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• David Bone

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PREFACE The double bassist often laments that the original solo literature for his instrument is meager and wanting, 'and that he has nothing comparable to the rich heritage of the violinist or pianist.

It would appear that the double

bassist often protests, ignorant of much of the original solo literature that does exist for his instrument.

This

writer attended the first International Institute for the Double Bass in Madison, Wisconsin, in June of 1967.

The

Double Bass Concerto was the subject for one of the general sessions at this convention.

The Dragonetti-Nanny and the

Koussevitzky concertos were very masterfully performed, but there was no discussion of either of these works, nor of the double bass concerto in general.

It was rather obvious

that very few attending the In&Litute were informed concerning the original concertos

~or

the double bass and this

writer was further conv J..nced of the value an.:

Jtility of

his study of one major segment of double bas&

~iterature.

The studies of Burnet Tuthill, "The Concertos for the Clarine~..,"

and "The Sonatas for Clarinet and Piano," as

found in Volumes X and XIV of the Journal of Research in Music Education, served as a atter._~on

rn~

Jel for ti s focusing of

on one portion of the solo literacure for the

double bass. ii

In pursuing this research, the writer has not discovered any priceless monuments of music, but he has uncovered a sizable repertoire of original solo concertos for the double bass, many of them relatively unknown. obscurity of some of these works is warranted.

The

Others,

however, are of a quality equal to, or perhaps superior to, the more familiar concertos. This writer has hopefully provided a practical guide for the double bassist concerning the concerto literature for his instrument.

In preparing this catalogue, the writer

has not only acquired a greater knowledge of the literature for his own instrument, but has become acquainted, through correspondence, with several double bass players and scholars of international reputation.

First and foremost

among these is Mr. Rudolph Malaric of Vienna, Austria, a music historian and the editor of much double bass music. Through the kindness of Mr. Heinrich Schneikart, double bassist of the Wiener Solisten, an introductory letter was sent to Mr. Malaric in March of 1967.

This letter was most

graciously acknowledged, and a lively correspondence ensued.

This writer is indebted to Mr. Malaric for his

assistance in completing the list of concertos and in obtaining a substantial portion of the music. Mr. Jacques Posell of the Cleveland Symphony Orchestra, Mr. David Walter of the Faculty of the Manhattan School of Music, and Mr. Oscar Zimmerman of the Faculty of the Eastman iii

School of Music have all been most generous in lending music from their personal libraries.

At Mr. Posell 's sugge·stion,

the writer also corresponded with Mr. Frantisek Posta of the Czechoslovak Philharmonic Orchestra and the Faculty of the PraSue Conservatory, who very kindly provided a copy of an obscPre work and some needed biographical information.

Mrj. Raymond Elgar of Sussex, England, author of three books on the double bass, has been a source of encouragement ana an authoritative voice in completing the final I

list of works.

Hr. Gary Karr, double bass virtuoso, and

a

member or

the Faculties of the Juilliard School of Music, the New England Conservatory, and the University of Wisconsin, and

Mr. Barry Green, principal double bass of the Cincinnati Symphony Orchestra and member of the Faculty of the Cincinnati College-Conservatory, have both been most helpful in the matter of contemporary American works. The late Mr. Frederick Zimmermann was from the beginning of this project until his death, very generous with his time and knowledge. In addition, several composers were contacted and each responded to ·the inquiries, providing invaluable information~~

These composers are:

Valentino Bucchi,

Fernand Marcel Fontaine, Othmar Klose, James Niblock, ,•

Fra.Dk Proto, Armand Russell, Eduard Tub in, and Burnet Tuthill.

iv

The following publishers and agents helped to locate compositions and in some instances provided additional biographical information:

American Composers Alliance,

Associated Music Publishers, M. Baron Co., Boosey and Hawkes, Inc., Ludwig Doblinger Musikhaus, Eble Music Co. (Iowa City, Iowa), Carl Fischer, Inc., Music Lover's Shoppe

(Rochest~r,

New York), Alphonse Leduc, McGinnis and

Marx, Gen Parchman, Pyraminx Press, G. Schirmer, Inc., Zanibon, and Editions Zuvini Zerboni. The Library of the Curtis Institute of Music, the Sibley Music Library of the Eastman School of Music, The Free Library of Philadelphia, and the Boston Public Library have all contributed to making this listing more complete. The writer gratefully acknowledges the kindness and guidance of his advisor, Mr. Everett Gates. To his wife, Annette, the writer extends his gratitude for unwaivering encouragement, and for the preparation of the manuscript.

v

TABLE OF CONTENTS

PREFACE • • • • • • • • • • • • • • • • • • • • • ii mDEX OF CONCERTOS. • • • • • • • • • • • • • • • vii CHAPTER I.

HISTORICAL PERSPECTIVES • • • • • • •

CHAPTER II.

AN ANNGTATED CATALOGUE OF ORIGINAL

1

CONCERTOS FOR THE DOUBLE BASS. • • • 10 CHAPTER III.

ANALYSES OF TEN CONCERTOS

APPENDIX. • • •

•

•

•

•

•

0

•

•

0

•

•

0

• • • 92 • .143

BIBLIOGRAPHY. • • • • • • • • • • • • • • • • • .147-

INDEX OF CONCERTOS Abert, Johann Joseph

Concerto in Drei Satzen. • •

11

Bille, Isaia

Concerto in G • • • • • • •

12

Blatt, F.T.

Concerto in B-flat • • • • •

13

j Bottesini, Giovanni

/concerto in F-sharp minor. • 13 No. 2 in H Moll • • 15 Concerto Di Bravura. • • • • 15 Grand Allegro Di Concerto. • 16 Concerto Per Contrabasso Nell' Opera Beatrice Di Tenda. • • 1? Concerto Ier Temps • • • • • 1?

~Concerto

Bucchi, Valentino

Concerto Grottesco Per Contrabasso E Archi • • • • •

18

Capuzzi, Giuseppi Antonio /Concerto for Double Bass • •

19

j CernY, Franz

Concerto Pour La Contrabasse, Op. 20. • • • • • • Deuxieme Concert • • • • • • Troisieme Concert. • • • • • Quatrieme Concerte • • • • •

Cimador, Giovanni Battista!Concert in D • • • • • • • •

20 21 22

23

24

Conti, Sebastian

Concerto for Double Bass and Orchestra • • • • •

25

Creutzfeld

Double Bass Concerto in A. •

26

Dauthage, Max

Concert in B • • • • • • • •

26

Diedrich, Wilhelm Dittersdorf, Karl D.

Koncert (A Moll) in Einem Satz. • • • • • • • / Konzert in Es-Dur. • e • • • .; Konzert in E-Dur • e "' e • • 8

Dragonetti, Domenico-

n

Concerto, Op. 1. • • • • Concert, Op. 2 • • • • • A Famous Concerto. • • • My Favorite Concerto • • Grande Concerto. • • • • Original Concerto No. 2. vii

• • • •

• • • •

• • • •

27 28 28 . . ,.

29 30

31 31 32 33

Dragonetti (continued)

Conzert in A, No. 3 • • • • • 33 Concerto No. 4 in E • • • • • 34 Concerto Pour Contrebasse A Cordes et Piano. • • 35

Findeisen, Theodore Albin Konzert, Op. 15 • • • • • • • 36 / Konzert Fiir Kontrabass (in Einen Satz) Op. 25 • 36 Fontaine, Fernand Marcel / Concerto Pour Contrebasse 'A 4 Ou 5 Cordes Avec Accompagne De Piano Ou D'Orchestre 92 Concerto Piccolo. • • • • • • 37

Franke, A. Geier, Oscar Geissel, Johann

~

..

Konzert Fur Kontrabass und Orchester, Op. 11 • 38 Concert FUr Contrabass, Op. 32. • • ~

~

• • 39

Girotto, V.

Faust Concerto • • • • • • • • 40

Grant, Parks

Integrated Concerto

Hassler, Louis

Concerto in C minor, Op. 14 • 41

Hause, Wenzel

Concerto in D major • •

Haydn, .F .J.

Konzert FUr Kontrabass • • • • 43

Henze, Hans Werner

Concerto Per Contrabasso, 1966. • • • • • • • 96

Hertl, Frantisek

. . . •• "

~

40

• • 42

J Concerto Per Contrabasso Ed

Orchestra • • • • • 44 H1ndle, Johann J.

