Solo works for double bass
1700
The double bass as a solo instrument enjoyed popularity during the 18th century, and many of the most popular composers of the era wrote pieces for double bass. The double bass, then often referred to as the barrel Violone use different from region to region. Tuning "" Vienna (A1-DF ?-A) is popular, and in some cases even the fifth or sixth string string added (A1-F1-DF ?-A). The popularity of the instruments that are documented in the second edition of Leopold Mozart Violinschulë, where he wrote "One can bear the hard part is easier with violone five-string, and I hear the beautiful looks incredible concerto, trio, solos, etc." The earliest known concerto for double bass, written by Joseph Haydn ca.1763, and was considered lost in the fire in the library Eisenstadt. There is a known early concerto by Karl Ditters Von Dittersdorf, who composed two concertos for double bass and the Sinfonia Concertante for violin and bass. Other composers who have written concertos from this period include Johann Baptist Vanhal, Franz Anton Hoffmeister (3 concertos), Leopold Kozeluch, Anton Zimmermann, Antonio Capuzzi, Wenzel Pichl (two concertos), and Johannes Matthias Sperger (18 concertos). While many of these names are public figures to the music of their time, they are generally not known by contemporary audiences. Wolfgang Amadeus Mozart's concert aria's, "Per Questa Bella Mano", K.612 for bass, double bass obbligato, and orchestra contains impressive writing for solo double bass period. It remains popular among today's singer and double bassists.
The double bass eventually evolved to fit the needs of orchestras that required lower notes and loud. The leading double bassists from the mid-to late-18th century, such as Josef Kämpfer, Friedrich Pischelberger, and Johannes Mathias Sperger working with the "Viennese" tuning. Bassist Johann Hindle (1792-1862), who composed a concerto for double bass, pioneered tuning the bass in four, which marked a turning point for the double bass and its role in solo works. Bassist Domenico Dragonetti was a leading musical figure and an acquaintance of Haydn and Ludwig van Beethoven. His playing was known all the way from his native Italy to Tsardom Russia and he found a prominent place performing in concerts with the London Philharmonic Society.
Beethoven's friendship with Dragonetti may have inspired him to write difficult, separate parts for double bass in his symphonies, like the parts that impressive in the third movement of the Fifth Symphony and the last movement of the Ninth Symphony. This section does not double the cello part. Dragonetti wrote ten concertos for double bass and lots of bass and piano solo works. Rossini lived in London during the summer of 1824, he composed his Duetto for cello and double bass for Dragonetti and cellist David Salomons. Dragonetti frequently played on a three-string double bass tuned GDA from top to bottom. Use only the top three most popular strings for bass soloist and Head of bassists in the orchestra in the 19th century, because it reduces pressure on the top of bass wood, which is thought to create a more resonant sound. In addition, E "low" string that is used during the 19th century is a thick cord made from the intestines, which are difficult to tune and play.
1800
In the 19th century, opera conductor, composer, and bassist Giovanni Bottesini was considered "the Paganini of double bass" in his time. His composition written in the style of the popular Italian operas of the 19th century, who used double bass in a way not seen before. They need a big running jump for the virtuosic and highest registers of instruments, even within the scope of harmonics. This composition was deemed unplayable by many bassists in the early 20th century, but now often done. At the same time, a prominent school in the territory of the Czech bass players emerge, including Franz Simandl, Theodore Albin Findeisen, Josef Hrabe, Ludwig Manoly, and Adolf Mišek. Simandl and Hrabe educators who also continue to study methods and books used in the modern era.
1900-present
People from the double bass in the early twentieth century was Serge Koussevitzky, best known as the organizer of the Boston Symphony Orchestra, who popularized the double bass in modern times as a solo instrument. Because of improvements to the double bass with steel strings and a better set-up, now playing bass in a more advanced level than before and more and more composers wrote works for double bass. In the Middle Ages and in the decades that followed, concerti new, written for double bass, including Nikolaos Skalkottas's Concerto (1942), Eduard turbine's Concerto (1948), Lars-Erik Larsson's Concertino (1957), Gunther Schuller's Concerto (1962), Concerto and Hans Werner Henze's (1966).
From the 1960s until the end of the century, Gary Karr is a leading supporter of the double bass as a solo instrument and is active in commissioning or have hundreds of new works and concerti written especially for him. Karr doublebass solo given by Olga Koussevitzky Koussevitsky famous and playing in concerts all over the world for 40 years before, in turn, gives the instrument the International Society of Bassists for talented soloists to be used in concert.
