ExpertsandExcerpts:TheApplicationofGiovanniBottesini’sCompleteMethodfortheContre-Bassetothepreparationoforchestral

excerptstakenfromtheworksofGiuseppeVerdi

AlexandraPatriciaGillerBMusHons(ANU),Grad.Dip.ProfessionalMusicPractice(UTAS)

AthesissubmittedforthedegreeofMasterofArts(Musicperformance–orchestralstream)atMonashUniversityin2015SirZelmanCowenSchoolofMusic

i

Copyrightnotice©AlexandraPatriciaGiller2015.ExceptasprovidedintheCopyrightAct1968,thisthesismaynotbereproducedinanyformwithoutthewrittenpermissionoftheauthor.

ii

AbstractThehypothesisofthispaperisthatifexcerptsarepreparedusingacontemporaneous

methodbook,thennewandinterestingresultsmayberealised.Limitedtoexcerptsfor

thedoublebasstakenfromworksbyGiuseppeVerdi,thispapersuggestsusing

GiovanniBottesini’streatiseCompleteMethodfortheContre-Bassetoaddressthe

technicalandmusicalissuesencounteredineachexcerpt.Thisideaisbasedinthe

knowledgethatBottesiniwasconsideredtheforemostdoublebassplayerofhistime,

includingbyVerdi,andthatthetwocomposerswerecontemporaries,making

Bottesini’streatisehistoricallyappropriatetotheexcerptsinquestion.Themethodlaid

outhereisintwoparts:identifyingtheseparatetechnicalandmusicalconsiderationsin

eachexcerpt,thenfindingsectionsofthetreatisethatmaybeusedtoworkoneach

specificissue,orinwhichBottesiniexplainshisapproachrelatingtothatissue.This

approachisnotnecessarilyintendedtoleadtoaperformancethatisanymoreorless

likelytowinanauditionthananyother.Rather,thepointistocreateamoreinformed

interpretation,andtofindwhetheranythingnewregardinginterpretationofthe

excerptsmaybelearned.

iv

Acknowledgements

Iwouldliketothankmysupervisor,DrKenjiFujimuraforhistirelesssupport,

encouragement,andadvicethroughouttheprocessofwritingthisthesis.Hispatient

guidancehasbeeninvaluable.IwouldalsoliketothankMrFabianRussellforfirst

offeringmetheopportunitytoundertakethiscourse,forhisadvice,forgrantingme

accesstohisknowledgeoftheworldoforchestralmusic,andforhisguidance

throughoutthefirsttwosemesters.Itisanhonourtohavehadtheopportunitytowork

oneononewithhim.

Mydoublebassteacher,MrDamienEckersley,mustalsobethankedforhisnever-

endingpatience,supportandencouragement,aswellasforhelpingmetoformulatemy

exegesissubject.

GratefulthanksarealsoextendedtoMsJacquelineWayleninthemusiclibraryfor

puttingupwithmyendlessquestions,andforassistingmewithfindingandsourcing

appropriateresources,aswellasteachingmehowtonavigatevariousonlinecatalogues

anddatabases.ThanksalsogotothelibrariansattheUniversityof Queensland,who

werekindenoughtosupplymewithcopiesofBottesini’streatiseinbothEnglishand

Italian.

Finally,thanksgotomyproofreadingpixies:Stephen,May,Alex,Christine,Pauline,and

Patricia.

v

TableofContents

COPYRIGHTNOTICE………………………………………………………………………………………………………..i

ABSTRACT................................................................................................................................................................ii

DECLARATION……………………………………………………………………………………………………………..iii

ACKNOWLEDGEMENTS…………………………………………………………………………………………………..iv

TABLEOFCONTENTS……………………………………………………………………………………………………..v

LISTOFFIGURES…………………………………………………………………………………………………………..vi

INTRODUCTION……………………………………………………………………………………………………1

CHAPTERONE:REVIEWOFRELEVANTLITERATURE……………...…………………………….1

CHAPTERTWO:BOTTESINIANDVERDI………………………………………………………………..3

CHAPTERTHREE:THEAPPLICATIONOFBOTTESINI’SCOMPLETEMETHODFORTHE

CONTRE-BASSETOTECHNICALISSUESINVERDIEXCERPTS….………………………………6

TECHNICALCONSIDERATIONSINTHEEXCERPTFROMRIGOLETTO……………………………...6

TECHNICALCONSIDERATIONSINTHEEXCERPTFROMOTHELLO…………………………...….12

CHAPTERFOUR:THEAPPLICATIONOFBOTTESINI’SCOMPLETEMETHODFORTHE

CONTRE-BASSETOMUSICALISSUESINVERDIEXCERPTS,ANDTHERELEVANCEOF

HISTORICALLY-INFORMEDPERFORMANCEPRACTICE

TODAY………………………………………………………….…………………………………………………….19

ISSUESSURROUNDINGTEMPI…………………………………………………………………………..20

EXECUTIONOFAPPOGGIATURASANDGRACENOTES……………………………………………..21

PORTAMENTO…………………………………………………………………………………...…………24

HISTORICALLY-INFORMEDPERFORMANCEPRACTICETODAY……………………………..…..26

CONCLUSION………………………………………………………………………………………………………27

WORKSCITED...………………………………………………………………………………………………….29

APPENDICES……………………………………………………………………………………………………….32

APPENDIX1:EXCERPTFROMRIGOLETTO…………………………………………………………...32

APPENDIX2:EXCERPTFROMOTHELLO………………………………………………………...……33

APPENDIX3:EXPLANATIONOFFINGERINGSFOUNDINGIOVANNIBOTTESINI’SCOMPLETE

METHODFORTHECONTRE-BASSE……………………...……………………………………………...34

APPENDIX4:DETAILSOFMOCKAUDITIONRECORDING…………………………………..……35

APPENDIX5:PROGRAMNOTESACCOMPANYINGRECITAL………………………………………36

vi

ListofFiguresFig.1–FmajorscalefromBottesini’sCompleteMethodfortheContre-Basse…………………………...7

Fig.2–FingeringsfortheuppertwooctavesofFmajorfromBottesini’s

CompleteMethodfortheContre-Basse………....……………………..……..........……………………….8

Fig.3–Exampleofbar-longslurs,bars1-4ofthedoublebassexcerptfrom

Verdi’sRigolettoAct1,Scene2,Signor?Va,nonhoniente…………..…….................................…9

Fig.4–ExercisesinlongtonesforbowcontrolfromBottesini’sCompleteMethod

fortheContre-Basse…………………………………..……………...………………………………………….…10

Fig.5–ExercisesinshiftingfromBottesini’sCompleteMethodfortheContre-

Basse…………………………………………………………………………………...……………………………...…11

Fig.6–ExerciseNo.5inFMajor,fromBottesini’sCompleteMethodforthe

Contre-Basse………………………………………………………………………..………………………………….12

Fig.7–ExerciseNo.9fromBottesini’sCompleteMethodfortheContre-

Basse……………………………………………………………………………………………………………………..13

Fig.8–Bars19and20ofthedoublebassexcerptfromVerdi’sOthello,

Act4……………………………………………………………………………………………………………………….14

Fig.9–Bars23and24ofthedoublebassexcerptfromVerdi’sOthello,

Act4……………………………………………………………………………………………………………………….14

Fig.10–EflatminorscalefromBottesini’sCompleteMethodfortheContre-

Basse………………………………………………………………………..……...…………………………………15

Fig.11–FingeringsfortheupperoctavesofEflatminorfromBottesini’s

CompleteMethodfortheContre-Bassse…………………...….……………...…………………………..15

Fig.12–‘Exercisesformanagementofthebowupontheopenstrings’from

Bottesini’sCompleteMethodfortheContre-Basse………………………...………………………..17

vii

Fig.13–Bars1to5ofthedoublebassexcerptfromVerdi’sOthello,Act4.Inbar

5(highlighted),theperformermustchoosebetweenstringcrossings

andshifts……………………………………………………………………...………………………………..…….17

Fig.14a–ExerciseNo.4fromBottesini’sCompleteMethodfortheContre-

Basse…………………………………………………………………………………..……………………………18

Fig.14b–AnexamplefromexerciseNo.4fromBottesini’sCompleteMethodfor

theContre-BassetransposedintoAflatminor……………………………….................................18

Fig.15a–ExerciseNo.1fromBottesini’sCompleteMethodforthe

Contre-Basse………………………………………………………...……………………………………………..19

Fig.15b–AnexamplefromexerciseNo.1fromBottesini’sCompleteMethodfor

theContre-BassewhentransposedintoAflatminor…………………………………………….19

Fig.16–TableoftempomarkingsfromBottesini’sCompleteMethodforthe

Contre-Basse………………………………………………………………………………….................................21

Fig.17–DiagramfromBottesini’sCompleteMethodfortheContre-Basseshowing

thedoubleappoggiatura……………………………………………………………………………………….22

Fig.18–Bars9and10(highlighted)ofthedoublebassexcerptfromVerdi’s

Othello,Act4.Demonstratingdoubleappoggiaturas.………………………................................23