Concerto in B-flat. • • • • • 45

Hoffmeister, F.A.

Jconcerto No.1 in E-flat • • • 45 Konzert No. 2 in D. • • • • • 46

Holzbauer, Ignace Hrabe, Joseph

Concerto. • • • • • • • • • • 47 ,; Concert • • • • • • • • • •• 47

Huber, Joseph

Concerto for Double Bass. • • 48

Klose, Othmar

Concert in A FUr Contrabass U. Orchester, Op. 18, 1950 •• 48 viii

Kohaut, Karl

j

Concert Fiir Contrabass Und Orchester •· • • • • • 49

Kohl, W.

Concerto for Double Bass. • • 50

Kolb, J.

Concert in E. • • • •

Koussevitzky, Serge

• • •

• 50

J Concerto, Op. 3 • • • • • •

101

Kucbynka, Voyta

Concerto No. 1 for Double Bass • • • • • • • • 51

Lancen, Serge

Concerto Pour Contrabass et Cordes • • • • • • • 51

Laska, Gustave

Concert FUr Den Contrabass Mit Orchester Begleitung • • • 52

Lauber, Joseph

Concert for Double Bass and Orchestra. • • • • • 53

Lorenzitti, Joseph Antoine Concerto for Double Bass • • • 54 Lotter, Adolf

Concerto in A minor • • • • • 54

Madenski , Eduard

Concerto for Double Bass. • • 54

Mann, Christoph

Concerto for Double Bass. •

Marangoni, Giuseppi

Concerto in La Maggiore, Op. 47 • • • • • • • 55

Maschek, Vincent

Concert in D. • • • • • • • • 56

Mengoli, .Annibale

Concerto No. 1 • • • • • • •• 56 Concerto No. 2. • • • • • • • 56 Concerto Per Contrabasso E Orchestra D' Archi. • • • • • 57

Miari, Giangiacome Michna, .Annibale Miglietta, Giovanni Montag, Lazlo Morbiducci, Angelo Moser, Franz

e

54

Concerto for Double Bass. • • 57 Piccolo Concerto. • • • • • • 58 Micro Concerto. • • • • • • • 58 Concerto in Re Minore 1936. • 58 Konzert FUr Kontrabass Und Orchester. • • • • • 59 ix

...,.

Munot, Felician Nanny, Eduaurd

Premiere Concerto • • • • • • 60

J Concerto

Pour Contrebasse Et Piano • • • • • • •• 62

Niblock, James

Concerto For Double Bass And Orchestra. • • • • .105

Piehl, Wilhelm

JStudienkonzert FUr Kontrabass Und Orchester (Conzert No. 1) 63 Conzert No. 2 FUr Contrabass Und Orchester. • • • 64

Pockh, Eduard

Concerto Brevis •

. •.

• • • • 65

Paradowski, Stefan

J Koncert, Op. 26 • • • • • • .109

Proto, Frank

-!Concerto for Double Bass And Orchestra (1968) • • 66

Reinhardt, Franz

Concerto in F-sharp minor • • 67

Rohrig, Emil

Konzert FUr Kontrabass. • •• 114

Russell, .Armand

Harlequin Concerto for Double Bass and Orchestra • .119

Safranski, Eddie

Concerto for Bass •

Schuller, Gunther

Concerto for Double Bass and Chamber Orchestra. • 69

Schwartz, Peter

Concerto for Double Bass and Piano. • • • • • • • 70

Scontrino,·Antonio

Concert FUr Dem Contrabass

e

•

•

•

•

68

Mit Orchester • • • • 70

Sif'onia, Firmino

Concerto for Double Bass with Accompaniment of Winds and Percussion • • • • • 72

Simandl, Franz

Konzert, 0p. 75 • • • • • • • 72·

Sommer, Mn

Concerto No. 1 in E • • • • • 73 Concerto No. 1 in E-flat major. • • • • • • • 73 Concerto' No.2 in B-tlat major. • • • • • • • ?3

Sperger, Johann Matthias

X

J Sperger

(continued)

Stami tz, Karl

~Concerto No. 3 in A minor • .125 Concerto No. 4 in F major • • 74 Concerto No. 5 in E-flat major. • • • • • • • 74 Concerto No. 6. • • • • • • • 75 Concerto No. 7 in E-flat major. • • • • • • • 75 ConcertoNo. 8 in .A. major • • • 75 Concerto No. 9 in G major • • 76 Concerto No. 10 in D major. • 76 Concerto No. 11 in E-flat major. • • • • • • • 77 Concerto No. 12 in D major •• 78 Concertos No. 13 - 18 • • • • 78 ~Concerto

in Re Maggiore, Op.l 78

Storch, Emanuel

Concerto for Double Bass. • • 79

Teubner, Herbert

Konzert E-moll FUr Kontrabass und.Piano • • • • • • 79

Tubin, Eduard

Concerto for Double Bass and Orchestra. • • • • .130

Tuthill, Burnet Valls, Pedro Vanhal, Johann Baptist

~Concerto

for String. Bass and Wind Orchestra, Op. 46. • • .137

Concerto De Contrabajo "Las Chifl aduras De Un" • • • 80 / Konzert FUr Kontrabass und Orchester. • • • • • 82

Vecsey, Jeno

Konzertant Musik FUr Kontrabass U. Kammerorchester Oder Klavier. • • • • • • 83

Wallner, Curt

Konzert FUr Kontrabass und Orchester. • • • • • 84

Weiller, Ernest

Concerto No. 1 in G (1912) •• 85 Duexieme Concerto in Re Majeur Op. 308. • • • • • , 85

Werner, A,

Concerto for Double Bass. • • 86

Werther, Franz

Concerto !or Double Bass. • • 86

Winsel, Louis

"Concerto" No. 1 in C major • 86 "Devil's Concerto in A. minor. 8?

Wrba, Franz Wuorinen, Charles Zimmermann, Franz Anton

Concerto in D • • • • • • • • 88 Concert for Double Bass Alone, 1961 •• • • • 88 1. 2.

:rli

Concert in D. • • • • • • 89 Concerto. • • • • • • • • 90

CHAPTER I HISTORICAL PERSPECTIVES Unlike the violin and the cello, the double bass has been relatively unstandardized throughout its history.

Its

body structure; number of strings, tuning, bows, and lefthand technique have varied with time and place.

Prior to

the last quarter of the nineteenth century the bass string instruments within a given orchestra might vary rather widely in the matter of stringing and tuning.

These diver-

gent instruments would conceivably have anywhere from three to six strings and be tuned in various intervals, depending on the left-hand technique that the player might have developed.

Earlier in the nineteenth century the four-string

instrument, tuned in perfect fourths, began to take precedence over the others.

A compromise between the more power-

ful three-string double bass and the five-string instrument of greater range, it was in use first in Germany and the Slavic nations.

In 1832 the Paris Conservatory officially

adopted the four-string instrument tuned in fourths, and by 1860 most Italian conservatories had made a similar adoption. England was perhaps the last country to accept the fourstring double bass.

This occurred around 1900, and thus an

international state of quasi-standardization in tuning was achieved.

1

Despite this late development of the modern double bass, there has accumulated a sizable idiomatic literature for the instrument.

Much of this music was composed for

didactic purposes by professors of the double bass in various European conservatories.

The few solo virtuosos of

the double bass that have appeared, composed for their own concert and recital purposes.

More well-known and estab-

lished composers have also contributed to the repertoire. Within this body of literature for the double bass there are some solo concertos.

When this writer first con-

ceived the idea of a study of the original solo concertos, excluding transcriptions, it was thought the number might run to twenty or twenty-five.

Initially a list was made of

original works specifically carrying the title ·"Concerto." This list was drawn from the Comprehensive Catalogue of Available Literature

12£ the Double Bass by Murray Grodner.

To this list were added some further entries from String Music

1n

Print by Margaret K. Farish.

This initial com-

pilation reached a total of thirty-eight original works. Further research has steadily increased this number until it reached a total of 127 concertos and there are no doubt more concertos by more or less obscure composers that have escaped the writer.

Of these 127 concertos, it has been

possible to obtain 79, either in printed form, in manuscript, or various types of reproduction: or microfilm.

Xerox, Ozalid,

A number of these,concertos were published

3 for a limited period of time and because the demand for them was not too great, their publication was terminated. The ravages of time, two world wars, and the dislocations· during and following these conflagrations, have resulted in the destruction of others of these works.

