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Wieniawski et Papini. Un critique de l’époque écrivit: Gran Concerto en fa dièse mineur pour contrebasse “Il faut entendre Bottesini en personne pour découvrir et orchestre, probablement une oeuvre plus tardive, est les possibilités cachées dans le géant des instruments à la composition la plus accomplie de Bottesini pour la BOTTESINI cordes -, pour entendre ce qui peut se faire en matière de contrebasse. La première date que l’on connaisse pour sonorité, de ton, de légèreté d’expression et de grâce.” son exécution est mai 1878; une exécution à Londres eut Andante sostenuto pour cordes fut écrit en avril 1886. lieu en mars 1887, deux ans avant la mort de Bottesini. Gran Concerto in F sharp minor Bottesini avait joué régulièrement à Londres pendant les Dans son Gran Concerto, Bottesini ne se contente pas de quelques premiers mois de cette année-là, mais la composer une pièce remarquable. Tandis qu’il explore Gran Duo Concertante composition eut lieu à Naples, ceci suivant le schéma les ressources de l’instrument au maximum (un fait général de la vie de Bottesini à cette époque: il avait évident pour l’exécutant mais pas toujours pour tendance à partager son temps entre Londres, pour le l’auditeur), il adopte un style de composition plus Thomas Martin, Double Bass travail, et Naples, pour la détente. impliqué: il y a une introduction orchestrale longue, les Duetto pour clarinette et contrebasse fut joué à une modulations sont beaucoup plus audacieuses et José-Luis Garcia, Violin • Emma Johnson, Clarinet occasion notable au Royal Italian Opera House, Covent emmènent la contrebasse dans des tons qui ne sont pas Garden, en septembre, 1865, la partie de clarinette étant aussi précis que toniques et dominants. English Chamber Orchestra • Andrew Litton jouée par M. Lazarus, le plus grand clarinettiste Dans ses compositions, Bottesini demeura toujours britannique de son époque. C’était dans le cadre d’une fidèle à l’école italienne mélodieuse mais, dans ses série annuelle de concerts en vogue avec une oeuvres plus tardives, sa gamme s’élargit, avec les distribution à vedettes dont Mlle Marie Krebs et Mlle influences de ses voyages perpétuels dans d’autres Carlotta Patti. Le Duetto suit essentiellement le même climats musicaux. schéma que le Gran Duo Concertante, mais, tout en étant tout aussi divertissant et tout aussi exigeant des exécutants, il est à une échelle légèrement moins grandiose. La clarinette doit avoir été un instrument familier à Bottesini, puisque son père était un Yngve B. Olsson 1986 clarinettiste connu. Traduction : Nathalie Ramond