Fig.19–Bars18-23ofthedoublebassexcerptfromVerdi’sRigoletto,Act1,

Scene2,Signor?Va,nonhoniente………………………………………………………………………….24

Fig.20–ExercisesforportamentofromBottesini’sCompleteMethodforthe

Contre-Basse.Itisunderstoodthatportamentoshouldbeemployed

undereachslurwherethereisanintervalrequiringashift…………………………………….25

Fig.21–Bar47ofthedoublebassexcerptfromVerdi’sRigoletto,Act1,Scene2,

Signor?Va,nonhoniente……………………………………………………...……………………………….26

1

IntroductionOrchestralexcerptsformanintegralpartofanyaspiringorchestralmusician’slife.The

premiseofthispaperisthatonewayofpreparingexcerptsistouseamethodbook,

specificallyonecontemporaneoustotheexcerpts,toworkonboththetechnicaland

musicalissuespresented.Bydoingthis,theperformerwillgainadeeperunderstanding

oftheexcerpt’shistoricalcontext,aswellasfindingnewinsightsthatwillhelptocreate

amoreinformedperformance.Thisstudywillfocusondoublebassexcerptstakenfrom

theworksofGiuseppeVerdi,usingexamplesfromRigolettoandOthello,andthe

possibleapplicationtothoseexcerptsofGiovanniBottesini’s1870treatiseComplete

MethodfortheContre-Basse.Itshouldbenotedthat,aspartofaportfolio,thisisbyno

meansafullthesisbutratheranaccompanyingexegesis,anditisthereforesubjectto

strictlimitationsintermsofwordcount.Detailsoftheperformancecomponentsofthe

portfolioarefoundinappendices4and5.

ChapterOne:ReviewofRelevantLiterature

ThepremiseofthisthesisisthatadoublebassistcoulduseGiovanniBottesini’s

CompleteMethodfortheContre-Basseasaresourcewhenpreparingorchestralexcerpts

fromtheworksofGiuseppeVerdi.ThishypothesisisgroundedinthefactthatBottesini

wastheleadingauthorityonthedoublebassofhisday,andwasrespectedbyVerdias

such,inadditiontohistreatisebeingcontemporaneouswithVerdi’sworks.Studiesthat

directlyreplicatethistopichavenotbeenfound,althoughthereisaconsiderable

amountofinformationavailablepertainingtothecomponentparts,suchasthe

relationshipbetweenBottesiniandVerdi,andaspectsofperformancepracticeas

2

discussedinChapterFour.Itshouldbenotedthatmyresearchhasbeenrestrictedto

referencematerialsavailableinEnglishduetolimitationsonthescopeofthispaper.

ThegreatestamountofexistingliteraturerelevanttothistopicconcernsGiuseppe

Verdi.Cruciallyforthisthesis,anumberofvolumesconcerningVerdi,including

Budden’sVerdi1,WeaverandChusid’sAVerdiCompanion2,andBrun’sANewHistoryof

theDoubleBass3,provideconcretelinksbetweenhimandGiovanniBottesini,assetout

inthefollowingparagraphs.

InformationconcerningBottesiniisrathermoredifficulttofind:thegreatestpartof

whatisavailableiswritteninlanguagesotherthanEnglish,principallyItalian,and

thereforebeyondthecompassofthisstudy.Forthisreason,thebiographyofBottesini

suppliedinBrun’svolumeANewHistoryoftheDoubleBasshasbeenaninvaluable

resource.Ramírez-Castilla’sMusicalBorrowingsintheMusicforDoubleBassbyGiovanni

Bottesini:AReconsiderationBeyondtheOperaticParaphrases4,speaksaboutBottesini,

butismoreconcernedwithhiswritingforthesolodoublebass.Russo’sVirtuosiofthe

EuropeanArtTraditionandTheirInfluenceontheDevelopmentoftheDoubleBass5,does

touchonBottesini’sinfluenceonorchestralwritingforthedoublebass,butismostly

concernedwithhisinfluenceonitsdevelopmentandadvancement.

Withregardtothetechnicalaspectsofthesubjectmatter,thereiscomparativelylittle

informationavailable.Thereisconsiderablymoreinformationavailableconcerning

performancepractice,andalsoonthemusicalissuesraisedbyquestionsof

1J.Budden,Verdi(NewYork:OxfordUniversityPress,2008).2W.WeaverandM.Chusid(ed.),AVerdiCompanion(London:VictorGollanczLtd,1980).3P.Brun,ANewHistoryoftheDoubleBass(Villeneuved’Ascq:PaulBrunProductions,2000).4J.Ramírez-Castilla,‘MusicalBorrowingsintheMusicforDoubleBassbyGiovanniBottesini:AReconsiderationBeyondtheOperaticParaphrases’,D.M.A.Thesis,UniversityofCincinnati,2007.5L.Russo,‘VirtuosioftheEuropeanArtTraditionandTheirInfluenceontheDevelopmentoftheDoubleBass’,BMusHons.,WesleyanUniversity,2011.

3

performancepractice.Muchofthisinformation,however,generalisestheRomantic

periodasawhole,aswellasbeingspecificallylinkedtomorecommoninstruments.

CliveBrown’sClassicalandRomanticPerformingPractice:1750–1900providessome

usefulinsightsintoperformancepractiseinthelatterpartofthenineteenthcentury.

AlsorelevantisStephenSas’sAhistoryofdoublebassperformancepractise:1500–

19006,whichdoesapproachnineteenthcenturydoublebassplayingthroughthe

methodbooksproducedinthatperiod,butislessconcernedwiththeirbroader

application.AsfarasthepotentialapplicationsofBottesini’streatiseareconcerned,

Lee’sDoctorateofMusicpaperResearch,analysisandpedagogicalapplicationof

GiovanniBottesini’smethodfordoublebass7,comestheclosest.This,however,is

concernedwithapplyingthetreatisetoteaching,whilemyresearchisconcernedwith

itspotentialapplicationtothepreparationoforchestralexcerpts.

ChapterTwo:BottesiniandVerdi

Ofthetwocomposersinquestion,Verdiisthebetterknown.Bornon9October1813,

hewasoneoftheRomanticperiod’sforemostcomposersofopera.Bottesini,onthe

otherhand,iscomparativelyunknown,despitehisextensiveoutput.

BorninCremain1821,BottesinistudieddoublebassattheMilanConservatory.

Followinghisgraduationin1839,heembarkedonasolocareer,initiallytouringthe

majortheatresofItaly,beforegivinghisfirstinternationalperformanceinVienna.He

spentseveralyearsmovingaroundItaly,beforebeingengagedasprincipaldoublebass

6S.Sas,‘Ahistoryofdoublebassperformancepractise:1500–1900’,D.M.A.Thesis,TheJuliardSchool,1999.7S.Lee,‘Research,analysisandpedagogicalapplicationofGiovanniBottesini’smethodfordoublebass’,DoctoralThesis,NorthwesternUniversity,2003.

4

ofanoperacompanyboundforHavanain1845.Itwasthiscompany’stoursofmajor

AmericancitiesthatlaunchedBottesiniasasoloist.Between1848and1858,hetoured

theworldwithengagementsinMexico,Colombia,London,Paris,Germany,the

Netherlands,andBelgium.Itwasfollowingthisperiod,in1869,thathepublishedhis

CompleteMethodfortheContre-Basse8.From1871until1877,Bottesiniwasdirectorof

theCairoOperaHouse,andin1879acceptedthepostofconductoroftheorchestraat

BuenosAiresTeatrodell’Opera.HereturnedtoEuropein1886asasoloist9,andin

1888,heacceptedthedirectorshipattheRoyalConservatoryinParma,apostheheld

untilhisdeathsevenmonthslater10.

ItwasinVenicein1845thatBottesinimadetheacquaintanceofGiuseppeVerdi11.

Althoughthereissomedebateastotheexactcircumstancesofthismeeting12,itisclear

thatthetwomusiciansmaintainedalastingrelationship.Oneofthebest-known

demonstrationsoftheirrelationshipsistheselectionofBottesinitoconductthe

premiereofAïda.WhileMontemorraMarvincasuallyassertsinTheCambridgeVerdi

Encyclopediathatthepremierewas‘ataskVerdientrustedto[Bottesini]’13,bothBrun

andBuddenarelesscertain;Buddensaysthat‘VerdireluctantlyagreedtoGiovanni

Bottesiniasconductor’14,whileBrunassertsthat‘In[Verdi’s]mind…Bottesiniranked

8ThisvolumewasoriginallypublishedinFrench,withthetitleGrandeMéthodeComplètedeContre-Basse.9P.Brun,ANewHistoryoftheDoubleBass,p.236.10Ibid,p.226-236.ThisreferenceappliestothesuppliedshortbiographyofBottesini.11Ibid,p.227.12MontemorraMarvinclaimsthatBottesiniwasprincipaldoublebassofVerdi’sorchestra(R.MontemorraMarvin,TheCambridgeVerdiEncyclopedia(Cambridge:CambridgeUniversityPress,2013),p.70),whileBrunstatesthattheyweremerelyinthesameplaceatthesametime(P.Brun,ANewHistoryoftheDoubleBass,p.227).13R.MontemorraMarvin,TheCambridgeVerdiEncyclopedia,p.70.14J.Budden,Verdi,p.112.