With some, it has

been possible to verify their existence only through listings in the catalogues of ,libraries, or out-of-date catalogues of publishers.

Still others were never published, and exist

only in manuscript. Every effort has been made to uncover all of the solo concertos for the double bass, no matter how obscure the works or composers might be.

In the case of some concertos

which have been brought to the attention of the writer, either in research or by personal correspondence, it has been impossible to produce any tangible evidence of their existence.

These works are listed without comment.

Because

the number of concertos proved to be rather large, it was decided to include only works so titled, thus excluding concertinas and concert pieces. In cataloguing the concertos, the writer has graded as to difficulty those works which he was able to examine. Each has been placed in one of four rather broad classifications: difficult.

Easy, Moderately difficult, Difficult, and Very This grading was determined by three factors;

technical difficulty, musical complexity, and the.physical endurance demanded by the technical problems and the length

4 of the work.

The writer, relying on his many years of

study, professional playing, and teaching, has endeavored to be objective in arriving at a grade for each work. However, such judgments are of necessity somewhat subjective and therefore liable to a degree of personal bias. The earliest verifiable date for the composition of a double bass concerto is 1778.

Johann Matthias Sperger (1750-

1812) performed a concerto of his own composition on December 20, 1778.

1

Which of these concertos of Sperger, cannot be

determined for there are eighteen such compositions by this man listed in the Kade catalogue. 2

It is possible and

probable that Dittersdorf wrote his concertos for Pichelberger around 1765.

3

Ignace Holzhauer (1711-1783), belonged

to an earlier generation, but there is no confirmation of when his concerto was written.

F.A. Hoffmeister (1754-

1812), Karl Kohaut (1736-1800), Wilhelm Piehl (1741-1804), Karl Stamitz (1746-1801), Johann Baptist Wanhal (1739-1813), and Anton Zimmermann (1741-1781}--all lived around this same time and wrote concertos for the vio1one or double bass, but the writer has found no confirmation of specific dates of 1

Friedrich Blume, ~ Musik in Geschichte ~ Gegenwart, (14 vols.; Kassel und Basel: Barenreiter-Ver1ag, 19491968), XII, 1031-1032. 2 otto Kade, ed., Grossherzogliche Regierungsbibliothek, (3 vols.; Schwerin: Sandrneyerschen Hofbuchdruckerei, 1893), II, 239. 3

Robert Eitner, Quel1en-Lexikon der Musiker und Musikgelehrten, (10 vols.; Leipzig: Breitkopf und Hartel, 1902), VII, 483.

5

composition for the double bass works of any of these composers.

A concerto for double bass by Franz Joseph Haydn

apparently did exist at one time. catalogues of Haydn's works. known.

It appears in three early

The date of composition is un-

Hoboken gives the incipit in his thematic catalogue

but lists the work as lost.

4

The most recent concertos

are those of Gunther Schuller and Frank Proto.

The former

received its premiere in June of 1968 and the latter received its premiere in February of 1969. The matter of the tuning of the double bass is very important in any discussion of solo writing for this instrument.

The fact that the number of strings and the in-

tervals of tuning have varied over a period of years makes this a rather involved study.

The concertos of the eight-

eenth century were possibly written for the violone of five or six strings.

It is quite possible that the highest string

of a violone might have been tuned as a minor seventh or an octave higher than the highest (or double bass.

~)

string of the modern

It appears that the player tuned the instru-

ment to accomodate the music and his own technique.

This

adjustment in tuning was true not only of the violone but also of the three and four-string double bass.

As an

example, the two concertos of Dittersdorf were both

4

Anthony van Hoboken, Joseph Haydn Thematisch-bibliographisches Werkverzeichnis, (2 vols.; Mainz: B. Schott's s8hne, 1957), I, 523-533.

6 originally in the key of E-flat.

5

The solo part was

?: P• •

notated in C for a four-string tuning of P±

2:

~

possibly a six-string tuning of

lpe

.

~."

or

I

'5 .....

(The reader is reminded that most double bass notation is an octave higher than actual pitch.)

The current editions of

these works published by Schott show how this practice con. . 1n our own t.1me. 6 t 1nues

The first concerto, which was

originally for violone, is now edited for double bass. is still in E-flat, but with a tuning

, •••• b' . • it ..

-,: ... ....

•

It The

second concerto, which was originally for double bass, is transposed to E with solo tuning

•

In the

case of both of these, the solo part is notated in D which results in E-flat in the first instance and E in the second instance.

The manuscripts of Domenico Dragonetti

(1763~

1846) do not indicate what tuning adjustments this great virtuoso made, if any.

Carse maintains that Dragonetti

customarily tuned in fifths. in this case was A, D,

G;

7

It is presumed that tuning

however, it is possible that

Dragonetti actually tuned G, D, G, using mostly a four5otto Kade, ed., Grossherzoqliche Regierungsbibliothek, (3 vols.; Schwerin: Sandmeyerschen Hofbuchdruckerei, 1893),

II, 237. 6

Karl von Dittersdorf, Konzert in Es dur fur Kontrabass, arr. by Ludwig and Franz Jaeger (Mainz:--B:-5ch0tt•s Sohne, 1927), and Konzert ~ ~ ~' arr. Franz Tischer-Zeitz (Mainz: B. Schott's Sbhne, 1938). 7Adam Carse, The Orchestra from Beethoven to Berlioz, (Cambridge: w:-Heffner and Sons, Ltd., 1948), 394.

".-·

7

finger left-hand technique.

It is probably safe to assume

that, like other players of the time, he also tuned according to the exigencies of the occasion.

The modern editions

of his works are for solo tuning. In the late nineteenth century, with the demise of the three-string double bass, and the more or less established practice of tuning in perfect fourths, the intonation was fairly well stabilized in three

tuning

categories~

Solo tuning

• •

and High solo tuning

Orchestra ;

•

=tt•

When in this high

solo tuning, the instrument is sometimes called the Bass 8 Baritone or Bariton-Violon. Of the three, the high solo tuning has been least used.

At present, solo literature is

published almost exclusively in either orchestra tuning or solo tuning, the latter being the more common.

The tuning

is usually indicated on the solo part, if for solo tuning, by

• •

:Efi

•

In the case of solo tuning the notation

is a whole tone lower than the desired written pitch and a minor seventh higher than the desired sounding pitch.

There

are some exceptions to this practice where the notation is in the desired sounding octave, but still a whole step below desired pitch. There is a certain amount of confusion regarding the compositions of Domenico Dragonetti and Giovanni Bottesini, 8

Friedrich Warnecke, Ad Infinitum-Der Kontrabass, (Hamburg, Germany: ·ay the Author, 1909), 22:--

s. the two more famous double bass virtuoso composers. Dragonetti left a sizable amount of

music~

manuscript and partly in his own hand.

almost all in

Many of these manu-

scripts were given to the British Museum by Dragonetti's close friend, Vincent Novello, founder, in 1811, of the English publishing house.

Other Dragonetti manuscripts are

located in various parts of Europe.

Some are in libraries

and are available to the public, while others are in rather closely guarded private collections.

The manuscripts are

fragmentary and have never been carefully catalogued. Mr. Rudolph Malaric of Vienna, music historian and editor of double bass music, has devoted some study to the available manuscripts and has established that there are possibly eight solo concertos by Dragonetti. in reality pasted together from divertimentos.

This may include some that are par~s

of multi-movement

This does not include the Concerto

edited by Eduaurd Nanny. 9

1n

~'

This concerto is not found in the

available manuscripts, and now is considered by such authorities as Mr. Malaric, Mr. Raymond Elgar, and the late Mr. Frederick Zimmermann, to be spurious.

It is thought to

be the work of someone else, possibly M. Nanny himself, and is an attempt at writing in the style of Dragonetti. The writer has found five solo concertos by Giovanni Bottesini, one in F-sharp minor, No. 2 in B minor, the 9 oragonetti (E. Nanny), Concerto, (Paris: and Cie., 1925).

Alphonse Leduc

9-

Concerto di the Concerto

Bra~Jra,

~·

the Grande Allegro di Concerto, and

Opera Beatrice di Tenda.

A sixth one-

movement concerto in B minor is merely a transcription of the first movement of the F-sharp minor concerto.

In the

one-movement form, first edited by Eduaurd Nanny, the piece is transposed down a perfect fourth in notation for orchestra tuning which accomplishes a·tonal transposition of a perfect fifth.

