Academic literature on the topic 'Giovanni Bottesini'

This document traces a link between Pedro Valls and Giovanni Bottesini by identifying traits of Homenaje à Bottesini that resemble techniques and musical characteristics of Bottesini's music, through the comparison of Valls' Homenaje à Bottesini to Bottesini's Fantasia sur La Sonnambula, focusing on the works formal, musical and idiomatic characteristics. This is supported by documented evidence of Bottesini's presence in Spain during Valls's lifetime and Pedro Valls contact with the Italian master of the double bass school of playing and teaching method. This study also proposes adjustments in the notation of Homenaje à Bottesini to more modern and player-friendly score indications, which will help its inclusion into the active double bass repertoire. This document examines performance practice(s) of the work and what advantages or disadvantages these practices have in playing the work, and to ultimately offer a clear pathway, a road map, to performers interested in delving into Pedro Valls's work, with a better idea of what Valls's style consists of and what approach to take when performing his works.

Majoriteten av dagens musiklyssnande sker genom att lyssna på inspelningar. Av den anledningen har en stor del av kompositionen, arrangeringen och produktionen av musik idag anpassats för att göra sig bra i inspelad form. Ett av de få undantagen till detta är klassisk musik, av vilken de flesta inspelningar är i stort sett inspelade konserter med sparsam mikrofonuppsättning. Syftet med det här arbetet var att undersöka en alternativ inspelningsmetod med avseende på klang, ljudbild, intresse hos allmänhet, samt arbetsprocess under och inför inspelningen. I undersökningen spelades första satsen av Bottesinis andra kontrabaskonsert in, ett instrument i taget, för att sedan mixas för att skapa en annan typ av lyssningsupplevelse än den i konventionella klassiska inspelningar. Instudering, repetition, inspelning och post-produktion analyserades metodiskt och jämfördes med en vanlig konsertproduktion. Den färdiga inspelningen skickades också, tillsammans med två kommersiellt utgivna inspelningar av samma stycke, till tio personer som lyssnade på alla tre inspelningarna för att sedan svara på en enkät om hur de uppfattade inspelningarna. Resultaten visade att även om den är långt ifrån felfri, så finns det väldigt mycket outnyttjad potential med den här inspelningsmetoden. En hög nivå av musicerande uppnåddes, och en uppslukande mix kunde göras. Svaren på enkäterna visade också att en betydande del av deltagarna föredrog den här produktionen framför en konventionell inspelning. Detta tyder på att det finns stor potential för klassiska musiker att, med hjälp av alternativa inspelnings- och produktionsmetoder, nå ut till en bredare publik.

碩士
國立臺北藝術大學
管絃與擊樂研究所碩士班
94
Preface My Thesis bases on the History, Analysis, and the interpretation of Bottesini’s Concerto in f# minor. It also includes a survey of the relationship between Bottesini’s works and the bel canto style. Basically, I emphasize on two subjects, the life of Bottesini and the main debate of the order of Bottesini’s f# Concerto. To be precise, there is no bass history in Chinese, not to mention Bottesini’s biography. Therefore, it is reasonable to approach a thesis that has a wide application. Part I Outline of the Thesis Following is the Outline of my thesis: Introduction Chapter One: The Life of Giovanni Bottesini A) Youth, School Time, Debut Concert B) Orchestral Bassist and Itinerant Musician’s Life C) First Journey to American Continent (1846-1849) D) London Debut E) Conductor and Opera Composing (1853-1856) F) More Operas, Conducting Works and Touring as Bassist (1856-1870) G) Franco-Prussian War (1870-1871) H) Taking Refuge in England I) In Egypt, Aida J) Composer in Italy K) Director of Royal Conservatory in Parma and his Last Years Chapter Two: The Connection between Bottesini’s Work and “Bel Canto Style” A) Bel Canto and the Relation between String Instruments a) Breathing b) Resonance c) Vowel- Formation and “Attack” d) Sostennuto- Sustanied tone e) Legato- Slow Scale, registers f) Portamento g) The “Messa di Voce” h) Coloratura, ornaments The Bottesini’s Connection to Bel Canto Chapter Three: The Analysis of Concerto in #f minor A) The main debate: Is it No.1? B) Analysis First Movement Second Movement Third Movement C) The differences among Editions D) From the Orchestral point of view Chapter Four Performing interpretation A) Several Editions in Sound Recordings B) Interpretation from author Part II The Part of Main Debate in Chap. 3 Publications consider the Bottesini’s #f minor Concerto as Concerto No.1. Let us look at the subject from a different angle, is it No.1? Three of Bottesini’s concertos were published. Let us look at all these concerto as a whole. For example, if we follow the instruction of Grove Music Dictionary, we will get Botteini’s concertos in this order: “ Concerto in f# minor, (London 1892) - Concerto no.2 in b minor, (Vienna, 1950) "also as Concerto in c minor - Concerto in bravura (Vienna 1950)"-- Passione Amorosa is from concerto di bravura " If we regard this evidence as correct, it would be untrue to verify a hypothesis from this point of view. Regards the evidence from my reasearch:the figure extracts from the programme book for the Philharmonic Society, London, Monday, May 8, 1871, We can safely say that, Bottesini’s #f minor Concerto was written in 1867 in St. Petersburg . Figure 1: One possibility is to assume that at least 2 more concertinos had been performed before #f. (One in 1851 and the other in 1853, both in London). In fact, according to 1853’s review: “the new concerto is well orchestrated and pleasant to listen ”. It seems quite probable that these two performances, 1851 and 1853, were different repertoire. Now, one possibility is to assume that Concerto in Bravura is the first one, and concerto in b minor came after that. Or another possibility is that b minor is earlier than Concerto di Bravura. Indeed, we encounter difficulties when we try to explain some of the conclusion. But there is one thing for sure, in short, the Concerto in #f is the last concerto, not the earliest.

碩士
東吳大學
音樂學系
94
ABSTRACT This paper take the Bottesini's double bass work “Lucia di Lammermoor “ as the research foundation chooses this program to discuss music content original intention and the actual performance situation of. First introduced the biography material of Bottesini and Donizetti, as well as to understands the time background which Donizetti creates this opera, thoroughly understands the compose music creation style and the song structure content. After understood the original of work then analyzes its creation technique and performs to classify, the comparison, and makes the union at the actual performance, takes the annotation the basis. To discusses how unique sound in the double bass can sings and the Italian opera beautiful sound the law to unify, and in tune utilization of and root the subject, and penetration musical form analysis, music of characteristic induction Bottesini. Further causes this to dazzle the technique a fantasia richer Italy to contain, thorough discussion actual performance aspect question to take this of research aim and direction as present paper.