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Variations on 'God Save the King' for Double Bass and Piano

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Variations on 'God Save the King' for Double Bass and Piano Variations on 'God Save the King' for Double Bass and Piano ]oRtcTNAL vERsroN'l Domenico Dragonetti Piano Accompaniment by Betty Roe Maestoso arco trARraroN-t Poco meno mosso Allegro Copyright 2003 Recital N4usic Variations on 'God Save the King' for Double Bass and Piano Edited bv David Heves Domenico Dragonetti Piano Accompaniment by Betty Roe Maestoso arco VARIATION 1 I wART,AnoN7l Poco meno mosso Allegro I VARIATION 3 I @ Copyright 200,3 Recital Music Variations on 'God Save the King' for Double Bass and Piano Domenico Dragonetti Piano Accompaniment by Betty Roe Maestoso arco nf a) "f I l i1 - \l --l \- 1)* -4. I -) 19 a t lf r t_) | it l li )' =ll a4 - -) 24 rall. -f I -a-f? " 1- Vr I.' /tT, "f lrl + 7z=-- -* ?-) i.J.t > - indicates the theme O Copyright 200t Recital Music 53 -f a LJL J VARIATION 3 56 rall. trARr,AnoN Fl 86 Andante "f a t t+- + "f L o? D++;- 10 tr/AR-rAloN7l Moderato l=VARtAnoNE Allegretto DOMENICO DRAGONETTI Domenico Dragonetti was the greatest double bass player ol his age, was the first bass player to enjoy an international reputation, and was one of the leading figures in British musical life for over fifty years. Domenico Carlo Maria Dragonetti was born on 7 April 1763 in the parish of St. Trovaso in Venice. At the age of nine he "was accustomed surreptltiously to purloin his father's guitar, and in a remote quarter o{ the house to practise upon the instrumenl" and also received violin instruction from a local shoemaker, Giacomo Sciarmadori. "The slender assistance he derived from this goodnatured mechanic was sufficient for the lad (who at that time was not twelve years old) to conven his knowledge of the violin to the practice of the double bass..." Domenico studied with Michele Berini, lhe principal bass ot the Ducal Chapel at St. Mark's, but aJter eleven lessons, Berini declared that he could teach him nothing further. At the age of thirteen Dragonetti was appointed Primo Basso at the Opera Buffa in Venice, a year later held the same position at the Grand Opera Seria, and in 1787 succeeded Berini at the Ducal Chapel. His fame quickly spread throughout Europe "and when only eighteen years of age, he received a tempting offer to enter the service of the Russian Court; and in consequence he applied to the procurators of San Nlarco's for leave to resign: they however so fully appreciated his talent, that they increased his salary, and took upon themselves the office ot declining his acceptance of the offer from the court of Russia..." Dragonetti discovered his famous double bass, made by Gasparo da Sald, in Vicenza, having been engaged to perform there in the Grand Opera. The instrument had belonged to the monastery of San Pietro and the remarkable qualities of the bass have been documented many times. In 1794, recommended by the singer Madame Banti, Dragonetti was offered an engagement as principal bass at the King's Theatre in London. His fee was '€250 and benefit', Banti receiving '€1400 and one or two benefits'. His first benefit concert was held in the Concert Room of the King's Theatre on I May 1795 and the programme included two solos by Dragonettl, a Capriccio and a Concertone (a work he played on many occasions), songs by l\4adame Banti, an overture by Haydn, and the tickets " 1 0s.6d. to be had of l\i1r Draoonetti. No 29. Suttolk- street, Charing-cross etc." his first known residence in London. Dragonetti quickly established himself as a remarkable player, his reputation having preceded him, and he dominated the musical life of London and the provinces for over fifty years. In 1794 Robert Lindley (iZZ6- 1855) succeeded Sperati as principal cellist at the Opera, and "from this time to the date of his death in 1846, no great concert or musical festival, whether in London or the provinces, was considered complete without a performance by Dragonetti, and duets with Robert Lindley, the equally famous'celljst, were events o{ frequent occurrence. These two wonders played at the same desk at the opera and elsewhere for over half a century, and the story o1 their united career would be practically the story of musical progress in England during that period." Dragonetti and Lindley would often perform duets by Corelli, to great acclaim; and at the Seventh Philharmonic Concert of 1839 lhe review concluded: "Dragonetli and Lindley played the fourth sonata of Corelli (op.5) in their own inimitable style...Perhaps on no former occasion did this eminent pertormer ano Lindley exhibit their wonderful talents to greater perfectionl The double stops, and variations of Lindley's own creation, were given with a purity and roundness of tone whjch no living violoncellist can ever hope to rival, and the great Dragonetti proved himsel{, as we have before said unimpaired in his musical powers - and who can attempt to define lhem in language? The inseparable couple retired amidst a roar of applause, in which we joined with hand and heart." Dragonetti was universally acknowledged to be the finest double bass player in the world and received wonderful and glowing reviews wherever he performed. Dragonettj died in London on 16 April 1846 at the age ol 83, and "Count Pepoli, the ltalian poet, Mr. Novello, lvlr. Pigott and M. Tolbecque were with the musician during his last moments." Vincent Novello was one of the executors of the will and Dragonelti bequeathed his large library of vocal music, music scores and his own double bass compositions to him. Three years later, on his retirement to ltaly, Novello presented the manuscripts to the British Museum. Dragonetti's reputalion today rests on the many reviews of his wonderful performances as a soloist, chamber musician and orchestral player, alongside contemporary accounls of his eccentricities and unique mode of speech, and hjs name ranks alongside Bottesini and Koussevitsky as a double bass legend. David Heyes Somerset 2008.
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