This arrangement also shortens and sim-

plifies the movement to some extent.

10

CHAPTER II AN ANNOTATED CATALOGUE OF ORIGINAL SOLO CONCERTOS The information in this catalogue is listed in the following order:

Composer, biography (when available),

title of composition, publisher (including publication number and date when known), grade of difficulty, availability of orchestration and/or piano accompaniment, tuning of the double bass, and an incipit of the solo part.

Each

movement is described as to meter signature, tempo markings, number of measures, key or tonality, and form.

The forms

of the various movements are described by several rather inclusive terms:

Binary includes all decidedly two-part

forms; ternary refers to a rather wide range of tripartite movements; rondo includes everything from three-part pieces specifically entitled Rondo, through those often considered as augmentations of second and third rondo forms; sonata form is used to describe movements in which there is an exposition, a decided period of development of material and recapitulation, and is synonymous with the often-used term, Sonata-Allegro.

Other movements are in variation

forms and some are in free form.

Additional information,

including comments on the work, dedications, and instrumentation of available orchestral scores completes the information.

A guide to the publishers is found in Appendix I.

11 _Complete biographical sources are included in the bibliography. Abert, Johann Joseph (1832-1915) Bohemian double bassist, conductor, and composer. Father of Hermann Abert. tory.

Studied at the Prague Conserva-

Received the post of double bassist in the theatre

orchestra, Stuttgart, 1852. meister, Stuttgart, 1867.

Succeeded Eckert as Kapel1Retired, 1888.

symphonies, a symphonic poem, five operas.

Wrote three (See Grove's

Dictionary, Vol. I, p. 12.) II

CONCERT IN DREI SATZEN Schmidt 2085 3310 (Simand1 Adv. Sch. Vo1 •. II). Difficult. Orchestration unavailable.

Piano accompaniment

available. Tuning:

Moderato

•

maest~

?t- 1' u ,rrrfll r],@l$7~ftu,rrwr $1&/ -t

I. II.

4/4, Moderato maestoso, 138m., D major, rondo. 4/4, Adagio, 62 m., G major, binary.

Allegretto, 172m., D

m~jor,

III.

2/4,

rondo.

There is no break between the first movement and the

12 second movement which is quite lyrical.

The final movement

is much like the first in its sequential use of scales and arpeggios.

The concerto concludes with a short coda of

further technical display.

This is not a very interesting

work, musically nor technically. Bille, Isaia (1874-1962) Italian double bassist.

Born in Firma, studied at

the conservatory there and later at the Rossini Conservatory in Pesaro. and the

u.s.

Concertized with the double bass in Europe

Miraculously escaped with his life in the

San Francisco earthquake of 1906.

Taught at the Cherubini

Institute, Florence, and the St. Cecelia Academy, Rome. Published much double bass literature, including a multivolume tutor.

(See Schmidl Dizionario Universale, Vol. I,

p. 185.) CONCERTO IN G (1934) Pizzi, or Ricordi, E.R. 1612. Orchestration unavailable. available. Tuning:

•

Moderately difficult.

Piano accompaniment

13 I. II.

4/4, Allegro mosso,

1~9

m., G major, sonata form.

3/4, Andante, 81 m., E minor, ternary.

III.

2/4,

Allegro, 234m., G major, ternary. Lyrical in style with melodic transformation between ·movements. Blatt, F.T. No biographical information available. CONCERTO IN B-FLAT Not available for examination. Bottesini, Giovanni (1821-1889) Italian conductor, composer, and double bass virtuoso. Born in Parma and educated at the conservatory there.

Con-

ducted in Europe, Central and South America, and Egypt, including the premiere of Verdi's Aida, Cairo, 1871. positions_ for double bass and several operas.

Com-

Double bass

virtuoso for over fifty years in Europe anq North and South America. Di~d

Appointed head of the Parma Conservatory, 1889.

soon after assuming the post.

(See Elgar, More About

the Double Bass, pp. 74-87.) CONCERTO IN F-SHARP MINOR (STUDIENKONZERT FIS-MOLL) LaFleur, Xerox from this writer, Hofmeister 7290, ed. H. Hermann, 1959.

MS Torello bequest, Curtis

Institute of Music, Philadelphia, Pa., arr. Meriz. Difficult. Orchestration unavailable for LaFleur and Hofmeister,

14 available for Meriz.

Piano accompaniment available

for LaFleur and Hofmeister, unavailable for Meriz. Tuning: LaFleur

Hofmeister and Meriz

.,...

Allegro moderato

I.

3/4, Allegro moderato, 334m., (Meriz, 284m.), F-sharp

minor, sonata form.

II.

60 m.), D major, ternary.

4/4, Andante, 61 m., (Meriz, III.

4/4, Allegro con fuoco,

258m., (Meriz, 243m.), A major, sonata form. Quite a demanding work for the technique throughout. Some slow bow and group staccato difficulties in the slow movement, but greatest demands on the left hand technique. The LaFleur and Hofmeister editions are exactly the same, including the cadenza, except for the tuning of the double bass.

The Meriz edition differs greatly in that the work

is shorter, the cadenza is different, and the orchestral part is almost totally different from the piano scores of the other editions. Meriz instrumentation 1-2-2-2; 2-2-0-0; tym.; strgs.

15 CONCERT NO. 2 IN H MOLL Ars Viva Verlag, ed. Rudolph Malaric, 1951.

Very

difficult. Orchestration unavailable.

Piano accompaniment

available. Tuning:

•

Allegro moderato \Cl-H-e..-\+o '"tAlc.)

I. II.

3

>~

---------=---

...--;::---....

4/4, Allegro moderato, 137m., B minor, sonata form• 6/8, Andante, 68 m., G major, ternary.

III.

¢,

Allegro, 245 m., B minor, sonata form. All three movements are technical displays abounding in arpeggios and scales.

This is a very fatiguing work

for the player and of questionable musical value. CONCERTO DI BRAVURA Ars Viva Verlag A996V, ed. Rudolph Malaric, 1951.

Very difficult. Orchestration unavailable. available. Tuning:

Piano accompaniment

16 Andante mosso Q.

I.

l' .... ~..~..

~

.

f

6/8- 3/4, Andante mosso- Allegro moderato, 130m.,

A major, theme and variations. E major, ternary.

III.

II.

4/4, Andante, 47 m.,

2/4, Allegretto, 114m., A major,

air varie. This is a piece for technical display characterized by cadenzas and quasi-cadenzas.

Although technically de-

manding, it is rather shallow music. GRANDE ALLEGRO DI CONCERTO, OP. POSTHUMOUS Doblinger (Ozalid) MR 21266, arr. Rudolph Malari~, 1956.

Difficult.

Orchestration available.

Piano accompaniment avail-

able. Tuning:

Allegro

I.

4/4, Allegro, 335m., E minor, sonata form. Another composition of Bottesini with much technical

display.

Not so difficult as the B minor and Bravura

certos and more compact in form.

£2n-

Rewarding in proportion

17 to the technical demands. Instrumentation unknown. CONCERTO PER CONTRABASSO NELL'OPERA BEATRICE DI TENDA MS.

Difficult.

,

Orchestration unknown. Tuning:

..

Allegro

,:~c rF I f~

I. II.

Piano accompaniment available.

7

•

g 1f, Ef f F1Pz f'f t\ ~ pr

4/4, Allegro, 51

m., A major, air and recitative.

4/4, Adagio, 34m., A major, binary.

III.

4/4,

Allegro, 145 m., A major, variations. The movements of this concerto are contiguous.

The

style is bravura and musical content is very limited. the piano score for this concerto is found in

MS

Only

in the

Torello bequest in the Library of the Curtis Institute of Music, Philadelphia, Pa. CONCERTO Ier TEMPS Leduc A.L. 16964, ed. Eduaurd Nanny, 1925, International 2101, ed. Stuart Sankey, 1963.

Moderately

difficult. Orchestration unavailable. able for both editions. Tuning:

Piano accompaniment avail-

18 Allegro moderato

2:~$ ~r f lf}~T[j IF S1Sr I r~z I.

3/4, Allegro moderato, 233 m., B minor, sonata form. This is a transcription of the first movement of the

F-sharp minor concerto. somewhat shortened.

It is transposed down a fifth and

This is a rather effective piece and

worth the effort. Bucchi, Valentino (1916-

)

Italian composer, born in Florence. position with Dallapiccola.

