570399 bk Bottesini 8/6/08 12:57 PM Page 5

Begeisterung für die menschliche Stimme kommt auch Überall, wo er spielte, war das Publikum von der 4 Une bouche aimée Beloved lips in seinen Werken für Kontrabass zum Ausdruck. Als Brillanz seiner Technik gefesselt. Seine Freundschaft Une bouche aimée a dit à mon coeur: Beloved lips said to my heart: Komponist fand Bottesini Anerkennung, als mit Verdi, die 1844 begonnen hatte, führte dazu, dass “Viens, ô mon amour, ô toi, mon seul bonheur. “Come, O my love, O thou, my only joy. Kontrabass-Virtuose wurde er in allen Städten, die er dieser ihn als Dirigent für die erste Aufführung von Aida Viens, ah! viens mon coeur, Come, ah, come, my heart, besuchte, geradezu gefeiert: in St. Petersburg, London, in Kairo auserwählte und als Direktor des ô toi, mon seul bonheur. O thou, my only joy. Dublin, Paris und Wien ebenso wie in Buenos Aires und Konservatoriums in Parma empfahl. Diesen Posten Boston. Er spielte vor den meisten gekrönten Häuptern nahm er sechs Monate vor seinem Tod im Jahr 1889 an. Adieu les tristes automnes. Farewell sad autumns, Europas und wurde unter anderen von Zar Alexander II., Voici venir le printemps. Here comes the spring. BOTTESINI Kaiser Napoleon III. und Königin Victoria gepriesen. © Francesca Franchi La terre se couvre de fleurs, The earth is covered with flowers, les rayons dorés ont tari ses pleurs. the golden rays have dried her tears. Dans la feuille nouvelle In the new foliage Einige der schönsten Beispiele für Bottesinis sowohl den lyrischen Belcanto-Stil als auch die chante la tourterelle. sings the turtle-dove. Verwendung von Harmonien finden sich in der Fantasie Virtuosität seiner Technik. Das Werk erscheint in seiner La sève des bourgeons entr’ouverts The sap of the half-opened buds Fantasia ‘Lucia über Donizettis Oper „Lucia di Lammermoor“ – Tourneesammlung. du parfum des bois des prés verts fills the air zugleich eine seiner musikalischen Heldentaten, trug er Elegie in D ist eine der bekanntesten Kompositionen remplit les airs. with the scent of the woods and of the green meadows. doch das gesamte „Finale“ allein. Bottesinis für Kontrabass. Gelegentlich verknüpfte er di Lammermoor’ Romanza drammatica oder Elegia in e-Moll ist für das Stück als verlängerte Introduktion mit seiner Mon cher amour, ma vie, My dear love, my life, Bottesinis zahlreiche sangliche Kompositionen für berühmten Tarantella. ah! viens, mon seul bonheur, Ah! Come, my only joy, Kontrabass typisch und erinnert an seine melodischen Fantasia „Beatrice di Tenda“ gehört zu einer Reihe mon amour, mon bonheur.” my love, my joy.” Kompositionen für die Stimme. von Fantasien über Opernthemen, die Bottesini mit Fantasia ‘Beatrice Introduzione e bolero ist ein späteres Werk von großem Erfolg schrieb und aufführte. Diese Fantasien Une bouche aimée a dit à mon coeur: Beloved lips said to my heart: Bottesini. Obwohl er es mit viel Erfolg in London und basieren hauptsächlich auf Themen aus Werken “Come, O my love, O thou, my only joy. andernorts aufführte, wurde es gewiss für seine vielen Donizettis und Bellinis, von deren Opernstil Bottesini “Viens, ô mon amour, ô toi, mon seul bonheur. di Tenda’ Besuche in Spanien geschrieben, wo er sehr beliebt war. stark beeinflusst war. Die Fantasia „Beatrice di Tenda“ Viens, ah! viens mon coeur, Come, ah, come, my heart, Bottesini schrieb eine Vielzahl an Liedern jeglicher über Bellinis gleichnamige Oper ist eine seiner ô toi, mon seul bonheur, O thou, my only joy, Art, sowohl in seiner italienischen Muttersprache als schönsten. mon cher amour, ma vie. Viens mon coeur. my dear love, my life. Come my heart. Grande Allegro auch in französischer, englischer und spanischer Obwohl Bellini vielleicht den größten Einfluss auf Viens, ô mon seul bonheur, Come, O my only joy, Sprache. Une bouche aimée ist eines von mehreren, die Bottesinis Kompositionsstil ausübte, wurde dieser in Viens.” Come.” ein Obligato für ihn selbst enthalten. Er ging auf späteren Jahren auch von Mendelssohn stark beeinflusst. di Concerto zahllose Tourneen mit „Konzertgruppen“ von Das Grande Allegro di Concerto spiegelt dessen Stil Künstlern, zu denen oft die führenden Sopranistinnen wider. Der harmonische Gehalt fordert den Kontrabass Get this free download from Classicsonline! seiner Zeit wie Artot, Sontag, Patti und Florentini bis an die äußerste Grenze seiner Brillanz. Bellini: Songs: L’allegro marinaro zählten. Dieses Lied stammt wahrscheinlich aus der Copy this Promotion Code NaxHQ8edfXk3 and go to www.classicsonline.com/mpkey/bell7_main Zeit, als er ihn Paris tätig war. Deutsche Fassung von Elke Davies Thomas Martin, Capriccio di bravura ist eine von Bottesinis Bearbeitet von Thomas Theise Downloading Instructions erlesensten Kompositionen für Kontrabass und illustriert 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at Double Bass http://www.classicsonline.com/UserLogIn/SignUp.aspx. 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”. Anthony Halstead, Piano 8.570399 5 6 8.570399 570399 bk Bottesini 8/6/08 12:57 PM Page 2