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Giovanni Bottesini (1821–1889) Das Gran Concerto in Fis-moll für Kontrabaß und lange orchestrale Einführung. Die Modulationen sind Gran Concerto in F sharp minor • Gran Duo Concertante Orchester, wahrscheinlich ein späteres Werk, ist viel gewagter und führen den Kontrabaß in Tonarten, die Bottesinis vollendetstes Werk für Kontrabaß. Das nicht so genau wie Klang und Dominante sind. Giovanni Bottesini is famous as “the Paganini of the list of compositions. Bottesini subsequently appeared früheste Datum, das für eine Aufführung vorliegt, ist Bottesini blieb bei seinen Kompositionen der double bass” and there is rich evidence that such an with such celebrated violinists as Vieuxtemps, Mai 1878; eine Aufführung in London fand im März lieblichen italienischen Schule immer treu, jedoch epithet was well justified. As a virtuoso on his three- Wieniawski, and Papini. A contemporary critic wrote: 1887, zwei Jahre vor Bottesinis Tod, statt. In seinem weitere sich in seinen späteren Werken sein Bereich stringed instrument he was a sought-after performer on “It is necessary to hear Bottesini in the piece to discover Gran Concerto gibt sich Bottesini nicht mit der durch den Einfluß seiner ständigen Reisen in anderen both sides of the Atlantic. Ever since his first concert trip what possibilities are hidden in the giant of the stringed Komposition eines virtuosen Schaustückes zufrieden. musikalischen Klimas aus. abroad, from his native Crema in Northern Italy to instruments; to hear what can be done in the way of Während er die Ressourcen des Instruments völlig Havana, he travelled extensively all his life, sonorousness, tone, lightness of expression and grace.” ausnutzt (eine Tatsache die dem vortragenden Künstler, enthusiastically received everywhere, including at the Andante sostenuto for Strings was written in April jedoch nicht dem Zuhörer bewußt ist), adoptiert er hier Yngve B. Olsson, 1968 courts of Queen Victoria, Czar Alexander of Russia, and 1886. Bottesini had been performing in London during einen komplizierteren Kompositionsstil: wir haben eine Deutsche Fassung: Elke Davies the Emperor Napoleon III of France. He first visited the the first few months that year, but the composition took United States in 1847 and Britain in 1848, with his place in Naples, all in keeping with the general pattern London début in 1849. Like his double bass, however, of Bottesini’s life at that period: he tended to divide his Bottesini himself had three strings to his life: he was not time between London for work and Naples for Giovanni Bottesini (1821–1889) only the virtuoso, but also conductor and composer. His relaxation. Gran Concerto en fa dièse mineur • Gran Duo Concertante most spectacular performance as a conductor was no Duetto for Clarinet and Double Bass was performed doubt at the première of Aida in Cairo in 1871, on on one notable occasion at the Royal Italian Opera Giovanni Bottesini est connu comme ‘le Paganini de la Il devient de plus en plus possible d’apprécier Verdi’s own recommendation, but he also held such House, Covent Garden, in September 1865, the clarinet contrebasse’ et il existe de bonnes raisons justifiant tout Bottesini en tant que compositeur grâce à l’intérêt actuel important posts as that of Music Director and Conductor part being played by Mr Lazarus, the greatest British à fait un tel épithète. Sa qualité de virtuose sur son pour ses compositions, qui, pendant trop longtemps, ont at Covent Garden in London and the Italian Opera in clarinettist of his time. This was part of a popular instrument à trois cordes en faisait un exécutant été négligées. Il n’a pas simplement écrit nombre Paris. promenade concert with a star-studded cast including recherché des deux côtés de l’Atlantique. Depuis le jour d’œuvres pour son propre instrument; il s’exprima aussi A full appreciation of Bottesini as a composer is Mlle Marie Krebs and Mlle Carlotta Patti. The Duetto de son premier voyage pour des concerts à l’étranger de sous des formes aussi variées que les chansons légères, becoming increasingly possible owing to the current follows mainly the same pattern as the Gran Duo sa Crema natale dans le Nord de l’Italie à La Havane, il les quatuors à cordes et les grands opéras tels que Colón interest in his compositions, which for too long have Concertante, but while equally entertaining and equally voyagea énormément toute sa vie, reçu avec en Cuba (La Havane 1847; habituellement appelé been neglected. Not only did he write numerous works demanding on the performers, it is on a slightly less enthousiasme partout, y compris dans les cours de la Cristoforo Colombo), L’assedio di Firenze (Paris 1856), for his own instrument; he also expressed himself in grandiose scale. The clarinet must have been a familiar reine Victoria, du tsar Alexandre de Russie et de Ali Babà (Londres 1870), et Ero e Leandro (Turin 1879, forms as varied as art songs, string quartets and grand instrument to Bottesini, as his father was a well-known l’empereur Napoléon III en France. Il alla aux États- composé en 1875). operas such as Colón en Cuba (Havana 1847; usually clarinettist. Unis pour la première fois en 1847 et en Grande- Gran Duo Concertante pour contrebasse, violon et referred to as Cristoforo Colombo), L’assedio di Firenze Gran Concerto in F sharp minor for Double Bass Bretagne en 1848 avec sa première apparition en public orchestre devint l’une des compositions de Bottesini les (Paris 1856), Ali Baba (London 1870), and Ero e and Orchestra, probably a later work, is Bottesini’s à Londres en 1849. Cependant, comme sa contrebasse, plus aimées. Elle commença comme une œuvre plus Leandro (Turin 1879, composed in 1875). most accomplished composition for the double bass. The Bottesini lui-même avait trois cordes à sa vie: il n’était ancienne pour deux contrebasses, mais l’une des parties Gran Duo Concertante for Double Bass, Violin and earliest date known for a performance is May 1878; a pas simplement le virtuose mais était aussi chef de contrebasse fut récrite pour le violon et Orchestra became one of Bottesini’s most popular London performance took place in March 1887, two d’orchestre et compositeur. Son exécution la plus considérablement développée par Camillo Sivori, le seul compositions. It began as an early work for two double years before Bottesini’s death. In his Gran Concerto spectaculaire en tant que chef d’orchestre fut, sans aucun et unique disciple de Paganini et, à un moment, le basses, but one double bass part was rewritten for the Bottesini is not content with writing a virtuoso show- doute, à la première de Aida au Caire (1871), sur la compagnon de tournée de Bottesini. Sivori doit avoir eu violin and greatly expanded by Camillo Sivori, the one piece. Whilst exploiting the instrument’s resources to recommandation de Verdi, mais il occupa aussi des une haute opinion de sa contribution puisqu’il and only disciple of Paganini and at one time Bottesini’s the full (a fact evident to the performer but not always. postes aussi importants que directeur musical et chef revendique la partie pour violon dans sa propre liste de touring companion. Sivori must have thought highly of to the listener), he is adopting a more involved d’orchestre à Covent Garden à Londres et à l’Opéra compositions. Bottesini se produisit, par la suite, avec his contribution, for he claims the violin part in his own compositional style: there is a lengthy orchestral italien à Paris. des violonistes aussi célèbres que Vieuxtemps, 8.570397 2 7 8.570397 570397bk Bottesini EU 20/2/08 16:28 Page 6