Music critic and radio con-

sultant in Florence 1945-1948. opera,~

Studied com-

Works include a chamber

Virgine dei Veleni (1939), and a one-act opera-

grotesco, Il Contrabasso, after Chekhov (1945).

(See

Baker's Biographical Dictionary, p. 222.), CONCERTO GROTTESCO PER CONTRABASSO E ARCHI Zerboni

s.

z.,

6703

1967.

Difficult.

Orchestration available for purchase.

,. .

Piano re-

duction available. Tuning:

0

•

Allegro non troppo ~

~

';

M

(

..s+~ec:..

Cllto.

~o...de.)

:t-$,~ I~:EJ I~~JW I~ iJd I~" !till¥

19

I.

2/4, Allegro non troppo, 306m., modified &onata form. The development of this twelve-tone work takes the

form of a short scherzo and the recapitulation is almost literal.

The formal structure is dependent on linear

aspects rather than harmonic considerations.

There is a

senza mesura section in the scherzo which makes rather extensive use of natural harmonics.

Due to the percussive

nature of this work, the demands on the right-hand technique exceed those of the left.

A mature musicianship is

more important in playing this concerto than technical prowess.

Thematically, the work is related to Bucchirs

opera-grotesco,

11

Contrabasso.

The material from the

opera appears in the concerto, Solo part p. 2, mm. 23-27, and p. 12, mm. 12-16. Instrumentation vln. I a3, vln. II a3, vla. a2, vel. a2; xylo. (or piano).

Xylo. uses only one tone, d''''•

Capuzzi, Giuseppi Antonio (1775-1818) Italian violinist, pupil of Tartini and Bertoni. Violinist at St. Mark's in Venice. met with great success.

Went to London in 1796,

Composed ballets, operas, cantatas,

and a considerable amount of chamber music.

(See Grove's

Dictionary, Vol. II, p. 56.) CONCERTO FOR DOUBLE BASS

Boosey and Hawkes 8191, ed. Francis Baines, 1938. Moderately difficult.

20 Orchestration available for rental.

Piano.accompani-

, -.

ment available. Tuning:

..

Allegro moderato

:b c J 1 ~

I.

f~a tl1 ura 1rara1au~ ~ ~~

4/4, Allegro moderato, 204m., F major, sonata form.

II.

3/4, Andante cantabile, 93 m., C major, rondo.

2/4

Allegro, 215m., F major, rondo.

III.

This is one of the least demanding concertos, and may be considered a "student concerto," but it is a good piece and rewarding for the player.

Originally in D major, a

sixth higher, this concerto is found among the Dragonetti manuscripts in the British Museum (MS Add. 17834). Instrumentation unknown. If/

I

Cerny, Franz (1861-1939) Bohemian double bassist. servatory and in Paris.

Studied at the Prague Con-

Became Professor of double bass at

the Prague Conservatory in 1900, where for thirty-two years he educated an entire generation of bassists who performed throughout the world. Kontrabass, p. 83,

(See Warnecke,

and~

~

Infinitum

~

Bass Sound Post, Vol. 6, No. 6,

p. 6.)

CONCERTO POUR LA CONTRABASSE, OP. 20 IN A MAJOR

21 Forberg 6318, 1911.

Difficult.

Orchestration unavailable.

Piano accompaniment avail-

able. Tuning:

I.

•

3/4 - 4/4, Allegro vivace- Allegro con brio, 228m.,

A major, binary.

II.

E minor, ternary.

3/4, Andante tranquillo, 115 m.,

III.

4/4, Allegro appassionato, 199m.,

A major, binary. The last movement of this concerto is a recapitulation of the first movement.

Both movements consist of several

melodic ideas and each idea is treated separately and similarly.

The first movement is attached to the second by

means of a short scherzo at the end of the coda.

The final

movement contains a rather long cadenza which includes some

difficult double stops.

The work is technically difficult

but musically fragmentary and monotonous.

' DEUXIEME CONCERT Hoffman, 1922.

Difficult.

Orchestration unavailable. able.

Piano accompaniment avail-

22 Tuning:

Allegro

I. II. III.

•

""~· f~ ~

4/4, Allegro, 284m., F-sharp major, sonata form. 4/4, Andante quasi adagio, 217m., E major, ternary. 3/4, Allegro energico, 398m., F-sharp major, ternary. The style is similar to the first concerto, but more

chromatic.

The final movement seems to begin in C-sharp,

shifts to several definite key centers, and finally arrives at F-sharp major in the coda.

It is a more interesting

work than Opus 20, and perhaps the best of the four concertos.

There is no formal cadenza.

' TROISIEME CONCERT Hug (no date).

Very difficult.

Orchestration unavailable. able. Tuning:

, ..

Piano accompaniment avail-

•

Allegro con brio

,: ,~-·-f f l~yt- itJ -i' t; ftl f rf 1

f 14z

1

23 I.

4/4, Allegro, 210m., G major, rondo.

Adagio, 127m., A minor, binary.

III.

II.

3/4,

2/4, Allegro

appassionato, 344m., G minor, rondo.

(Coda providing

return to the major.) The writing is very similar to the first concerto. As with the second concerto, there is not a formal cadenza, but there are several quasi-cadenza passages.

This concerto

is unrewarding in proportion to the technical difficulties posed to the player.

" QUATRIEME CONCERT Neubert (no date).

Very difficult.

Orchestration unavailable.

Piano accompaniment

available. Tuning:

...

:2:__•_..,..__

Lento maestoso

-

j! '57~ I.

4/4- 3/4, Andante maestoso- Vivace, 261m., E minor,

modified rondo. A minor, ternary.

II.

4/4, Adagio- Andante, 96 m.,

III.

4/4 - 3/4, Andante - Vivace,

232 m., E minor, modified rondo. This is similar to the other concertos of this cornposer.

The structure is an overall ternary form, as a

large portion of the last movement is an exact recapitulation

24

of the first movement.

There are no formal cadenzas, but

several cadenza-like passages.

As with the third concerto,

the end result is not proportional to the difficulties involved.

Musically, it is a rather pallid work.

Cimador, Giovanni Battista {1761-1805) Italian opera composer (original name Cimadoro), settled in London sometime after 1791.

Franz Joseph Haydn

mentions him in his diary (1794) as "Mr. Cimador, a young violin virtuoso and composer."

(See Grove's Dictionary,

Vol. II, p. 298.)

CONCERTO IN D FOR DOUBLE BASS WITH THREE STRINGS Unpublished manuscript in British Museum {MS Add. 17834).

Moderately difficult.

Orchestration does not exist.

Piano accompaniment

does not exist. Tuning:

2

Allegro

,:~ c I.

$

7

r dF& ll1 f Hfi[(Ff 1rFF!1t1r I[J r-4~

p17

4/4, Allegro, 200m., G major, rondo.

II.

3/4,

Larghetto, 78 m., G major, binary. The MS in the British Museum does not indicate the tuning for this work.

It is equally unclear whether this

25 is to be played at actual pitch or with the usual octave transposition.

If the former is the case, the grade of the

concerto is Difficult. Moderately difficult.

If the latter is true, it is The style is similar to the Capuzzi

concerto. Conti, Sebastian (1925-1962) American double bassist and composer. Lockport, New York.

Born in

Received the Bachelor's degree from

Illinois Wesleyan University, and the Master's degree from the Eastman School of Music of the University of Rochester, New York. CONCERTO FOR DOUBLE BASS AND ORCHESTRA Unpublished MS in the Sibley Music Library, Rochester, New York.

Moderately difficult.

Orchestration available on tral score only). Tuning:

I. II.

•

interlibr~

loan (orches-

Piano accompaniment does not exist.

•

6/8, Allegro, 216m., D (Dorian mode), sonata form. 4/4, Tranquillo,

ternary.

III.

104m.~

E minor (Phr,Tgian mode),

5/4, Allegro energico, 180 m., C-sharp minor,

(Aeolian mode), rondo.

26 The concerto is purposely limited to the middle range of the instrument (EE to b'), with no use of the natural harmonics or double stops.

The first movement has a full

cadenza and the second movement has a quasi-cadenza which connects the second and third movements.

This concerto is

not particularly difficult technically, and has rather limited musical interest.