5

poorlyasaconductor’15,andthatVerdi‘reluctantlyaccepted’16theappointmentof

Bottesini.

Verdi’sopinionofBottesini’sskillonthedoublebassisanentirelydifferentstory.Ina

lettertohispublisher,dated1January1889,Verdilamentsthe‘indecent

performance’17ofthedoublebasssectionsoloinOthelloatarecentperformance,

statingthat

nowthatthepositionsarenotatedbyBottesini,Facciodoesn’thaveanythingto

doexceptmake[thebassplayers]playprecisely,withoutpayingattention…to

theobservationsthatwillbemadebythosewhodon’tknowhowtoplaywell.18

Giventhat,atanearlierpointintheletter,Verdistatedthat‘thetaskofnotatingthe

positionsshouldhavebeengiventothemostablebassplayer19’,itisreasonableto

assumethatheconsideredthistobeBottesini.ThisletterdemonstratesVerdi’s

infallibleconfidenceinBottesini’sabilitiesasadoublebassplayer,evenascarcesix

monthsbeforeBottesini’sdeath.AfurtherindicationofVerdi’srespectforBottesiniasa

doublebassplayerandmusiciancomesinhiseulogyforBottesinionthedayofthe

virtuoso’sdeath:‘Thelossofthisdistinguishedartistisatragedytotheworldofthe

arts…’20

15P.Brun,ANewHistoryoftheDoubleBass,p.233.16Ibid,p.233.17W.WeaverandM.Chusid(ed.),AVerdiCompanion,p.136.18Ibid,p.136.19Ibid,p.136.20P.Brun,ANewHistoryoftheDoubleBass,p.237.

6

ChapterThree:TheApplicationofBottesini’sTreatiseto

TechnicalIssuesinVerdiExcerpts

Thischapterfocusesonthetechnicalsideofpreparingorchestralexcerpts,using

examplesfromBottesini’streatisetoshowhowitcanbeappliedtothevarious

technicalissuesthatariseineachexcerpt.Itshouldbenotedthattheexercisesusedare

oftengivenapplicationsotherthanthoseoriginallyintendedbyBottesini.Theapproach

usedbelowworksbyisolatingthedifferenttechnicalelementsofeachexcerpt,and

issuesofmusicalityandperformanceareaddressedinthenextchapter.

Thereareanumberoforchestralexcerptsfordoublebassthatareconsideredstandard,

inthattheyareregularlyincludedinauditions.Twoofthemostcommonlyoccurring

VerdiexcerptsarethesolopassagefromRigoletto(seeappendix1),andthesectionsolo

fromOthello(seeappendix2),anditisthesethatarehereusedascasestudies.Thesolo

fromRigolettooccursearlyinAct1,accompanyingRigolettoandSparafucile’sduet,

Signor?Va,nonhoniente,inwhichSparafucileoffersRigolettohisservicesasan

assassin.ThesectionsoloinOthellooccursduringthefourthact,immediatelyfollowing

Desdemona’sAveMaria,andpriortohermurderbyOthello.

TechnicalConsiderationsintheExcerptfromRigolettoThereareanumberoftechnicalelementsthatmustbetakenintoconsiderationinthe

preparationandperformanceofthisexcerpt.Startingfromthemostfundamentalpoint,

itwillbenotedthattheexcerptisinthekeyofFMajor.Practisingthisscalecouldbe

consideredtheprimarystartingpointinpractisingtheexcerpt,asitallowsthe

performertoincorporateexcerptpreparationintotheirwarmup.Inthefirsthalfofhis

7

treatise,Bottesiniworksthrougheachkey,andhissuggestedfingeringforFMajoris

showninfig.1.ForanexplanationofBottesini’sfingeringsystem,refertoAppendix3.

Whenworkingonscales,whetheraspartofexcerptpreparationorotherwise,itis

alwaysvitalthattheperformerpayattentiontotheirintonation,makingsureofthe

relationshipbetweenintervalsastheygo,andensuringthateachnoteistonally

centred.

Fig.1–FmajorscalefromBottesini’sCompleteMethodfortheContre-Basse21

ComparisonwiththeRigolettoexcerptwillshowthatthescaleabovedoesnotcoverthe

fullrangerequired.WhenBottesiniwrotehistreatise,orchestralwritingforthedouble

bassrarelyextendedbeyondtheoctaveharmonic,andthehigheroctavesaretherefore

onlyincludedinthesolosectionofthetreatise.Sinceoneofmainreasonsforusingthis

specifictreatisetoprepareVerdiexcerptsisthatitiscontemporaneous,theperformer

mayfinditinterestingtotakeBottesini’ssuggestedfingeringforthetwohighest

octavesofFMajor,asshownbelowinfig.2,intoaccountindecidingupontheirown

21G.Bottesini,CompleteMethodfortheContre-Bass,p.38.ItwillbenotedthatthescaleshowninthisfigurestopsattheopenAstring.ThisisduetoBottesini’spreferenceforathree-stringedbass,theAbeingthelowestnoteonthatinstrument.

8

fingeringsfortheexcerptfromRigoletto.Notablyinthebelowscale,the‘notes[have

beenwritten]withouttransposingthemanoctavehigher’22.

Fig.2–FingeringsfortheuppertwooctavesofFmajorfromBottesini’s

CompleteMethodfortheContre-Basse23.

Themajoritytheexcerptfallsunderbarlongslurs(seefig.3),andwhiletheeditorof

theeditionusedforthispaperdoessuggestsplittingeachslurinthemiddleofthebar24,

itcannotbeguaranteedthatthiswillalwaysbethedesiredbowing.Regardlessof

whethertheslursaresplitornot,theirpresencemakesitnecessarytoworkonbow

control.Fig.4showsanexercisebasedonlongtonesthatcanbeusedtoworkonvery

basicbowcontrol.AlthoughBottesinistatesthattheseexercisesareintendedforleft

handpractise,theyarealsousefulforbowcontrolinthattheyeliminatecomplicating

factorslikeshiftingandstringchanges25.Astheyusealimitedrange,theyarealso

transferablearoundthecompassoftheinstrument.Aneffectivewayofusingthis

exerciseforbowcontrolwouldbetosetametronomeataslowtempo,andaimtouse

anentirebowforeachnote.Whendoingthis,itwouldbeimportanttomaintainaneven

bowspeed,thuseliminatingunintentionalaccents,particularlyatbowchanges.Since

theexcerptmusteventuallybeandante,theperformercouldconsidergradually

22Ibid,p.86.23G.Bottesini,CompleteMethodfortheContre-Basse,p.99.24F.MaßmannandG.Reinke,Orchester-Probespiel:Kontrabass(Mainz:Schott,1992),p.61.25Itwillbenotedthattheseexercisescoveronlythreestrings.ThisisduetoBottesini’ssupportofthethree-stringedbass,buttheexerciseiseasilyappliedtotheEstring.

9

increasingthespeedofthemetronomeuntilanappropriatetempoisreached.This

exerciseisalsousefulforworkingonintonationinhalfposition:thealternation

betweenstoppednotesandopenstringsprovidesconstantfixedreferencepoints

againstwhichtoreferencethestoppednotes.Ifindoubt,theperformercanplaythe

stoppednotandtheprecedingopenstringatthesametimetocheckthattheintervalis

accurate.

Fig.3–Exampleofbar-longslurs,bars1-4ofthedoublebassexcerptfrom

Verdi’sRigolettoAct1,Scene2,Signor?Va,nonhoniente26.

Fig.4–ExercisesinlongtonesforbowcontrolfromBottesini’sCompleteMethod

fortheContre-Basse27.

Continuingtoworkonthemostbasicelementsrequiredinthisexcerpt,theperformer

shouldnextworkonshifting;sincethisexcerptmustbeassmoothaspossible,the

performermustbeabletoshiftfluidly.Bottesinisuppliesthestudentwithanumberof

26F.MaßmannandG.Reinke,Orchester-Probespiel:Kontrabass,p.61.27G.Bottesini,CompleteMethodfortheContre-Basse,p.24.

10

exercisesdesignedhelpwithlearning‘allthedifferentwaysofchangingposition’28,as

shownbelowinfig.5.Althoughhestatesthattheseexercises‘facilitatetheknowledge

ofallthedegreesofthescale’29,theydoonlyextendtotheneckjoint.SincetheRigoletto

excerptmovesabovethispoint,theperformercouldconsiderformulatingfingering

patternsthatemulatethepatternsinfig.4tocoverthehigherregisters;whereopen

stringsareusedinfig.4,theperformerwouldusetheoctaveharmonic.

Fig.5–ExercisesinshiftingfromBottesini’sCompleteMethodfortheContre-

Basse30.

28Ibid,p.27.29G.Bottesini,CompleteMethodfortheContre-Basse,p.27.30Ibid,p.27.