Giovanni Bottesini (1821–1889) introduction, the modulations are much more range broadened with the influences of his constant Gran Concerto in Fis-moll • Gran Duo Concertante adventurous and take the double bass into keys that are travels in other musical climates. not as clear-cut as tonic and dominant. Giovanni Bottesini war als ‘der Paganini des Kontrabaß’ wurde von Camillo Sivori, dem einzigen Schüler In his compositions Bottesini always remained true bekannt und es liegen viele Beweise dafür vor, das Paganinis’ und zeitweilig auch Bottesinis Begleiter auf to the mellifluous Italian school but in his later works his Yngve B. Olsson, 1986 dieses Attribut wohl gerechtfertigt ist. Als Virtuose Tournee, für die Violine umgeschrieben und erheblich seines dreisaitigen Instruments war er ein gefragter erweitert. Sivori muß von seinem Beitrag eine hohe vortragender Künstler auf beiden Seiten des Atlantik. Meinung gehabt haben, denn er beansprucht die Seit seiner ersten Konzertreise ins Ausland, von seinem Violinpartie auf der Liste seiner eigenen heimatlichen Crema in Norditalien nach Havanna, reiste Kompositionen. Bottesini trat hiernach mit solchen er sein ganzes Leben hindurch viel und wurde überall, gefeierten Violinisten wie Vieuxtemps, Wieniawski und einschließlich an den Höfen der Königin Viktoria, des Papini auf. Ein zeitgenössischer Kritiker schrieb: “Man Zaren Alexander von Rußland und des Kaisers muß Bottesini mit diesem Stück hören, wenn man Napoleon III., mit Begeisterung aufgenommen. Er herausfinden möchte, welche Möglichkeiten im Riesen besuchte die USA zum ersten Mal 1847 und der Streichinstrumente stecken; um zu hören, was in Thomas Martin Großbritannien 1848 und machte sein Debüt in London Bezug auf Wohlklang, Ton, Leichtigkeit an Ausdruck im Jahr 1849. Genau wie der Kontrabaß hatte auch und Anmut erreicht werden kann.” Thomas Martin studied in America under Harold Roberts, Oscar Bottesini selbst drei ‘Saiten’ in seinem Leben: er war Andante sostenuto für Streicher wurde im April Zimmerman, and Roger Scott, and has held leading positions with the nicht nur der Virtuose, sondern auch Dirigent und 1886 komponiert. Bottesini war während der ersten Buffalo Philharmonic and Israel Philharmonic Orchestras and as a Komponist. Sein spektakulärster Auftritt als Dirigent Monate dieses Jahres in London aufgetreten, principal with l’Orchestre Symphonique de Montréal, the Academy of St war zweifellos bei der Premiere von Aida in Kairo komponierte das Werk jedoch in Neapel, wodurch sich Martin-in-the-Fields, the English Chamber Orchestra, the City of (1871) auf Verdis eigene Empfehlung hin, sondern hatte das allgemeine Muster von Bottesinis Lebensweise zu Birmingham Symphony Orchestra, and latterly, the London Symphony auch derart wichtige Posten wie Musikalischer Direktor dieser Zeit widerspiegelt: er tendierte dazu, seine Zeit Orchestra. He has been Principal Double Bassist with the Oxford und Dirigent in Covent Garden in London und der zwischen Arbeit in London und Entspannung in Neapel Philomusica since its first season. He now also pursues an interest in solo Italienischen Oper in Paris inne. zu teilen. playing, appearing in recitals and concertos with orchestras around the Eine volle Wertschätzung Bottesinis als Komponist Duetto für Klarinette und Kontrabaß wurde bei globe. He has been Senior Professor of Double Bass at London’s Guildhall wird, aufgrund des gegenwärtigen Interesses an seinen einem denkwürdigen Anlaß im Royal Italian Opera School of Music for many years, was appointed International Chair of Kompositionen, die viel zu lange vernachlässigt wurden, House, Covent Garden, im September 1865 vorgeführt, Double Bass at the Royal Scottish Academy of Music in September 2007, zunehmend möglicher. Er schrieb nicht nur zahlreiche bei dem die Klarinette von Herrn Lazarus, dem größten gives master-classes internationally, and is responsible for many editions Werke für sein eigenes Instrument; er drückte sich britischen Klarinettisten seiner Zeit gespielt wurde. Es of music for double bass. He has served on many International zudem in den unterschiedlichsten musikalischen Formen bildete einen Teil eines populären Promenadenkonzerts Competition juries, and is also well known as a luthier, having so far made aus, wie zum Beispiel Kunstliedern, Streichquartetten mit vielen berühmten musikalischen Interpreten, over 140 basses. und großen Opern wie Colón en Cuba (Havanna 1847; einschließlich Mlle. Marie Krebs und Mlle. Carlotta gewöhnlich unter dem Titel Christoforo Colombo Patti. Das Duetto folgt in der Hauptsache demselben bekannt), L’assedio di Firenze (Paris 1856), Ali Baba Muster wie das Gran Duo Concertante, ist jedoch, (London 1870) und Ero e Leandro (Turin 1879, obwohl es genauso unterhaltend ist und den Interpreten komponiert 1875). gleichermaßen viel abverlangt, nicht ganz von derselben Gran Duo Concertante für Kontrabaß, Violine und Größenordnung. Bottesini war sicherlich mit der Orchester wurde zu einer der beliebtesten Klarinette vertraut, da sein Vater ein bekannter Kompositionen Bottesinis. Es begann als frühes Werk Klarinettist war. für zwei Kontrabässe, aber eine Kontrabaß Partitur 8.570397 6 3 8.570397 570397bk Bottesini EU 20/2/08 16:28 Page 4