It is part one of a Master's

degree thesis (1951), and is dedicated to Oscar Zimmerman, Professor of double bass at the Eastman School of Music, University of Rochester. Instrumentation 1-1 (E.h.)-2-1; 2-1-0-0; tym.; harp; strgs. Creutzfeld No biographical information available. DOUBLE BASS CONCERTO IN A Not available for examination. Dauthage, Max No biographical information available. CONCERTO IN B Not available for examination. Diedrich, Wilhelm (1891-

)

German double bassist who was a member of the orchestra in the State Theatre in Bremen.

Besides writing for the

double bass, he composed some chamber music and some works

27 for piano.

•• (See Merseburger, Kurzgefasstes Tonkunstler-

lexikon, p. 125.)

..

KONCERT (A MOLL) IN EINEM SATZ FUR KONTRABASS Merseburger

c.

1341 M., 1931.

Orchestration unavailable. Tuning:

Moderately difficult.

Piano reduction available.

•

Langsam

One movement divided into three rather distinct sections: First section; varying meters, Langsam - Allegro moderato, 127m., A minor and A major, modified rondo.

Second section;

3/4 - 6/8, Sehr langsam, 91 m., E major, ternary.

Third

section; recapitulation of the first section, 103 m. Aside from one section of double stops, this is not a technically difficult composition.

It is well-written for

the double bass and is interesting music.

Dedicated to

Franz Tischer-Zeitz of Cologne. Dittersdorf, Karl D. von (1739-1799) Viennese violinist and composer who received a title of nobility in 1773.

On his death bed, in Bohemia, he

dictated his autobiography to his son and died two days after it was completed.

A thoroughly popular composer of

28

his time.

{See Grove's Dictionary, Vol. II, p. 714.)

..

KONZERT IN Es-DUR FUR KONTRABASS UNO ORCHESTER Schott 2449, ed. L. and F. Jaeger, 1927. Orchestration available for purchase.

Difficult.

Piano reduction

available. Tuning:

I. II.

----9-.....------

1

b.

4/4, Allegro, 138m., E-flat major, sonata form. 4/4, Adagio, 34m., B-flat major, binary.

III.

2/4,

Presto, 243m., E-flat major, sonata form. This is a good work, well worth study and performance. Original MS in Grossherzogliche Regierungsbibliothek, Schwerin, Germany. Instrumentation 2-2-0-0; 2-0-0-0; strgs •

..

KONZERT E-DUR FUR CONTRABASS UNO ORCHESTER Schott 2473, ed. F. Tischer-Zeitz, 1938. Orchestration available for purchase. available.

____._________ 2

Tun i ng:

1

-?+--:_ __:: ;______

See Chapter I, pp. S-6.

2 Ibid.

Difficult.

Piano reduction

29

I.

4/4, Allegro moderato, 118m., E major, sonata form.

II.

4/8, Adagio, 62 m., A major, theme and variations.

III.

2/4, Allegro, 228m., E major, sonata form. This is a good work, possibly superior to the first

concerto.

Well worth study and performance.

Original MS

in Grossherzogliche Regierungsbibliothek, Schwerin, Germany. Instrumentation 2-2-0-0; 2-0-0-0; strg. Dragonetti, Domenico (1763-1846) Italian double bassist born in Venice.

Self-taught,

except for a few lessons from Berini, whom he succeeded at st. Mark's in 1782.

Went to London in 1794 where he

played at the Antien Concerts and in the Philharmonic for over fifty years.

As late as 1845, his virtuosity still

unimpaired, he led the double basses in the C minor Symphony at the unveiling of the Beethoven statue in Bonn. (See Elgar, More About the Double Bass, pp. 57-71.) CONCERTO OP. 1 Schneider (Ozalid), ed. Rudolph Malaric.

Moderately

difficult. MS British Museum Add. 17832. Orchestration available. Tuning:

•

Piano reduction unavailable.

30 Andante

I.

2/4, Andante, 72 m., G major, rondo.

II.

3/8, Presto,

238m., G major, rondo. This piece is sometimes referred to as a "student concerto".

It might well be considered a divertimento.

Instrumentation vln. I, vln. II, vla. CONCERTO OP. 2 Unpublished MS in British Museum Add. 17833.

Moderately

difficult. Orchestration in MS.

Piano accompaniment unavailable.

Tuning:

• Allegro

:tc r ttU lf1rti I.

1

f#fift rr _ 1

4/4, Allegro, 235m., C major, sonata form.

Andante, 43 m., G major, binary.

III.

II.

3/4,

3/8, Presto, 98 m.,

C major, rondo. Eighteenth century style.

Not quite so difficult as

some other Dragonetti pieces. Instrumentation 0-2-0-0; 2-0-0-0; vln. I and II, vla. I and II, bass.

31 A FAMOUS CONCERTO ~

Doblinger (Ozalid), arr. R. Malaric.

Moderately

diffieult. MS

British Museum Add. 17726.

Orchestration available in MS.

Piano accompaniment

available. ·Tuning:

I.

•

C, Maestoso un poco adagio (f=l26), 110m., F-sharp

minor, rondo.

II.

2/4, Allegretto, 201 m.,

A

major,

rondo. This piece is found in several of the Dragonetti in the British Museum and is usually called Solo In

MS

~ ~

MSS

Minor.

Add. 17726, these two movements appear in a series of

multi-movement divertimentos.

In this edition it is scored

for solo tuning, resulting in F-sharp minor.

A very

,effective work. Instrumentation 1-2-0-1; 2-0-0-0; strgs. MY FAVORITE CONCERTO Doblinger {Ozalid), arr. R. Malaric. Orchestration available. Tuning:

•

• ::t•

Difficult.

Piano reduction available.

32 ~

Allegro moderato

2\c -z rff lf)tfjf z

ffi 1f'ttf 1f¥

~

I.

c,

Allegro moderato, 223m., E minor, rondo.

II.

4/8,

Andante con moto, 69 m., A major, theme and variations. III.

6/8, Allegretto, 184m., E minor, rondo. This is a work demanding much technical display in

the same eighteenth century style of the other Dragonetti works. Instrumentation unknown. GRANDE CONCERTO

,

Doblinger (Ozalid), arr. R. Malaric.

Difficult.

MS British Museum Add. 17822. Orchestration unavailable.

Piano accompaniment avail-

able. Tuning:

-?+-:_ __..:;_____

Allegro con brio

I. II.

4/4, Allegro con brio, 192 m., D major, sonata form. 3/8, Andante, 72 m., B minor, ternary.

III.

2/4,

Allegro con moto, D major, rondo. Very similar to other Dragonetti works.

Rather ex-

33 tensive use of double stops.

ORIGINAL CONCERTO NO. 2 IN A Doblinger (Ozalid), ed. R. Malaric, 1966. MS

Difficult.

British Museum Add. 17822.

Orchestration unavailable.

Piano accompaniment avail-

able. Tuning:

•

Allegro

I.

4/4, Allegro, 291m., A major, sonata form.

Andante, 98

m., E

major, ternary.

III.

II.

4/4,

2/4, Allegretto,

176m., A major, variations. This is a good piece but it is more difficult, technically, than it appears at first glance.

There is a

cadenza in the first movement. CONZERT IN A, NO. 3

Doblinger (Ozalid), arr. Othmar Klose. Orchestration available. Tuning:

• -------

Difficult.

Piano reduction available.

34 I. II.

C,

c,

Allegro moderato, 289m., A major, sonata form. Andante, 80 m., A major, ternary.

III.

4/8,

Allegretto, 226m., A major, rondo. This concerto is similar to the second concerto but has, perhaps, a little more musical depth.

The solo part

commences with a cadenza and there is a second more extended cadenza later in the first movement. Instrumentation 0-2-0-1; 2-0-0-0; strg. CONCERTO NO. 4 IN E Doblinger (Ozalid) MR 16367, arr. Othmar Klose, 1967. Difficult. MS British Museum Add. 17829. Orchestration available.

Piano accompaniment available.

Tuning:

•

•

Allegro moderato

I. II.

4/4, Allegro moderato, 149m., E major, sonata form. 3/4, Adagio, 112m., A major, variations.

III.

2/4,

Allegretto, 162 m., E major, rondo. This concerto is more difficult than it would appear at first glance.

The second movement is particularly good.

Instrumentation unknown.

35 \

CONCERTO POUR CONTREBASSE A CORDES ET PIANO Leduc, ed. E. Nanny, 1925; International, ed.

s.

Sankey, 1963; Doblinger (Ozalid), arr. R. Malaric; Hofmeister, ed. Siebach.

Moderately difficult.