11

Theexercisesshownaboveprovideanotheropportunitytoworkonintonation,inthat

theyrequiretheperformertoplaythesamenotewithdifferentfingersinconsecutive

bars.Thisforcestheperformertopayattentiontotheintervallicrelationshipsbetween

thenotessincethedifferencesinfingeringmeanthatmerelylearningtheshiftsiseven

lessadvisablethanusual.Itisalsoimportanttobeawareofthedifferencesinaccurate

tuningwhenplayinganexercise,andinthecontextofasoloworkorexcerpt.‘Piano

tuning’,beingequivalenttoequaltemperamentanddescribingasituationwhereone

third,forexample,isthesameaseveryotherthird,isacceptablewhenpractisingan

exerciseforintonation.Whenplayingasoloworkorexcerpt,however,theperformer

shouldbeawareofsubtledifferencesintuning:whereanintervalmaybeintuneinan

exercise,itmayneedtobeslightlysharperorflatterinasoloworkororchestral

excerptdependingoncontext;foramajortriadthethirdshouldbeslightlynarrower

thanusual.

Oncetheelementsdiscussedabovearemastered,theyshouldbecombined.The

exerciseshowninfig.6doesthis,requiringsixnotesslurredunderonebow,withthe

addedcomplicationofeithercrossingstringsorshifting.Thisexerciserequiresgood

bowcontrol,sothatthetonequalityremainsconstant,andtherearenoaccentsatthe

bowchanges.Thelongslursmeanthattheperformermustpayparticularattentionto

theirshifts,sothatthereisnoaudibleslidebetweenthenotes.Anotheroptionis

exercisenumberninefromtheendofthefirstpartofthetreatise(seefig.7).Although

thisexerciseisnotrhythmicallyliketheRigolettoexcerpt,itdoesprovideauseful

amalgamationoftheskillsrequiredforcleanslurringandshifts.

12

Fig.6–ExerciseNo.5inFMajor,fromBottesini’sCompleteMethodforthe

Contre-Basse31.

Fig.7–ExerciseNo.9fromBottesini’sCompleteMethodfortheContre-Basse32.

TechnicalConsiderationsintheExcerptfromOthelloInmanyways,theOthelloexcerptismoresoloisticthantheRigolettosolo,requiring

largeleaps(seefig.8)andfastruns(seefig.9)Whilemanyofthepointsdiscussed

abovearealsorelevanttotheOthelloexcerpt,themoresoloisticstyledoesadda

31G.Bottesini,CompleteMethodfortheContre-Basse,p.39.32Ibid,p.84.

13

numberoftechnicalelements.ThewritingisalsointerestingbecausethelowEatthe

beginningoftheexcerpt,andthelowGinthefinalsemiquaverpassage,clearlyshow

thatthiswaswrittenforabasswithfourstrings33,eventhoughthethree-stringed

variantoftheinstrumentwasstillprevalentinItaly.

Fig.8–Bars19and20ofthedoublebassexcerptfromVerdi’sOthello,Act434.

Fig.9-Bars23and24ofthedoublebassexcerptfromVerdi’sOthello,Act435.

Sincethisexcerptcoversalargepartoftheinstrument’scompass,itisworthtaking

noticeofBottesini’sobservationatthebeginningofthesecondhalfofhistreatise,that

‘Thegreatestdifficulty…isthatofequalisingthesoundsspreadoverthefullextentof

theContreBasse’36.Thisstatementhighlightshowimportantitisthataneventonebe

maintainedacrossthecompassoftheinstrument.Intermsofthisspecificexcerpt,

evennessoftoneisofparticularconcernsince,althoughnotascontinuouslylegatoas

theRigolettosolo,themajorityoftheexcerptshouldberelativelysmooth.Thisis

33ItissuggestedbyForsythinOrchestrationthattheorchestraswithwhichVerdiwouldhavebeenworkingwouldhavehadboththreeandfourstringedbasses,perhapswithasingledeskoffourstringedbasses.Forsythalsosuggeststhatthoseplayerswithfourstringswouldhavestartedthepassage,andtherestofthesectionwouldhavejoinedin,perhapsinbarseven,oncethemusicissafelyontothethirdstring.(C.Forsyth,Orchestration(London:MacmillanandCo,1914),p.453.34F.MaßmannandG.Reinke,Orchester-Probespiel:Kontrabass,p.44.Theclefandkeysignaturehavebeenincludedinthisfigureforreasonsofclarity.35Ibid,p.44.Theclefandkeysignaturehavebeenincludedinthisfigureforreasonsofclarity.36G.Bottesini,CompleteMethodfortheContre-Basse,p.86.

14

difficulttoachievesatisfactorilyifthetonequalityisnotstable.Toaidinperfectingthis,

theperformercouldagainusescales.TheOthelloexcerpthasthekeysignatureofF

minor,butinfactbeginsinEmajorbeforemodulationthroughEflatminorand

finishinginAflatminor.Sinceitisthepredominantkeyoftheexcerpt,Ihavechosento

useEflatminorasthescalemostappropriatetothisexcerpt(seefig.10and11).While

Bottesini’sversionofEflatminordoesnotcoverthebottomoctave,owingtohis

preferenceforthethree-stringedbass,itisreasonablefortheperformertoworkout

whathissuggestedfingeringcouldhavebeenbyusingthepatternsintheoctavesthat

aresuppliedandtakingintoaccountthefingeringsfoundinpreviousfigures.Asalways

whenworkingonscales,itisimportantthattheperformerpayattentiontothe

relationshipsbetweentheintervalsinorderthattheyplaywithsolidintonation.

Fig.10–EflatminorscalefromBottesini’sCompleteMethodfortheContre-

Basse37.

Fig.11–FingeringsfortheupperoctavesofEflatminorfromBottesini’s

CompleteMethodfortheContre-Basse38.

Immediacyofsoundproduction,aswellasevennessoftone,isimportantforthis

except.ThefirstnoteoftheOthellosectionsoloistheopenEstring,thelowestonthe

doublebass,andthereforethethickestandmostdifficulttomakespeak.Beingthefirst

noteoftheexcerpt,itisvitallyimportantthatitsoundimmediately,ratherthanthere

37G.Bottesini,CompleteMethodfortheContre-Basse,p.80.38Ibid,p.98.Itisintendedthatthisscalebeplayedanoctaveabovethewrittenpitch.

15

beingadelaybetweenwhenthebowstartstomoveonthestringandwhenthenote

sounds.

Lackofimmediacyinsoundproductionisaproblemthatcanariseinsomeone’splaying

foranumberofreasons:insufficientweight39inthebow,ahesitantbeginningtothe

stroke,toomuchortoolittlerosin,poorstringcontact,andinappropriatebowposition

beingafew.Inorderthatitisnotaproblematthebeginningofthisexcerpt,the

performermayliketoconsidertheexercisesshowninfig.12.AlthoughBottesini

intendedthisexercisetoworkonbowposition,anditdoesnotincludetheEstring,itis

easilyadaptableforsoundproductionsincecorrectbowplacementisnecessaryfor

goodtone,andcanbeextendedtoincludetheE.Whenworkingonthisexercisewith

soundproductionasafocus,theperformershouldstarteachnotefromthestringand

onadownbow,sincethisishowonewouldbegintheexcerpt.Inorderthateachnote

hasaclear,immediatebeginningwhenworkingonopenstrings,thebowshouldbe

placedapproximatelyaninchbelowtheendofthefingerboard,andhorizontalacross

thestring;placingthebowoverthefingerboardwillmufflethesound,andshiftingit

closertothebridgewillcausethesoundtobecomeforced,whileputtingthebowonan

anglewillcreateinconsistencyinthetone.Eachbowstrokeshouldbeginonetotwo

inchesalongthebow;anyclosertothefrog,andthebeginningofthenotewillbe

indistinct.Ifthenotedoesnotspeakimmediately,itisimportantthattheperformer

stopandconsiderwhy,ratherthanmerelycontinuingwiththeexercise:isthebow

straightandatthecorrectplacebothonthestringandthealongthebow,isthere

enoughweightbeingtransferredthroughthebowatthebeginningofthestroke,isthe

bowtooheavilyintothestringbeforethestrokebegins,howmuchrosinonthebow.

39Itisimportanttodistinguishbetweenweightandpressure:pressingthebowintothestringcrushesthesound,whereasdroppingtheweightofyourarmintothestringthroughthebowallowsittogripthestringwithoutinhibitingsoundproduction.

16

Onceapossibleproblemhasbeenidentified,theperformershouldtryagainwiththe

appropriatecorrectioninmind.

Fig.12–‘Exercisesformanagementofthebowupontheopenstrings’from

Bottesini’sCompleteMethodfortheContre-Basse40.

MuchofthematerialappliedtotheRigolettoexcerptisalsoapplicabletotheOthello

sectionsolo.Aspreviouslymentioned,muchofthisexcerptshouldbeassmoothas

possible.Whileitisthereforeimportantthatbowspeedandchangesareeven,itis

equallyimportantthatthelefthandremainssmooth.Inaidofthis,theperformermay

returntotheexercisesshowninfig.5,toworkonfluencyandaccuracyofshifting.

Inthisparticularexcerpt,thereareanumberofinstanceswheretheperformermust

choosewhethertoshift,orcrossstrings.Whilethisisamatterofpersonalchoice,itmay

beeasiertopreservethestillqualityoftheexcerptbyshifting;inbar5oftheexcerpt

(seefig.13)forexample,iftheperformerchoosestousestringcrossings,theywillbe

forcedtochangestringsforeverynote.If,alternatively,theyuseashift,thenumberof

stringcrossingsiscutfromthreetotwo.Whenshiftsarechosenoverstringcrossings,

theexercisesshowninfig.5areagainuseful.Inadditiontoimprovingintonation,slow

40G.Bottesini,CompleteMethodfortheContre-Basse,p.22.

17

practiseoftheseexercisesletstheperformerworkonmakingtheirshiftsimperceptible,

anecessityforthisexcerpt.Slurscouldalsobeaddedtotheexercises,asimperceptible

shiftingunderslursisparticularlynecessaryinthisexcerpt.

Fig.13–Bars1to5ofthedoublebassexcerptsfromVerdi’sOthello,Act4.Inbar

5(highlighted),theperformermustchoosebetweenstringcrossingsand

shifts41.

Bars23and24oftheexcerpt(seefig.9)representachangeinatmosphere.Frombeing

broodingandstill,itbecomesemphatic,vergingonviolent.Thisisachievedbya

semiquaverpassage,initiallymarkedstaccato,andthenaccentedinthefinalascending

figure.Sincethesetwobarscanbechallenging,theperformermaywishtoworkon

theminisolation.Theexerciseshowninfig.14acouldbeusefulwhenlookingatthese

twobars,asitmimicstheintervallicpatternsfoundinbar23.Itistheonlyexercise

suppliedbyBottesinithatdemonstratesthispattern,movingfromthelowernotetothe

higher,ratherthanfromhighertolower,andthereforemustbeusedifonewantsto

practisethispatternusingBottesini’streatise.Whiletheexerciseinfig.14aisinAflat

major,itcaneasilybetransposedintoAflatminor,thekeyofthispartoftheexcerpt,as

showninfig.14b,byflatteningbothCandFasappropriate.

Fig.15ashowsanexerciseusingthenotepatterninbar24oftheOthelloexcerpt.

Althoughthisexercisedoescontainothermaterial,itcentresaroundthesamepattern

ofpitchesasbar24,andagain,istheonlyexercisetodemonstratethispattern.

41F.MaßmannandG.Reinke,Orchester-Probespiel:Kontrabass,p.44.

18

Althoughalsoinakeyinappropriatefortheexcerpt,thisexercisecanalsobe

transposedintoAflatminor,asshowninfig.15b.

Fig.14a–ExerciseNo.4fromBottesini’sCompleteMethodfortheContre-Basse42.

Fig.14b–Anexamplefromexerciseno.4fromBottesini’sCompleteMethodfor

theContre-BassetransposedintoAflatminor.

Fig.15a–ExerciseNo.1fromBottesini’sCompleteMethodfortheContre-Basse43.

42G.Bottesini,CompleteMethodfortheContre-Basse,p.64.43Ibid,p.72.

19

Fig.15b–Anexamplefromexerciseno.1fromBottesini’sCompleteMethodfor

theContre-BassewhentransposedintoAflatminor.

Breakinganexcerptintoitscomponentpartsisacommonpreparationmethod.By

applyingBottesini’streatisetothisbreakdown,however,itmaybepossibletogaina

deeperinsightintotheworkingsoftheexcerpts.Althoughattimesunfortunatelyvague,

Bottesinispeaksonalmosteveryaspectofplayingthedoublebass.Whilesomeofhis

suggestionsareoutmoded,itisapparentthatmuchofwhatwasputforwardinhis

treatiseofoverahundredyearsagoisstillbothrelevant.

ChapterFour:TheApplicationofBottesini’sTreatiseto

MusicalIssuesinVerdiExcerpts,andtheRelevanceof

Historically-InformedPerformancePracticeToday

Aswellasmasteringthetechnicalaspectsoftheirexcerpts,theperformermustalso

considerquestionsofperformancepractise.Musicaldecisionsarelargelyuptothe

performer’spersonalpreference;forexample,whethertouseasmallportamentohere

ortakealittletimethere,onwhichnotestovibrateandhowmuch,whethertobegin

thatcrescendoslightlyearlyortomakeitslightlylongerarealluptotheperformer’s

discretion.Beyondthis,however,theperformermusttakemorespecificaspectsofeach

individualpieceintoconsideration.

Eachoftheexcerptshereexaminedcontainsanumberofmusicalelementsthatare

regardeddifferentlynowtothewaytheywerewhenBottesiniputpentopaper.Dueto

limitationsonthelengthofthispaper,thisdiscussionislimitedtothefewmusical

20

issuesdiscussedinBottesini’streatise,inadditiontosomediscussionoftheapplication

ofhistorically-informedperformancepractisetoday.

IssuesSurroundingTempiInhistreatise,Bottesinistates:

Weunderstandby“movement”thatgradualvarietyofslownessor

rapidity…whichisappropriatetothedueexecutionofapiece,soastogiveitthe

truecharacterorsentimentintendedbythecomposer.44

Thisindicatesthatmovementissynonymouswithtempo.Unfortunately,thetable

suppliedbyBottesiniexplainingcommontempomarkings,showninfig.16,is

somewhatvague.Itwillbenotedthatbothexcerptshereusedhavemetronome

markings(seeappendices1and2).Since,however,alloftheexcerptsinMaßmann’s

volumearesuppliedwithmetronomemarkings,thesearelikelyeditorialsuggestions,

ratherthanspecifictoVerdi’swishes,andshouldthereforebenotedbutnotnecessarily

strictlyadheredto.

Fig.16–TableoftempomarkingsfromBottesini’sCompleteMethodforthe

Contre-Basse45.

TheRigolettoexcerptismarkedandantemosso.LookingatBottesini’sguideinfig.16,

weareinformedthatandanteindicates‘notquitesoslowasAndantino’46,whichisnot

44G.Bottesini,CompleteMethodfortheContre-Basse,p.8.45Ibid,p.8.46G.Bottesini,CompleteMethodfortheContre-Basse,p.8.

21

particularlyinformative.Theadditionoftheprefixmossodoesnotserveclarify

anything,apparentlyindicatingthattheexcerptshouldbeperformedfasterthannottoo

slow.AccordingtoJohannMaelzel’soriginalmetronome,andanteshouldfallbetween

sixtyandsixty-sixbeatsperminute47.This,however,comesfromatimewellbefore

VerdiandBottesini’s,andisaGermaninterpretationoftempo;inthelatterpartsofthe

century,ItaliantempiweresignificantlyfasterthaninGermany48.Atanotherpointin

Rigoletto,however,Verdihasindicatedanandantemossowrittenin3/8as�=12049,

whichgivesusanapproximationofhisideasconcerningtempo.Itwouldseem,then,

thatthebestwecandoistotakeallofthisintoconsideration,andbaseourdecisions

regardingtempoonthecontextinwhichwefindtheexcerpt.Indeed,inthecaseofthe

Othellosectionsolo,forwhichwearesuppliedsimplywiththedirectionpocopiù

mosso,contextistheonlyrealguidewehave.

ExecutionofAppoggiaturasandGraceNotesBottesinidescribesanappoggiaturaasfollows:

insteadofimmediatelysoundingtheprincipalnotewetaketheoneaboveorbelow

it,passingtotheprincipal.50

Healsodistinguishesthisfromwhathetermsadoubleappoggiatura,beingwhen‘two

successivenotesaretaken’51(seefig.17),ratherthanthesinglepassingnotehe

describesforaregularappoggiatura.

47C.Brown,ClassicalandRomanticPerformingPractice:1750–1900,p.307.48Ibid,p.311.49Ibid,p.354.50G.Bottesini,CompleteMethodfortheContre-Basse,p.79.51G.Bottesini,CompleteMethodfortheContre-Basse,p.79.

22

Fig.17–DiagramfromBottesini’sCompleteMethodfortheContre-Basseshowing

thedoubleappoggiatura52.

ExamplesofdoubleappoggiaturasarefoundintheOthelloexcerpt(seefig.18).Thereis

someargumentastowhetherappoggiaturasshouldbestrongerorweakerthanthe

mainnote,andwhetherthetwonotesshouldphraseinonedirectionortheother53.In

thisinstance,thequestionofwheretheemphasisshouldbeplacediseasilysolvedby

context;wereeitherthemainnoteortheappoggiaturatobeaccented,itwoulddisrupt

thelineofthephrase.However,emphasisonappoggiaturasinthenineteenthcenturyis

oftenindicatedwithdynamicmarks54,andthiscanbeseeninfig.18.Verdi’sdynamic

markingshereshowthatratherthanthemainnoteortheappoggiaturabeing

emphasised,theyshouldfollowthelineofthephrase.Thisisalsologicalintermsof

context:themajorityoftheexcerptshouldbeassmoothaspossible,tocreatetheright

atmosphere,meaningthatanyundueemphasiswouldbeinappropriate.Forsimilar

reasons,thedurationoftheappoggiaturasinthissituationshouldbeequivalenttotheir

notatedvalue,ratherthanshortened,whichagreeswithBottesini’sassertionthatan

appoggiaturashouldsplit‘thevalueofthenoteintotwoequalparts’55.

