Basses

With this in mind it is likely that Bottesini’s duets were written as the ultimate challenge for two solo double basses and he followed the bel canto tradition of the time, which he combined with some of the most advanced double bass virtuosity.


Medium [music] Physical Dueto score 32 p. Luigi Rossi, professor of double-bass at the Conservatoire, duwtto offered in the meantime to give him some further notions of the instrument. Check copyright status Cite this Title Gran duetto 1: At the examination a few bars written off hand by the vice-censor Ray, were put before him, which at once brought on a cold perspiration.

Gran Duetto No.1 for 2 Double Basses (Bottesini, Giovanni)

Profile Pictures photos. Possibly the inclusion of the repeats may be pushing it a little, but there is sufficient variety of musical ideas and technical challenges to keep an audience entertained and intrigued. Gottesini the music is primarily soloist and accompanist, two players of equal abilities are needed to match the virtuosic workout that Bottesini demands.

His great friend, Alfredo Piattithe eminent Italian cellist who was a classmate at the conservatoire, stated that after his three years of study Bottesini never played better, but only gained experience.

Taking courage however, he duwtto to execute them – but perceiving at once that he was playing horribly out of tune for want of fingering, he stopped short, and turning to his judges, apostrophised them as follows: