Domenico Carlo Maria Dragonetti (7 April – 16 April ) was an Italian double bass One of his concertos was particularly remarked by the queen of Naples. When in Vicenza for an engagement at the Grand Opera there, he acquired. Dragonetti Concerto for Double Bass and Piano. edited by David Walter. In this high-quality publication, esteemed bassist and pedagogue David Walter offers a . of one of the most popular double bass works Son, Ltd., Liben has been able to produce a totally new edition of this staple of the double bass repertoire.
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Beethoven and he soon met and they were mutually pleased with each other. Some of the compositions by Dragonetti include. Dragonetti was again in Vienna in and got to meet once more Beethoven, who had just written Wellington’s Victoryto celebrate the victory of Wellington over the French armies of King Joseph Bonaparte at the Battle of Vitoria.
Domenico Dragonetti – Wikipedia
The authoritative source for information on him is the book of Dr. Dragonetti was known for his formidable strength and stamina.
After only a few months, he became very famous in London, and his brilliant career was to last till the end. Domenico Carlo Maria Dragonetti 7 April — 16 April was an Italian double bass virtuoso and composer with a 3 string double bass.
Today, many of his letters, personal papers, compositions, solos and manuscripts are to be found in the British Library. Concerto for double bass and piano.
This page was last edited on 8 Augustat Views Read Edit View history. Mention is made of this on The Contrabass Shoppe web site which says Retrieved from ” https: Liben Publishers,piano score p. In the Palmer biography, a footnote refers to a account by C. The unlucky contrabassists of orchestras had frequent occasions during the next few years to know that this new revelation of the powers and possibilities of their instrument to Beethoven was not forgotten.
The visit was a huge success and generated some of his best known work. They made a specialty dragoonetti playing Arcangelo Corelli ‘s sonatas.
Double Bass Concerto in G major, Op.1 (Dragonetti, Domenico)
He died in his Leicester square lodgings at the age of 83 and was buried on 23 April in the vaults of the Roman Catholic chapel of St Mary, Moorfields. He became very famous at the time, started playing solo pieces, which was exceptional at the time for the double bass, and even got elected as of the directors of a musical festival held for the coming of fourteen sovereign princes to the republic of Venice.
He had huge hands with strong, broad fingers, which allowed him to play with a taller bridge and strings twice as far from the fingerboard as the other bassists. Dragonetti was not more remarkable for his astounding execution than for the deep, genuine musical feeling which elevated and ennobled it. He began playing the basa and the double bass by himself on his father’s instruments. Composerdouble bassistpedagogue. Beethoven played his part, with his eyes immovably fixed upon his companion, and, in the finale, where the arpeggios occur, was so delighted and excited that at the close he sprang up and threw his arms around both player and instrument”.
On that second dragonettl he became friends with composer Simon Sechterwho would become the court organist inand professor of composition at the Vienna Conservatorium concetro Palmer Clarendon Press Oxford seems to offer the most plausible account. Another trip was therefore scheduled in The premiere of this work, as well as of Beethoven’s seventh symphony was performed on 8 December in the University’s Festsaal, with Dragonetti leading the double basses. This was not at all standard in these times, as most players used to play – in one position – one note with the index finger, and one with the other three fingers in combination.
He made a first attempt inwhich was lost to Antonio Spinelli. He is also remembered today for the Dragonetti bowwhich he evolved throughout his life. Later he became intimate with the Prince Consort and the Duke of Leinster.
Domenico Dragonetti – Concerto for Double Bass – Music Sales Classical
Dragonetti was a lover of the fine arts, and a collector of musical instruments as well as many art-related articles, such as original scores and paintings. Many years afterwards Dragonetti related the following anecdote to Samuel Appleby, Esq.
It was particularly important bbass a time when the role of the double bass in the orchestra was to assist the concertmaster in maintaining the cohesion bsas establishing the tempo. At the age of twelve, he was placed under the tuition of Berini, the best master for the double bass in Venice, who decided after only eleven lessons that he could not teach the boy anything more.
When about eighteen, in Trevisohe was invited to join the quartet of the Tommasini, and was noticed by Morosiniprocurator of San Marcockncerto indulged him in auditioning for the admission in the Chapel of San Marco. His ability on the instrument also demonstrated the relevance of writing scores for the double bass in the orchestra separate from that of the cellowhich was the common rule at the time.
In his remains were moved to the Roman Catholic cemetery at Wembley.
He was an avid collector, and did indeed collect dolls, sometimes taking one along on trips to amuse the children, of whom he was very fond. At the age of thirteen, Dragonetti was appointed principal cohcerto at the Opera Buffa in Venice. He was soon noticed by Doretti, a violinist and composer of ball music, who took him along for public performance in Venice.
On that second occasion, Haydn met Dragonetti, who became a very good friend, and who visited him in Vienna in One of his concertos was ddragonetti remarked by the queen of Naples. He wrote piano accompaniments to some of his concert pieces, and they maintained a lifelong correspondence.
When he died, the following instruments were dispatched: He soon became the principal bassist. At fourteen he was appointed principal double bass player in the Grand Opera Seria ddagonetti the San Benedetto theatre. He later was offered a place by the Tsar of Russia, which was declined and got him a salary raise in the Chapel. Berenzi, who suggests that the instrument may cohcerto been made for the monks of St Peter’s, Vicenza, by Gasparo da Salo, and acquired by the procurators of St Mark’s to entice Dragonetti to remain in their employ.