52IbidBasse,p.79.53C.Brown,ClassicalandRomanticPerformingPractice:1750–1900,p.473.54Ibid,p.474.55G.Bottesini,CompleteMethodfortheContre-Basse,p.79.

23

Fig.18–Bars9and10(highlighted)ofthedoublebassexcerptfromVerdi’s

Othello,Act4.Demonstratingdoubleappoggiaturas56.

Theclearestexamplesofgracenotesarefoundinbars18to23oftheRigolettoexcerpt

(seefig.19).Bottesinitellsusthatgracenotesshould‘takenovaluefromthenotesthey

presson’57.Browncorroboratesthis,byclassifyingthemas

averyshortornamentthatbarelyremovesanythingfromthevalueofthenotes

betweenwhichitstands.58

Liketheappoggiaturasdiscussedabove,thesegracenotesarewrittenout,ratherthan

beinginsmallprint,coincidingwiththefashionformoreprecisenotation.Althoughin

thenineteenthcenturygracenotesweregenerallyplacedonthebeat59,theseare

obviouslyintendedtobeplacedbeforethedownbeatofthenextbar.Placingthem

strictlyinthefourthbeatofthebarwillcreateanunnecessarilymetricalfeeling;the

excerptoverallshouldbeflowingandcasualtomatchtheariaitaccompanies,and

beingoverlyconcernedwithplacingthegrace-notesexactlyonthefinalhemi-demi-

semiquaverofthebarwilldisruptthis.If,rather,theperformerusesthemaspassing

note,onlytouchingthembriefly,thenamoreliltingimpressioniscreated,whichI

considertobemoreappropriatebearinginmindthecontextoftheexcerpt

56F.MaßmannandG.Reinke,Orchester-Probespiel:Kontrabass,p.44.57G.Bottesini,CompleteMethodfortheContre-Basse,p.79.58C.Brown,ClassicalandRomanticPerformingPractice:1750–1900,p.459.59Ibid,p.479.

24

Fig.19–Bars18to23ofthedoublebassexcerptfromVerdi’sRigoletto,Act1,

Scene2,Signor?Va,nonhoniente60.

PortamentoThedescriptionofportamentoprovidedbyBottesiniisasfollows:

Bythistermisunderstoodthepassage…ofonenotetiedtoanother…by

“carrying”thesoundwithoutremovingthehandfromthestring.61

Bottesiniusesthetermtiesynonymouslywithslur,andinthisinstance,heisreferring

towhatwewouldconsidertobeslursratherthanties(seefig.20).Theterm

portamentohasalsobeenusedtorefersimplytolegatoplaying,butbyBottesiniand

Verdi’stime,itreferredalmostexclusivelytoanaudibleslidebetweennotes62.Contrary

toBrown’sassertionthat‘Onbowedstringinstrumentsportamentoisanatural

outcomeofpositionchanging’63,portamentoshouldonlybeemployedasanintentional

ornament.Inessence,aportamentoshouldcoveronlyasmallamountoftheinterval

betweenthetwoconnectednotes,asdistinctfromaglissando,whichshouldcoverthe

entireinterval.

60F.MaßmannandG.Reinke,Orchester-Probespiel:Kontrabass,p.61.Theclefandkeysignaturehavebeenincludedinthisfigureforreasonsofclarity.61G.Bottesini,CompleteMethodfortheContre-Basse,p.81.62C.Brown,ClassicalandRomanticPerformingPractice:1750–1900,p.559.63Ibid,p.560.

25

Fig.20–ExercisesforportamentofromBottesini’sCompleteMethodforthe

Contre-Basse.Itisunderstoodthatportamentoshouldbeemployedundereach

slurwherethereisanintervalrequiringashift64.

TheRigolettoexcerptdoesnotprovideagreatdealofopportunityforportamento.The

phraseinbar47(seefig.21)doeshoweverallowforasmallamountofportamento

betweenthefirstandsecondnotes.Inthisinstance,theeffectcreatedshouldbeelegant,

andmaintainthenonchalantattitudeofthearia.Itisalsoimportantthatthe

portamentodoesnotbecomeoverbearing,becauseoftheaccompanyingroleofthe

excerpt.Inthissituation,itispossibletousethefingeringtolimittheslide,asdoesthe

onesuggestedinfig.21.

Fig.21–Bar47ofthedoublebassexcerptfromVerdi’sRigoletto,Act1,Scene2,

Signor?Va,nonhoniente65.

TheOthelloexcerptprovidesanopportunityforamuchmoredramaticportamento

betweenbars19and20(seefig.8).Inthisinstance,theportamentoshouldoccuratthe

headofthesuddencrescendothroughtherepeatedEflats,andbeusedtoemphasise

theCflat,thehighestnoteintheexcerpt;thisisbestachievedifrubatoisalso

employed,creatingthenecessarytimetoapplytheportamento.Itisatthispointthat

64G.Bottesini,CompleteMethodfortheContre-Basse,p.81.65F.MaßmannandG.Reinke,Orchester-Probespiel:Kontrabass,p.61.Thisfingeringismyownsuggestion.

26

theatmospherechangesfrombroodingtotortured,anditisthishigh,loudCflatthat

achievesthis.ByusingalargeportamentobetweentheEflatandtheCflat,the

performerisabletocreateakindofagonisedwailthatreflectsthementalityofOthello

himselfatthispointintheopera66.Ofcourse,theperformermustbecarefulthatany

portamentousedhereremainstasteful,anddoesnotbecomeaglissando.

Historically-InformedPerformancePractiseTodayWhenitcomestohistoricperformancepractice,‘authentic’isatermthatappears

regularly.Someclaimthatonly‘Asoloperformancebyacomposerwhoisalsoa

virtuoso’67,or‘AcantatadirectedbyBachoranoperadirectedbyMozartcouldbe

describedasauthentic’68.Thisviewpoint,though,entersintotheintentionalfallacy

argument,asdiscussedbyKivy69,whichstatesthatwecannotknowtheoriginal

intentionsofthecomposer,andshouldthereforedisregardthementirely.Alongsimilar

linestoKivy,NeumannstatesinNewEssaysonPerformancePracticethat‘Thegoalof

thesearchisultimatelyunreachableandthebestwecanhopeforistoapproachit...’70.

Whileitmaybetruethatwecannotpreciselyrealisethecomposer’sintentions,the

technicalissuesoftheappropriateperiodareanotherstory:Bottesiniwasnotalonein

producingatreatiseonthemannerofplayinghisinstrument,andmanyofthesetexts

includeusefulhintsastowhatwouldhavebeenexpectedofaperformeroftheday.The

term‘historicallyinformed’ispreferredforthispaper,ontheunderstandingthatthis

66Refertopage667F.Neumann,NewEssaysonPerformancePractise(Rochester:UniversityofRochesterPress,1989),p.17.68Ibid,p.17.69P.Kivy.SoundingOff:elevenessaysinthephilosophyofmusic(London:OxfordUniversityPress,2012)70F.Neumann,Newessaysonperformancepractise,p.18.

27

refersnottoanyattempttorecreatethecomposer’swishes,butrathertobeawareof

thepracticesofthetime.

HavingappliedBottesini’smethodtothetwoexcerptsinquestion,andfoundhowthey

couldhavebeeninterpretedatthetimeofcomposition,wemustnowconsiderwhether

itisfittingtodosoinamoderncontext.Althoughanentirelyhistorically-informed

performancemaynotalwaysbeappropriate,itisstillbeneficialtohavetherequisite

knowledge.Havinganunderstandingofthecontextoftheexcerptwithinthepiecefrom

whichitistakenisgenerallyseenasbeingimperative,sowhyshouldanunderstanding

ofthehistoricalcontextnotbeseeninthesameway?Iftheperformerweretogather

theknowledgepresentedintheprecedingchaptersofthispaperandapplyit

judiciouslytotheirperformance,apointofdifferencefromothercandidateswouldbe

created.Ifthisisthecase,thenitwouldseemlogicalthattakingonboardinformation

availablethroughcontemporaneousresourceswouldbebeneficialinanyperformance

situation,andwouldleadtoamoreinformedperformance.