In the 1970s and 1980s, concerti new including Nino Rota's Divertimento for Double Bass and Orchestra (1973), Jean Françaix's Concerto (1975), Einojuhani Rautavaara's Angel Of Dusk (1980), Gian Carlo Menotti's Concerto (1983), Christopher Rouse's Concerto (1985), and Brant Henry Ghost Nets (1988). In the 2000s, new concerti including Kalevi Aho's Concerto (2005), John Harbison's Concerto for violin Bass (2006), and André Previn's Double Concerto for violin, double bass and orchestra (2007).
Reinhold Glière write and distraction and Tarantella for double bass and piano, Op. 9, No. 1 and No. 2 and a Praeludium and Scherzo for double bass and piano, Op. 32 No.1 and No.2. Double Bass writes Paul Hindemith Sonata rhythmically-challenged in 1949. Giacinto Scelsi wrote two pieces of double bass called Nuits in 1972, and later in the year 1976, he wrote Maknongan, a piece for each instrument a low voice, like a double bass, contrabassoon, or tuba. Vincent Persichetti's solo writing-which he called "Parable"-for many instruments. He wrote the Parable XVII for Double Bass, Op. 131 1974. Sofia Gubaidulina wrote a sonata for double bass and piano in 1975. In 1977 the Dutch-Hungarian composer Geza Frid wrote a series of variations on the Elephant from Saint-Saens' Carnaval des Animaux Le scordatura for Double Bass and string orchestra. In 1987 Lowell Liebermann wrote his Sonata for contrabass and piano Op.24. Fernando Grillo wrote "Suite No.1" for double bass (1983/2005). Jacob Druckman wrote a piece for double bass solo entitled Valentine. U.S. double bass soloist and composer Bertram Turetzky (born 1933) has been performed and recorded more than 300 pieces written by and for him. He wrote chamber music, baroque music, classical, jazz, renaissance music, improvised music and world music
U.S. minimalist composer Philip Glass wrote a welcome focus on the low register which he scored for timpani and double bass. Italian composer Sylvano Bussotti, covering up his career from 1930 to the 2000s, wrote a masterpiece bass solo in 1983 titled Naked Angel Face per contrabbasso. Fellow Italian composer Franco Donatoni wrote a piece called Glue for contrabbasso in the same year. In 1989, French composer Pascal Dusapin (born 1955) wrote a piece called In et Out solos for double bass. In 1996, the Sorbonne-trained Lebanese composer Karim Haddad comprises Ce qui dort dans l'ombre sacrée ("He who sleeps in the shadow of the sacred") for the Radio France Festival Attendance. Renaud Garcia-Fons (born 1962) was a double bass player and composer of France, famous for drawing on jazz, folk and Asian music to recordings of this work, such as Oriental Bass (1997). Two significant new works written for solo bass covers, synchronisms Mario's No.11 Davidovsky for double bass and electronic sounds and Elliott Carter's Figment III, for double bass solo.
Double bass ensembles
Active double bass ensembles include L'Orchestre de Contrebasses (6 members), Bass Instinct (6 members), Bassiona Amorosa (6 members), the Chicago Bass Ensemble (4 + members), The Gang Bass (4 members), London Double Bass Ensemble (6 members) was established by members of the Philharmonia Orchestra of London, who produced the LP Music interludes by London Double Bass Music Ensemble at Bruton records, and the ensembles of Ball State University (12 members) and the Hartt School of Music. The Bass Base Amarillo Amarillo, Texas once featured 52 double bassists, and The London Double Bass Sound, which has released a CD Cala Records, has 10 players.
The whole ensemble of double bass, although relatively rare, also exist, and some of the composer written or arranged for such ensembles. Composition for four there is a double bass by Gunther Schuller, Jacob Druckman, James Tenney, Robert Ceely, Jan Alm, Bernhard Alt, Frank Proto, Joseph Lauber, Erich Hartmann, and Theodore Albin Findeisen. Bertold Hummel wrote piccola Sinfonia for eight double bass. Larger work of ensemble including Galina Ustvolskaya's Composition No. 2, "Dies Irae" (1973), for eight bass, double, piano, and a cube of wood, Jose Serebrier George and Muriel (1986), for bass solo, ensemble double bass, and chorus , and Samuel Gerhard What about my music! (1979), for soprano, percussion, double bass and 30.