Orchestration available from Leduc on rental (through

u.s.

agent, M. Baron Co.), or for purchase from

Doblinger (through

u.s.

agent, AMP).

Piano accom-

paniment available for all editions. Tuning:

?'·

•

Allegro moderato

?"·*c I. II.

f) lfJclr!rfr i!JtrfcfE f rf rfr hr I AjZ

4/4, Allegro moderato, 122m., A major, sonata form. 4/4, Andante, 71 m., E major, binary.

III.

6/8,

Allegro giusto, 175m., A major, rondo. This work is not by Dragonetti, but it is an attempt by someone, possibly the original editor, M. Nanny, to write in the style of Dragonetti.

Musically it is limited,

but technically it lies well on the instrument and is rewarding to the performer. Instrumentation unknown. Findeisen, Theodore Albin (1881-1936) German double bassist who played in Leipzig and taught

36 at the Leipzig Conservatory.

Wrote extensively for the

double bass including studies, pieces and concertos. also for the keyboard, choir, and for solo voices.

Wrote (See

Merseburger, Kurzgefasstes Tonkunstlerlexikon, p. 161.) KONZERT OP. 15 Schmidt 4319, 1922.

Very difficult.

Orchestration available.

Piano accompaniment available.

Tuning:

I. II.

4/4, Allegro marcato, 313m., B minor, sonata form. 3/4, Andante, 117m., F-sharp minor, binary.

III.

2/4,

Allegro, 244m., D major, sonata rondo form. This is a long and strenuous work.

Conceived in a very

chromatic harmonic idiom, it tends to ramble, particularly in the first movement.

The first movement cadenza is ex-

tensive (60 m.), and difficult.

Dedicated to Franz Warnecke,

famous double bassist of Hamburg. Instrumentation unknown. II.

,.

KONZERT FUR KONTRABASS (IN EINEM SATZ) OP. 25 Schmidt 4391, 1926.

Difficult.

Orchestration available. able.

Piano accompaniment avail-

37

Tuning:

•

Allegro

?:c +~

~r~iid d21~fJ-- a~a#Ufi~W ~

One movement which divides itself into three sections: I.

4/4, Allegro, 222m., D major, ternary.

Andante molto, 49 m., B minor, ternary.

II.

III.

4/4,

4/4, Allegro

leggiero, G major and D major, 91 m., binary. This work is very rhapsodic in style.

The last section

is slightly reflective of the first, giving the piece an overall A B A form.

It is a piece of technical display but

not so difficult as the other concerto of this composer. Dedicated to Kurt Barth. Instrumentation unknown. Fontaine, Fernand Marcel See Chapter III. Franke, A. No biographical information available. CONCERTO PICCOLO Not available for examination. Geier, Oscar (1889-

)

German violinist born in Rosslehen.

Educated in

38

Sondershausen, studying with Petri and Spitzner. in various orchestras. Dresden State Opera. concertina.

Played

In 1915 he was solo viola at the Also wrote an opera and a clarinet

(See Merseburger,

Kurzgefasstes Tonkuntler-

lexikon, p. 187.) KONZERT FUR KONTRABASS UND ORCHESTER OP. 11 Hofmeister 11012, 1931, 1954. Orchestration available.

,

Moderately difficult.

Piano accompaniment

available. Tuning:

I.

II.

.•

•

•

4/4, Allegro moderato, 132 m., E minor, ternary and coda. 4/4, Adagio, 79

m., B major, ternary.

Allegro moderato, 132

III.

4/4,

m., E minor, ternary and coda.

The three movements together are a large ternary form, the final movement being a recapitulation of the first. The style of writing is rather impressionistic with use of whole-tone scales and planing of sonorities.

It is a com-

pact work and rewarding in relation to the effort expended. Instrumentation unknown. Geissel, Johann (1859-

?

)

39

Born in Bohemia.

A student at the Prague Conservatory

1873-1879 under Joseph and Vendelen Sladek.

From 1889,

Professor of double bass at the State Conservatory in Strassburg.

(See Warnecke,

~

Infinitum Der Kontrabass,

p. 92.) It

CONCERT FUR CONTRABASS OP. 32 Schott 27453.

Moderately difficult.

Orchestration unavailable. available. Tuning:

I.

, ..

Piano accompaniment

•

4/4, Maestoso- Allegretto grazioso, 188m., A

introduction and rondo. ternary.

III.

II.

~ajar,

3/4, Adagio, 83 m., D major,

4/4, Allegro molto, 182m., A minor, theme

and variations. This concerto is in a bravura style, but not overly difficult.

The construction is compact and concise.

is a gratifying piece to perform.

The Adagio movement,

in C major for orchestra tuning, is found in Solos Double Bass, Schirmer, ed. O.G. Zimmerman. Girotto,

v.

It

!2£

~

40 No biographical information available. FAUST CONCERTO Not available for examination. Grant, Parks (1910-

)

Born in Cleveland, Ohio. Columbus, Ohio, 1932.

B.M. Capitol University,

M.A. Ohio State University.

Studied

composition under Davidson in Columbus and Elwell at the Eastman School of Music, University of Rochester. Professor of Music, University of Mississippi.

Now

(See Reis,

Composers in America, p. 149.) INTEGRATED CONCERTO, 1946 Whitney-Blake.

Difficult.

,.. .

Orchestration available. Tuning:

: .

Piano reduction available.

•

Allegretto animato

~xi f Fc#1 fft[fl@dJ~IJ1tr~v """'"'"

~OY"\ \to~~ +-o

One movement which is cast in three parts: Allegro animato II.

(~=184-192),

I.

7/8,

182m., A minor, ternary.

5/8, Lento ()=56), 81 m., F major, ternary.

III.

7/8, Tempo II ()=144), 70 m., A major- A minor, binary. These three parts constitute one large quite symmetrical type of arch form.

The texture is rather contra-

41 puntal with passacaglia-like characteristics in repetition of a rather regular melodic idea with variations surrounding it.

The solo part is edited as to the function of the solo

line; S - solo, E - ensemble, 0 - obligato, B - background. Thus all parts are "integrated."

This concerto is well-

written for the instrument. Instrumentation 2 (picc.)-2-2 (b. cl.)-2; 3-2-1-1; tym., perc.; strg. Hassler, Louis No biographical information available. CONCERTO INC MINOR, OP. 14 FOR TUBA, DOUBLE BASS, OR BASSOON Oertel.

Easy.

Orchestration available on interlibrary loan from Fleisher Collection of the Free Library of Philadelphia. Piano accompaniment unknown. Tuning:

•

I. II. III.

4/4, Allegro moderato, 179m., C minor, sonata form. 6/8, Andante, 84 m., A-flat major, variations. 6/8, Allegretto, 91 m., C major, rondo. Musically, this concerto is a purely didactic work of

42 limited aesthetic value.

It utilizes only the middle and

lower range of the instrument.

The demands on the technique

are minimal. Instrumentation 2-2-2-2; 2-4-3-0; tym.; strgs. Hause, Wenzel (1764-1847) Bohemian double bassist who was the first Professor o! double bass at the Prague Conservatory, 1811-1845. Warnecke, Ad

Infinitum~

(See

Kontrabass, p. 80.)

CONCERTO IN D MAJOR

Not available for examination. H~dn,

Franz Joseph (1732-1809)

Renowned Austrian composer.

Born in Rohrau-on-the

Leitha in southern Austria, the son of Matthias Haydn. Studied at St. Stephen's in Vienna from about 1740-1748. Continued private study in Vienna and worked as a free lance musician until 1758 when he was appointed Music Director at the court of Count Morzin, a Bohemian nobleman.

In 1761, Haydn entered the service of Prince

Esterhazy and

con~inued

family until his death.

in the employ of the Esterhazy In 1791, and again in 1794, he

made extended visits to England and enjoyed great success there.

In 1801 his health began to fail, and he lived in

retirement for the remainder o! his life.

Compositions

include symphonies, concertos, chamber music, operas, and church music.

(See Baker's Biographical Dictionary, pp.

43 6?5-679.)

..

KONZERT FUR KONTRABASS Unpublished MS, now lost. Tuning:

Date of composition unknown.

?

This work is found in early listings of

H~dn's

works,

including the Elssler catalogue of 1805, and the Fuchs catalogue of 1841.

Since that time the work has disappeared.

In the Elssler listing it is referred to as "per il violone. ·~ In the Fuchs catalogue it is "fi.ir Kontrabass."