Conclusion

TheobjectofthisstudywastofindwhethertakingwhatBottesinicantellusabout

playingthedoublebassandapplyingittotheissuessurroundingexcerptsfromVerdi’s

workscouldprovideanewangleonexcerptpreparation.Therelationshipbetween

VerdiandBottesini,andVerdi’sapparentrespectforBottesini,isinterestinginthatit

bothconfirmsBottesiniasanappropriateauthorityonVerdi’sdoublebassparts,and

reaffirmsBottesini’sstandingasthepreeminentdoublebassistofhisday.The

applicationofBottesini’sknowledgeaslaidoutinhistreatisehasprovidedanumberof

interestinginsights:fromafingeringsystemdesignedwithcomfortandstabilityin

28

mind,tospecificdirectionsforperiodappropriateornamentation.Perhapsthegreatest

benefitofapplyingCompleteMethodfortheContre-Bassetoexcerptpreparation,

however,isthatitencouragesmethodicalpreparation,andcontainsmaterialpertinent

tothetiniestofdetailsineachexcerpt.Admittedly,playingasclosetoexactlyin

Bottesini’sstyleaspossiblemaynotbeacceptableinmanymoderndaysituations;

viewsonperformancehave,afterall,changeddramaticallyinthelasthundredandfifty

years.AlthoughsomeofBottesini’sclaims,suchastheinferiorityofthefour-stringed

doublebass,areoutmoded,hisinsightonplayingthedoublebassisasvaluabletodayas

itwasduringhisownlifetimeandhisCompleteMethodfortheContre-Basseprovides

invaluableinformationforanyonepreparingmaterialfromthattime.

29

WorksCitedBottesini,G.CompleteMethodfortheContre-Basse,London,Hawkes,1870.Brown,C.Classical&RomanticPerformingPractice1750–1900,Oxford,OxfordUniversityPress,1999.Brun,P.ANewHistoryoftheDoubleBass,Villeneuved’Ascq,PaulBrunProductions,2000.Budden,J.Verdi,NewYork,OxfordUniversityPress,2008.Elgar,R.IntroductiontotheDoubleBass,St.Leonards-on-Sea,R.Elgar,1960.Forsyth,C.Orchestration,London,MacmillanandCo.,1914.Lee,S.‘Research,analysisandpedagogicalapplicationofGiovanniBottesini’smethodfordoublebass’,D.MusicThesis,NorthwesternUniversity,2003.Maßmann,F.andG.Reinke.Orchester-Probespiel:Kontrabass,Mainz,Schott,1992.MayerBrown,H.andS.Sadie.PerformancePractice:Musicafter1600,Basingstoke,TheMacmillanPress,1989.MontemorraMarvin,R.(ed.)TheCambridgeVerdiEncyclopedia,Cambridge,CambridgeUniversityPress,2013.Nelson,S.M.TheViolinFamily,London,DennisDobson,1964.Neumann,F.Newessaysonperformancepractice,Rochester,UniversityofRochesterPress,1989.Ramírez-Castilla,J.‘MusicalBorrowingsintheMusicforDoubleBassbyGiovanniBottesini:AReconsiderationBeyondtheOperaticParaphrases’,D.M.A.Thesis,UniversityofCincinnati,2007.RussanoHanning,B.ConciseHistoryofWesternMusic,2ndedn,NewYork,W.W.Norton&Company,Inc.,2002.Russo,L.‘VirtuosioftheEuropeanArtTraditionandTheirInfluenceontheDevelopmentoftheDoubleBass’,BMusHons.,WesleyanUniversity,2011.Samson,J.(ed.)TheLateRomanticEra:fromthemid-19thcenturytoWorldWarI,London,TheMacmillanPressLtd,1991.Sas,S.‘Ahistoryofdoublebassperformancepractise:1500–1900’,D.M.A.thesis,TheJulliardSchool,1999.

30

Slatford,R.‘Bottesini,Giovanni’,GroveMusicOnline.OxfordMusicOnline,OxfordUniversityPress,http://www.oxfordmusiconline.com.ezproxy.lib.monash.edu.au/subscriber/article/grove/music/03691(accessedSeptember3,2014).Taruskin,R.TheOxfordHistoryofWesternMusic,Vol.3:TheNineteenthCentury,NewYork,OxfordUniversityPress,2005.Weaver,W.andM.Chusid(ed.)AVerdiCompanion,London,VictorGollanczLtd,1980.

31

Appendix1

Maßmann,F.andG.,Reinke.Orchester-Probespiel:Kontrabass,Mainz,Schott,1992,p.61.

32

Appendix2

Maßmann,F.andG.,Reinke.Orchester-Probespiel:Kontrabass,Mainz,Schott,1992,p.44.

33

Appendix3ExplanationofFingeringsFoundinGiovanniBottesini’sCompleteMethodfortheContre-BasseItwillbenotedthattheexamplesusedinthispaperdonotusethestandard1-2-4fingeringsystem,butratheracombinationof1-4-4and1-4-1.Thisisnotamisprint,butratherBottesini’sownfingeringsystem,andisconsistentacrosstheoriginalFrenchversionofCompleteMethodfortheContre-BasseandthesubsequentEnglishandItaliantranslations.Whenthe1-2-4systemisapplied,eachfingercoversaconsecutivesemitone.Thisdoes,however,requireasignificantstretchbetweenthefirstandsecondfingers,whichcanleadtoinconsistentintonation.Byreplacingthe2witha4,Bottesininegatesthisproblem;thespacebetweenthe1andthe2infirstpositionisroughlythesameasthegapbetweenthefirstandfourthfingerswhenthehandisclosedsuchthatthefingersareimmediatelynexttoeachother.Bottesini’sapproachincreasesstabilityinbothhandshapeandintonation.Theprincipaladvantageofthe1-2-4systemisthatitreducesthenumberofnecessaryshiftswhenplayinginneckposition,whichcanalsobeseenasincreasingstabilityasfewershiftsmeansasmallermarginoferror.Whenplayingscalesofthreeoctaves,thefingeringinneckpositionshouldbeadjustedsothatthemiddleoctavefinishes2-3.Thisallowsforthethirdoctavetobeplayed1-3-1-3-1-2-3,apatternthatcanbeappliedtoallkeys.Usingthe1-3patterninthumbpositionmeansthatthereisalwaysathirdcomfortablyunderthehand,andonceagainavoidstheuncomfortableandunreliablepositionsofothersystems,suchasthumb-1-2-3.Thisparticularsystemrequirestheplayertoreachwiththeirthirdfinger,meaningthatthatnoteisoftenflat.Itisalsodifficulttodothiswithoutmovingthefirstandsecondfingers,meaningthatitisanimpracticalsystemingeneral.WhiletherearesystemsotherthanBottesini’sthatchampionfingeringsotherthanthumb-1-2-3inthumbposition,suchasthatofLudwigStreicher,Bottesini’sisasagoodachoiceasanother.WithregardtotheapplicationofBottesini’sfingeringsystemtoone’sownplaying,itisadvisabletostudyitasmuchfromaknowledgepointofviewasanythingelse;themoreyouknowaboutyourinstrument,thebetterinformedyourchoiceswillbe.IfaperformerwishestomakeacompletestudyofthewaythatBottesiniwouldhaveplayedtheexcerptsdiscussedabove,thentheyshouldofcourseapplythefingeringsgiveninthefigures.Otherwise,itissuggestedthattheperformerstudyBottesini’ssuggestions,butthattheychoosethesystemthatworksforthempersonally.

34

Appendix4Detailsoforchestralexcerptsperformedforthemockauditioncomponentofthisportfolio(seeattachedDVD).Excerptsarelistedinperformanceorder.

1. Beethoven:SymphonyNo.5inCminor–III.Allegro(starttobar100)

2. Beethoven:SymphonyNo.5inCminor–III.Allegro(scherzo)

3. Beethoven:SymphonyNo.9inDminor–IV.Presto(recit)

4. Berlioz:SymphonieFantastique–V.Witches’RoundDance

5. Brahms:SymphonyNo.1inCminor–I.Unpocosostenuto–Allegro

(figureEtobar190)

6. Brahms:SymphonyNo.1inCminor–II.Andantesostenuto(bars46–60)

7. Brahms:SymphonyNo.1inCminor–III.Unpocoallegrettoegrazioso

(bar87–secondending)

8. Britten:YoungPerson’sGuidetotheOrchestra–VariationH

9. Dvorak:SymphonyNo.8inGMajor–IV.Allegromanontroppo(figureO

toonebeforeP)

10. Haydn:SymphonyNo.31“HornSignal”–IV.Moderatomolto–presto

(variation7)

11. Mahler:SymphonyNo.1inDmajor–III.Langsam(bars3–10)

12. Mahler:SymphonyNo.2inCminor–I.Allegromaestoso(startto17after

figure1)