Double bass ensembles
Active double bass ensembles include L'Orchestre de Contrebasses (6 members), Bass Instinct (6 members), Bassiona Amorosa (6 members), the Chicago Bass Ensemble (4 + members), The Gang Bass (4 members), London Double Bass Ensemble (6 members) was established by members of the Philharmonia Orchestra of London, who produced the LP Music interludes by London Double Bass Music Ensemble at Bruton records, and the ensembles of Ball State University (12 members) and the Hartt School of Music. The Bass Base Amarillo Amarillo, Texas once featured 52 double bassists, and The London Double Bass Sound, which has released a CD Cala Records, has 10 players.
The whole ensemble of double bass, although relatively rare, also exist, and some of the composer written or arranged for such ensembles. Composition for four there is a double bass by Gunther Schuller, Jacob Druckman, James Tenney, Robert Ceely, Jan Alm, Bernhard Alt, Frank Proto, Joseph Lauber, Erich Hartmann, and Theodore Albin Findeisen. Bertold Hummel wrote piccola Sinfonia for eight double bass. Larger work of ensemble including Galina Ustvolskaya's Composition No. 2, "Dies Irae" (1973), for eight bass, double, piano, and a cube of wood, Jose Serebrier George and Muriel (1986), for bass solo, ensemble double bass, and chorus , and Samuel Gerhard What about my music! (1979), for soprano, percussion, double bass and 30.
In addition, the double bass as some orchestras perform ensembles, such as the Chicago Symphony Orchestra's Wacker Consort. There are an increasing number of published compositions and arrangements for double bass ensemble, and the International Society of Bassists regularly features double bass ensembles (ensembles both small and very large "mass bass" ensembles) at the conference, and sponsors two annual David Walter Composition Competition, which includes the distribution for double bass ensemble works.
Double bass with the Chamber Music
There is a small body of works written for piano quintet with the instrumentation of the piano, violin, viola, cello and double bass. The most famous is Franz Schubert's Piano Quintet in A big, known as "The Trout Quintet 'to set the variation in the fourth movement of" Die Forelle Schubert. " Other works written for instrumentation from roughly the same period include those by Antonín Dvorák, Johann Nepomuk Hummel, George Onslow, Jan Ladislav Dussek, Louise Farrenc, Ferdinand Ries, Franz Limmer, Johann Baptist Cramer, and Goetz Hermann. Then the composer who wrote the works of room for this quintet, including Ralph Vaughan Williams, Colin Matthews, Jon Deak, Frank Proto, and John Woolrich. Slightly larger Sextets written for piano, string quartet, double bass and has been written by Felix Mendelssohn, Mikhail Glinka, Richard Wernick, and Charles Ives.
Larger works that incorporate double bass, including Beethoven's Septet in E-flat major, Op.20, one of the most famous during his lifetime, which consists of clarinet, horn, Bassoon, violin, viola, cello, and bass. When Ferdinand Troyer clarinet commissioned a work of Franz Schubert for the same power, he added one more for violin octet in F major, D.803. Paul Hindemith uses the same instrumentation as Schubert's octet for themselves. In the world of work is even greater, Mozart including the double bass in addition to 12 wind instruments "Gran Partita his" Serenade, K.361, and Martinu uses his double bass in the nonet for wind quintet, violin, viola, cello and double bass.
In the genre of string quintets, there are a few works for string quartet with double bass. Antonín Dvorák's String Quintet in G major, Op.77 and Wolfgang Amadeus Mozart Serenade in G major, K.525 ("Eine Kleine Nachtmusik") is the most popular pieces in our repertoire, along with the works of Darius Milhaud, Luigi Boccherini (3 quintets) , Harold Shapero, and Paul Hindemith. A little work with a small string double bass, including a six string sonatas by Gioachino Rossini, for two violins, cello and double bass at age twelve are written for three days in 1804. It remains the most famous instrumental works, and also has been adapted for wind quartet.
Since there is no set of instrumental ensemble that includes double bass, their use in incomplete chamber music as literature for ensembles such as string quartet or piano trio. However, there are a large number of works that combine space double bass both small and large ensembles.
Another example of the work rooms that use double bass in mixed ensembles including Serge Prokofiev's Quintet in G minor, Op.39 for oboe, clarinet, violin, viola, and double bass; Erwin Schulhoff's Concertino for flute / piccolo, viola, and double bass; waltz Fred Lerdahl for violin, viola, cello and double bass; Mario Davidovsky's Festino to guitar, violin, cello and double bass; and Iannis Xenakis's Morsima-Amorsima for piano, violin, cello and double bass.