José-Luis Garcia English Chamber Orchestra

Born in Madrid, José-Luis Garcia started violin studies with his father at the Formed in 1960, the English Chamber Orchestra is one of age of six. After winning First Prize in the 1960 Sarasate Violin Competition the world’s most distinguished ensembles and remains the he moved to London to study with Antonio Brosa at the Royal College of chamber orchestra of choice for many of the world’s Music and one year later won the Stoutzker Prize, the College’s senior violin greatest soloists. Benjamin Britten, the orchestra’s first award. In 1966, at the age of 22, he was appointed professor of violin at the patron, exerted a tremendous musical influence, and the Royal College, and in 1967 was honoured with the Harriet Cohen orchestra also enjoyed long relationships with Daniel International Award. For some twenty years he was leader/director of the Barenboim, Pinchas Zukerman, Murray Perahia and English Chamber Orchestra, with which he made many recordings. Over the Mitsuko Uchida. Today the English Chamber Orchestra last thirty years he has appeared as soloist with many of the major orchestras continues to attract musicians of the stature few chamber in Europe with distinguished conductors such as Sergiu Celibidache, with orchestras can match. From 2007 it has been resident whom he studied, Daniel Barenboim, Sir Colin Davis, Leonard Slatkin, orchestra for Grange Park Opera’s summer season, and in García-Asensio and others, from the mid-1980s extending his activities as a addition to its London concerts and tours in Britain and conductor and soloist to the United States and Canada. In 1992 he joined the © Alec MacNaughton across the world it presents highly successful Music faculty of the Queen Sofia School of Music in Madrid, serving also until 1999 Cruises. The orchestra is regularly invited to play for its as Music Director and Conductor of the orchestra. In December 2007 he was Patron HRH The Prince of Wales and has been chosen to record many film scores (including many John Barry awarded the Order Of Alfonso X ‘The Wise’ by King Juan Carlos for services soundtracks and Dario Marianelli’s Pride and Prejudice and Atonement). to music in Spain. © Carpenter Turner Andrew Litton