13. Mozart:TheMagicFlute–Overture(bars33–53)

14. Mozart:SymphonyNo.40inGminor–I.Moltoallegro(bars114–135)

15. Schubert:SymphonyNo.9–III.Scherzoallegrovivace(Btobar146)

16. R.Strauss:EinHeldenleben(figure40to8barsafter)

17. R.Strauss:EinHeldenleben(figure77tofigure78)

18. Verdi:Othello–Act4

19. Verdi:Rigoletto–Act1,Scene2,Signor?Va,nonhoniente

20. Wagner:DieMeistersinger–Overture

21. Wagner:DieWalküre–Act1,Scene1,Langsam

35

Appendix5

MastersGraduationRecital24April,2015

AlexandraGiller:DoubleBassElyanedeLausade:Piano

PatBrearley:Viola

ConcertoforDoubleBassinBminor GiovanniBottesiniI.AllegromoderatoII.AndanteIII.AllegroBottesiniisperhapsthebest-knowncomposerofsolorepertoireforthedoublebass,ifindeedthereisathingasawell-knowncomposerofsolodoublebassrepertoire.BorninCremain1821,hestudieddoublebassattheMilanConservatory.Hehadasuccessfulcareerasasoloist,whichsawhimtravelthroughoutEuropeandNorthAmerica,andasfarafieldasBrazil,CubaandColombia.Heasalsoamemberofvariousoperaorchestras,anddirectorofseveraloperahouses,includingtheCairoOperaHouse,andtheTeatrodell’OperainBuenosAires.Bottesiniwasknownforcomposingdoublebassfantasiasbasedononpopularariasfromwhicheveroperahewasconductingorplayingforatthatpoint,whichhewouldgetupandperformduringtheintervaloftheopera.InNewYork,thenewsthatBottesiniwouldbeperformingduringtheintervaloftencausedacrushatthedoorstothetheatre!OfBottesini’sworksforbass,theConcertoinBminorisprobablyoneofthebestknown,beingasitisoneofourveryfewmajorconcertos.Beingbothaconductorandcomposerofopera,Bottesiniincorporatedmanyelementsofoperaticmusicinhiswritingforthebass.Personally,Iliketothinkofthisconcertoasanoperainminiature.Thecantabilefirstmovement,withitsmanyopportunitiesforexpressiveornamentation,couldbethoughtofastheslightlysleazyheroofthestorywooinghiscurrentfancy.Thecontrastsbetweendupleandtriplerhythmscreateinterest,andthedramaticcandenzacouldeasilybesungbyanoverexcitedtenorinthethroesofpassion.Personally,Iholdthesecondmovementtobeoneoftheloveliestworksforsolodoublebass.Withregardtothestoryoftheminiatureopera,thiscouldberepresentingthefemaleloveinterest,lockedinherboudoir,contemplatingtheperfidyofherlover.Itsmelancholicreflection,withcalmlegatolinesandcontrastingsectionsofincreasedpassion.Thethirdmovementisthejauntiestofthethree,andformstheconclusionofouroperetta.Withitsflamencoinfluencedopening,thismovementseeourheroandhisloverfinallyworkouttheirdifferencesanddeclaretheirloveforeachother.Itisimpassionedandtempestuous.Interestingly,therearetwopotentialendingsforthisconcerto.Today,wewillbehearingtheminorversion.Youcandecideforyourselfwhatthatsaysaboutourimaginedoperetta!

36

SonataNo.2inEminor,Op.6 AdolfMíšekI.ConfuocoII.AndantecantabileIII.FuriantIV.FinaleAdolfMíšekwasaCzechdoublebassistandcomposer.Hewasbornin1875inthetownofModletínintheAustro-HungarianEmpireandmovedtoViennaattheageoffifteentostudydoublebasswithFranzSimandlattheViennaConservatory.Attwenty-three,MíšekjoinedtheVienneseorchestraofthestateopera.In1912,hebecameprofessorofdoublebassattheViennaConservatory,followingtheretirementofSimandl.In1918,MíšekrelocatedtoPraguetotakeupthepositionofprincipaldoublebasswiththeNationalTheatre.Heremainedinthatpostuntilhisdeathin1955.Comparativelylittleisknownabouthimbeyondthesekeydetails,andthemajorityofthewritingsthatmentionhimareinCzech.Míšek’sSonataNo.2inEminoristhebestknownofhisthreesolosonatasfordoublebassandisaninterestingmixtureofoverthetopactionandcalm,reflectivemelodies.TheopeningoftheConfuocofirstmovement,whichfollowsstandardsonataform,featureschallengingoctaveleapsandabruptchangesindynamics,whichcombinetocreateatempestuousmood.Thisisfollowedbyareflectivetempotranquillosection,whichservesasanislandofcalmforboththeaudienceandtheperformerbeforethethirdsectionofthemovement,markedtempogiusto,whichtakesusdeterminedlyintothedevelopmentsection.Thisinturngivestheplayertheopportunitytodemonstratetheirstringcrossingprowessbeforethemovementeventuallyrecapitulateswiththeopeningtheme.Followingthequicksilvernatureofthefirstmovement,theAndantecantabilesecondmovementisawelcomerespite.Theflowingmelodieshaveareflectivequality,emphasisedbythegentledynamics.Thechirpieranimatosectionservestoreinforcetheintrospectivefeelingoftherestofthemovement,aswellasprovidingforwardmotiontotheotherwisecomparativelystaticcantabilelinesofthefirstandthirdsectionsofthemovement.TheFuriantisoftenseenasbeingeitheroneofthemoreexcitingorthemoreexcruciatingpiecesintheindoublebassrepertoire.Thestrongdynamicsandshortnotelengthsarereminiscentofthefirstmovement,whilethehammeringchordsinthepianolinehelptogivethemovementits‘furious’nature.Largeleapsaroundtheinstrumentarealsoprominentfeaturesandgivetheperformeranaddedelementofriskintheirlife.Thetriosectionneverfeelsentirelysettledinitscalmeratmosphere,asitisdottedwithpocketsofabruptdramathatharkbacktothemoreenthusiasticnatureofthefirstpartofthemovement.BringingthismarathonofasonatatoacloseistheallegroappassionatoFinale.Thismovementtakeselementsofthepreviousmovementsandbindsthemtogethertocreateanelegantsummingupofthewhole.Theopeningisreminiscentincharacterofthebeginningofthesonata,andsharessomerhythmicpatterns.Themovementasawholeisunrelenting;eveninthelyricalsections,themotionmerelybecomeslessurgent.Theabruptchangesinregisterandbriskalterationsbetweenlegatosectionsandrapid-firepassageworkarewhattrulycreatethefireworksinthisspectacularmovement.

37

SonataforViolaandDoubleBass JohannesSpergerI.AllegromoderatoII.Romanze:adagioIII.Presto–allegromoderatoAustriancomposeranddoublebassistJohannesMatthiasSpergerwasborninFeldsberg,moderndayValtice,in1750.Hebeganhismusicaltrainingwiththelocalorganist,beforemovingtoViennatostudydoublebasswithFriedrichPichlberger,andcompositionwithAlbrechtsberger.DuringhistimeinVienna,hewasamemberoftheWienerTonkünshlersozietät,withwhichorganisationhefirstperformedhisowncompositionsattheageofeighteen.Ithasbeenhypothesisedthathewaseitherfriends,orattheveryleastincontact,withJosefHaydnatthispoint,too,HaydnthenbeingatEsterházy.ThisconceptissupportedbyanumberofHaydn’soriginalmanuscriptshavingbeenfoundamongSperger’sbelongingsfollowinghisdeath.Throughouthislife,SpergerheldarangeofpositionsacrosseasternEurope.Hewas,variously,acourtmusicianfortheCardinalPrimateofHungaryinPressburg(Bratislava),CountLadislavErödyatFidisch,andGrandDukeFriedrichFranzIofMecklenburg-Schwerin.Despitebeingaprolificcomposer,withanoutputcomprisingoverfortysymphonies,varioussonatas,cantatas,andchoralworksandnofewerthaneighteendoublebassconcertos,Spergerwasalwaysrenownedasadoublebassplayerbeforeanythingelse.HedidatMacklenburg-Schwerinin1812,andwashonouredthefollowingweekwithaperformanceofMozart’sRequiem.OneoftwosonatasfordoublebassandviolabySperger,thisworkrepresentsthelight-heartedstylesocommontotheClassicalperiod.Inthepantheonofclassicalmusic,itsitsalongsidesimilarlightlyentertainingchamberpiecescommontoitstimeandbelovedofthearistocracy.Althoughworkssuchasthismayhavebeenperformedinaformalconcertsetting,itisalsolikelythatitwouldhaveservedasbackgroundmusic.Theinterplaybetweentheviolaandthebassinvitestheperformerstohavefunwiththeirinterpretation,andtomakeasmuchofeachdetailofthemusicaspossible.Thesharedrollsofsoloistandaccompanistmakethisverymuchaduosonata,withnooneinstrumenthavingaclearleadovertheother.Thelightlyelegantfirstmovementdemonstratesakindofconversationinterplaybetweenthetwoinstruments,andencouragestheperformerstobounceoffeachother’smusicalideas.ThecontemplativeRomanzethatformsthesecondmovementisanislandofcalminanotherwiseenergeticsonata.Itisdelicatelynuanced,anddemonstratesthetransparentsimplicitytypicalofmusicfromtheClassicalperiod.Thethirdmovementexplodesintolifewithdoublestopsinbothparts,andquicklyestablishesitsrollickingandrobustlyjoyfulnature.Themovementispepperedwithmomentsofhumour,includingtheabruptswitchfromtheoriginalallegromoderatothethemenomossosection.Thecentralminorsectionofthemovementisawelcomecontrasttotheotherwiseunrelentingpositivityandchirpinessthatformsthefinalflourishofthisrecital.