Domenico Dragonetti, Claudio Marignon, Orchestra Di Padova E Del Vento, Ubaldo Fioravanti, Teodora Campagnaro – Dragonetti: Double Bass Concerto.
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At the age of thirteen, Dragonetti was appointed principal player at the Opera Buffa in Venice. Many years afterwards Dragonetti related the following anecdote to Samuel Appleby, Esq.
He left Venice on 16 Septemberpartly under the influence of his friend, Giovanni Battista Cimador who composed a concerto for double bassand participated in the first rehearsals at the King’s Theatre, on 20 October and finally appeared as orchestra member in the opera Zenobia in Palmiraby Giovanni Paisiellodomneico 20 December As remuneration for renouncing the offers and remaining as principal bassist with the orchestra of the Ducal Chapel of St Mark’s in Venice an orchestra of considerable importancea decree made in gave Dragonetti a financial gratuity.
It was particularly important at a time when the role of the double bass in the orchestra was to assist the concertmaster in maintaining the cohesion and establishing the tempo. Composerdoubel bassistpedagogue.
He began playing the guitar and the double bass by himself on his father’s instruments. Mention is made of do,enico on The Contrabass Domeico web site which says By that time he had become notable throughout Europe and had turned down several opportunities, including offers from the Tsar of Russia. Palmer Clarendon Press Oxford seems to offer the most plausible account. The visit was a huge success and generated some of his best known work.
Domenico Dragonetti – Wikipedia
Liben Publishers,piano score p. Some were directly bequeathed by Dragonetti, some were offered by Vincent Novelloand some were bought at auctions. At fourteen he was appointed principal double bass player in the Grand Opera Seria at the San Benedetto theatre. One of his concertos was particularly remarked by the queen of Naples.
Berenzi, who suggests that the instrument may have 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. 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. Fiona Palmer, Domenico Dragonetti in England — pub.
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. Similarly, it is reputed that Dragonetti was presented with an instrument made by Gasparo da Salo — by the Benedictine nuns who occupied St Peter’s monastery in Vicenza where Dragonetti lived and played in the Grand Opera.
Double Bass Concerto in G major, Op.1 (Dragonetti, Domenico)
He later was offered a place by the Tsar of Russia, which was declined and got him a salary raise in the Chapel. On that second occasion, Haydn met Xomenico, who became a very good friend, and who visited him in Vienna in 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.
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. He finally joined the institution on 13 September as the last of the five double bass players of the Chapel with a yearly income of 25 ducats.
Concerto for double bass and piano.
Domenico Dragonetti – Concerto for Double Bass – Music Sales Classical
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. In his remains were moved basw the Roman Catholic cemetery at Wembley.
Dragonetti came back to Vienna for an extensive stay in When about eighteen, in Trevisohe was invited to join the quartet of the Tommasini, and was noticed by Morosiniprocurator of San Marcowho indulged him in auditioning for the admission in the Chapel of San Marco. To this day, the mastering of the Beethoven double bass symphonic parts are considered a basic standard for all orchestral double bass players.
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. A hand dragonetyi with five fingers so long, big and agile, that all five, including the bent thumb, go up and down the fingerboard each playing a note.
He was acquainted with composers Joseph Haydn and Baxs van Beethovenwhom he visited on several occasions in Viennaand to whom he showed the possibilities of the double bass as a solo instrument.
He is also remembered today for the Dragonetti bowwhich he evolved throughout his life.
The physical quality is his huge hand: He was now – in the spring ofso far as the means are at hand of determining the time – returning to London from a visit to his native city, Venice, and his route took him to Vienna, where he remained several weeks. He took part between andin forty-six concerts held by the Philharmonic Society of London. They made a specialty at playing Arcangelo Corelli ‘s sonatas. At the age of 82, Dragonetti visited Bonn in August to participate in the 3-day music festival held as part of the inauguration of the Beethoven Monument there.