Emma Johnson MBE A graduate of the Fieldston School, New York, Andrew Litton holds degrees from the Juilliard School, having resolved from the age of ten One of the few clarinettists to have established an international career as a to be a conductor. The youngest-ever winner of the BBC International soloist, Emma Johnson has performed throughout the world and is especially Conductors’ Competition, he served as assistant conductor at La Scala popular in Britain where her concerts regularly sell out and her discs appear in and as Exxon/Arts Endowment Assistant Conductor for the the classical CD charts. She studied the clarinet from the age of nine and in Washington, DC National Symphony Orchestra under Mstislav 1984 won the BBC Young Musician of the Year Competition. She studied Rostropovich. For six years he was Principal Conductor of the Music and English at Cambridge University and was recently the first woman Bournemouth Symphony Orchestra, of which he remains Conductor to be awarded an honorary fellowship at Pembroke College, Cambridge. She Laureate, and for twelve years Music Director of the Dallas Symphony, was awarded an MBE in 1996. Emma Johnson plays over forty concertos, some of which he is now Music Director Emeritus. He has conducted many of which were written especially for her, with the world’s leading orchestras. major orchestras, and his varied recordings have won Grammy awards She is also in demand as a recitalist and chamber musician. A new development and nominations. In recognition of Litton’s advocacy of Elgar’s work, in her career has seen her directing from the clarinet, as well as conducting the Britain’s Elgar Society presented him its 2007 Award, one among Royal Philharmonic Orchestra and the London Mozart Players. Details of her many other honours, prizes and distinctions. Since 2003 he has also recordings, concerts and publications are available on her website been Music Director of the Bergen Philharmonic, while continuing a www.emmajohnson.co.uk. busy international career.

José-Luis Garcia English Chamber Orchestra

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CMYK NAXOS NAXOS Giovanni Bottesini was not only among the most famous double bass virtuosos of his time, but he was also a distinguished conductor and composer. Known to some as the Paganini of the double bass, he significantly extended the technical possibilities of the instrument. The Gran Concerto in F sharp minor is arguably Bottesini’s most accomplished and involved composition for the double bass in which the instrument’s resources are fully exploited with virtuoso 8.570397 BOTTESINI: BOTTESINI: passages and adventurous modulations. The popular Gran Duo Concertante, originally scored for two double basses, was reworked by Paganini’s only disciple, Camillo Sivori, who rewrote and greatly expanded one of the double bass parts for the violin. DDD

Giovanni Playing Time BOTTESINI 53:44 (1821–1889) 1 Gran Duo Concertante 15:28 Gran ConcertoinFsharp minor Gran Concerto in F sharp minor (for Violin, Double Bass and Orchestra) 2 Andante sostenuto (for Strings) * 6:50 3 Duetto for Clarinet and Double Bass * 8:22 Gran Concerto in F sharp minor * 23:03 4 Allegro moderato 11:47 5 Andante 6:39 6 Finale: Allegro con fuoco 4:37 www.naxos.com Notice enfrançais•MadeinGermany Booklet notesinEnglish•Kommentar aufDeutsch Naxos RightsInternationalLtd. 1986 & * First recording of the original version Thomas Martin, Double Bass

José-Luis Garcia, Violin • Emma Johnson, Clarinet 2008 English Chamber Orchestra Andrew Litton 8.570397 8.570397 Recorded in Henry Wood Hall, London, UK, in May 1986 Producer: Chris Hazell • Engineer: Tony Faulkner • Booklet Notes: Yngve B. Olsson Previously released on ASV DCA 563 • Cover Photograph: Double Bass by Hieronimus Amati II, 1680 photographed by Richard Valencia, London