The incipit

is found in the Hoboken Verzeichnia, Vol. I, p. 533.

(See

Chapter I, p. 5.) Henze, Hans Werner See Chapter III. Hertl, Frantisek (1906Czech double·bassist.

) Graduated from the Prague Con-

servatory in double bass and composition, studying the with Jaroslav Ridky.

lat~er

As a young man, principal double bass

at the National Theatre in Luibljana and teacher of double bass in the Musical Institute there.

Later, principal

44 double bass of the Czech Philharmonic.

For some years,

principal double bass of Czech Radio Orchestra and Czech Nonet.

Since 1950, Professor of double bass and chamber

music Prague Conservatory and Academy of Musical Arts. Has written much instrumental music, including a sonata for double bass.

(See Gardavsky, Contemporary Czech Com-

posers, p. 155.) CONCERTO PER CONTRABASSO ED ORCHESTRA, 1957 Panton, P 067, 1960.

Difficult.

Orchestration available on rental.

Piano accompani-

ment available. Tuning:

•

I. II.

4/4, Allegro risoluto, 185 m., A major, sonata form. 3/4, Andante, 132 m., A major, ternary.

III.

2/4,

Allegro, 293 rn., A major, rondo. A well-constructed piece in a tonal medium.

The piece

lies well within the conventional technique of the double bass, therefore there are no serious technical problems. Dedicated to Mr. Zdenka.

World premiere April, 1958,

Prague, Frantisek Posta, Czech Broadcast Symphony, Alois

45

Klima. Instrumentation 2 (picc.)-0-2 (b. cl.)-2; 2-2-0-0; tym.; hp.; strg. Hindle, Johann J. (1792-1862) Viennese double bass virtuoso.

He was a pupil of

Dragonetti and sometimes is called the German Dragonetti. (See Merseburger, Kurzqefasstes Tonkunstlerlexikon, p. 254,

and Carse, The Orchestro from B@tithovtn

i2

a~rl_iE>z,

p. 254

and p. 293.) CONCERTO IN B FLAT Not available for examination. Hoffmeister, Franz Anton (1754-1812) German composer and publisher. young to study law.

Went to Vienna when

About 1775 he turned to music and

began composing chamber music and opera.

In or about 1783,

founded the publishing firm, famous for its connections with Mozart and Beethoven, which became the house of C.F. Peters.

Wrote an enormous amount of chamber music.

One of the composers attached to Schikaneder's Theatre der Wieden.

~

(See Grove's Dictionary, Vol. IV, p. 315.)

CONCERTO NO. 1 IN E FLAT MS in Grossherzogliche Regierungsbibliothek, Schwerin, Germany.

Scheduled for publication May 1969, ed. by

R. Malaric. Not available for examination.

.. D FUR

KONZERT NO. 2 IN

46 CONTRABASS UND ORCHESTER

Ars Viva Verlag 999, Schott, Doblinger. Orchestration unavailable. able. Tuning:

Difficult.

Piano accompaniment avail-

, ..

Moderato

I.

4/4, Moderato, 193m., D major, sonata form.

Andante, 71 m., A major, binary.

III.

II.

6/8,

3/4, Moderato,

167m., D major, rondo. The entire work is well within the conventional technique.

The double stops are plentiful, but not

difficult.

Musically, the work.is typical of the period,

but not too interesting.

·J Holzhauer, Ignace (1711-1783) Austrian composer.

After study in Italy and some

success in opera composition, he went to Mannheim in 1753 and was in charge of the opera there for

twenty~five

years.

As an instrumental composer he was one of the more independent representatives of the Mannheim School under the influence of Johann Stamitz. (See Grove's Dictionary, Vol. IV, p. 339.)

47 CONCERTO Not available for examination. Hrabe, Joseph (1816-1870) Bohemian double bassist. servatory with Wenzel Hause.

Studied at the Prague ConSucceeded Hause in 1845 and

served as Professor at the Prague Conservatory until 1870. (See Warnecke, Ad

Infinitum~

Kontrabass, p. 80.)

CONCERT

Schmidt 2538 2086 (Simandl Adv. Sch. Vol. III). Difficult. Orchestration unavailable.

Piano accompaniment avail-

able. Tuning:

•

I.

4/4, Maestoso, 244m., A major, sonata form. Musically uninteresting.

Much like the concerto of

J.J. Abert. Huber, Joseph (1837-1886) German violinist and composer. Conservatory in Berlin.

Studied at the Stein

Also studied in Weimar.

From 1865

48 a member of the Court Orchestra at Stuttgart. Thompson,

~International

(See

Cyclopedia, p. 1014.)

CONCERTO FOR DOUBLE BASS Not available for examination. Klose, Othmar (1889Austrian composer.

Studied at the Vienna Conserva-

tory; piano and composition (Leschetizky).

For several ·

yearB in New York at Radio Station WEAF and Irving Place Theatre. dance.

Composer of opera, operetta, and music for modern Composer and editor of much double bass music.

(See Klose in Correspondence Bibliography.)

..

CONCERT IN A FUR CONTRABASS U. ORCHESTER OP. 18, 1950 Doblinger D 8434, ed. R. Malaric.

Difficult.

Orchestration available for purchase.

Piano accom-

paniment available. Tuning:

•

Moderato maestoso

f171

/

r I.

4/4, Moderato maestoso, 239m., A major, modified sonata

form. III. rondo.

II.

3/4, Andante cantabile, 106m., D major, binary.

4/4, Allegro con brio, 290m., A major, modified

49 Although a contemporary work, the harmonic and melodic styles of the past prevail. quite lyrical. matic.

The entire work is

The harmonic structure is somewhat chro-

The final movement recalls thematic material from

the first movement within the rondo form.

Rewarding in

proportion to the demands on the player. Instrumentation 1-1-2-1; 2-1-1-0; perc.; strg. Kohaut, Karl (1736-1800) Austrian of high court position with whom music was a sideline.

Whether he was a brother of Joseph Kohaut

cannot be determined, but like Joseph he was also a lutenist. CONCERT

.. FUR

(See Eitner, Quellen Lexikon, Vol. V, p. 409.) CONTRABASS UND ORCHESTER (PIANOFORTE)

Doblinger (Ozalid) MR 17765, arr. R. Malaric. Orchestration available from arranger.

Difficult.

Piano accom-

paniment available from publisher. Tuning:

• :::Moderate)

I.

4/4, (Moderato), 73 m., A major, monothematic sonata

form.

II.

2/4, Adagio, 52 m., A minor, ternary.

(Allegro), 266m., A major, rondo.

III.

3/8,

50 This edition is taken from a manuscript which contains all of the solo part, but only fragments of the orchestral score.

In this edition the work lies quite well on the

I

instrument.

Style is typical of the eighteenth century

common practice.

The MS is in the Bibliothek der

Gesellschaft der Musicfreunde des Osterreichischen Staats in Wien. -

Instrumentation unknown.

Kohl,

w. No biographical information available.

CONCERTO FOR DOUBLE BASS Not available for examination. Kolb, J. Biographical information uncertain. Johann Baptiste, a pupil of F.J. Haydn.

Perhaps (See Eitner,

Quellen-Lexikon, Vol. V, Pe 410.)

CONCERTO IN E Not available for examination. Koussevitzky, Serge Alexandrovitch See Chapter III. Kuchyhka, Voyta (1871-1942) A member of a family of double bass virtuosos, this man was principal double bass in the National Theatre in Prague for thirty-four years.

He graduated from the Prague

51 Conservatory in 1891.

His other compositions include

pieces for orchestra, double bass, piano, and many songs. (See Merseburger, Kurzgefasstes Tonkunstlerlexikon, p. 324.) CONCERTO NO. 1 FOR DOUBLE BASS Not available for examination. Lancen, Serge (1915-

)

French composer, born in Paris. Landowski.

Original name,

Educated at the National Conservatory in Paris.

Prix de Rome, 1950.

Presently residing in Paris.

Com-

positions include five operas, one symphony, symphonic poem, two ballets, choral works, chamber music, film scores, concertos for piano, bassoon, and violoncello. and Townsend,

Who's~

CONCERTO POUR

CONT~BASS

(See Simmons

in Music, p. 246.) ET CORDES

Editions Francaises, 1962.

Difficult.

Orchestration available for purchase.

Piano reduction

available. Tuning:

•

I.

3/4- 2/4, Moderato