Giovanni Bottesini (1821-1889) Artot, Sontag, Patti, and Fiorentini. This song probably performed with such success. These fantasies were Jacquelyn Fugelle Fantasia ‘Lucia di Lammermoor’ • Fantasia ‘Beatrice di Tenda’ comes from his tenure in Paris. mostly on themes from works by Donizetti and Bellini, Capriccio di bravura is one of Bottesini’s finest whose operatic style so influenced his writing. This Jacquelyn Fugelle studied at the London Guildhall School of Music and Drama, and in Rome Giovanni Bottesini, ‘the Paganini of the double bass’, The three strings were of gut and he used a slightly compositions for the double bass illustrating as it does fantasia on Bellini’s opera is one of the most beautiful of and Vienna. She was a prize-winner in the Kathleen Ferrier Memorial Competition, and won was born in Crema, Northern Italy, on 22nd December longer than average French bow. both the lyric ‘bel canto’ style and the virtuosity of his Bottesini’s fantasies. awards from the Countess of Munster Musical Trust, the Royal Society of Arts and the 1821 into a family of talented musicians. His own Bottesini gave his first public concert in Crema in technique. It appears in his Touring Collection. Although Bellini was perhaps the greatest influence Vaughan Williams Trust. She was awarded the Worshipful Company of Musicians Silver musical education began at the age of five, when he 1839 and in 1840 embarked on a concert tour of Italy Elégie in D is one of the best known of Bottesini’s on Bottesini’s composing style, in later years he was Medal. Following rôles with English National Opera and Scottish Opera she made her début studied violin with an uncle. He also sang as a treble in with his former fellow-pupil, Luigi Arditi. 1846 found compositions for the double bass. He also coupled it on also greatly influenced by Mendlessohn and the Grande at The Royal Opera House, Covent Garden to critical acclaim as Arbate in the award-winning church choirs and played timpani in several local the two friends in Havana and it was here that Bottesini occasion with his famous Tarantella as an extended Allegro di Concerto is a reflection of his style. The production of Mozart’s Mitridate. After several seasons with the Royal Opera she performed orchestras. When he was thirteen his father, having wrote his first opera, Cristoforo Colombo, which was introduction. harmonic content of the compositional style stretches at the Teatro Regio in Turin where she was based for some time. Apart from her operatic learned that there were two scholarship places available performed with great success. His composing career had Fantasia ‘Beatrice di Tenda’ is one of a number of the double bass to its absolute pyrotechnic limits. career which includes rôles such as Mimì, Turandot, the Countess and Electra, she has also at the Milan Conservatory, one for bassoon and the other begun while still at the Conservatory with a Quartet for fantasias on operatic themes which Bottesini wrote and performed in concert and oratorio across the globe from Guatemala to Iceland. As well as for double bass, asked him which he would like to apply Harps in B minor. His operas, and in particular Ero e international broadcasts for television and radio, she has given over sixty recitals for the BBC for. Young Bottesini chose the double bass, not because Leandro and Ali Babà were well-received in his lifetime with conductors including Bernard Haitink, Kurt Masur and Robin Stapleton. he already felt a particular attraction for the instrument, and his fascination for the human voice can also be seen Thomas Martin but mainly because of his previous knowledge of in his writings for the double bass. Although a stringed instruments. During his audition, after only four recognised composer it was as a virtuoso of the double Thomas Martin studied in America under Harold Roberts, Oscar Zimmerman, and Roger Giovanni Bottesini (1821-1889) lessons with Luigi Rossi, he so impressed the jury with bass thal he was acclaimed in all the cities that he Scott, and has held leading positions with the Buffalo Philharmonic and Israel Fantasia ‚Lucia di Lammermoor‘ • Fantasia ‚Beatrice di Tenda‘ his general musicianship that they overlooked his lack of visited, places as far apart as St Petersburg, London, Philharmonic Orchestras and as a principal with l’Orchestre Symphonique de Montréal, the technique; at one point he apologized for playing out of Dublin, Paris, Vienna, Buenos Aires and Boston. He Academy of St Martin-in-the-Fields, the English Chamber Orchestra, the City of Giovanni Bottesini, der “Paganini des Kontrabasses”, Und so begann Bottesinis Verbindung mit dem tune but promised this would not happen once he had played before most of the crowned heads or Europe, Birmingham Symphony Orchestra, and latterly, the London Symphony Orchestra. He has wurde am 22. Dezember 1821 im norditalienischen Kontrabass, die ihm die größten Triumphe seiner langen mastered his fingering. receiving praise from, amongst others, Czar Alexander been Principal Double Bassist with the Oxford Philomusica since its first season. He now Crema (Lombardei) in eine Familie talentierter Musiker und vielseitigen Karriere einbrachte. Als er 1839 das Thus began Bottesini’s association with the double II, Emperor Napoleon III and Queen Victoria, and also pursues an interest in solo playing, appearing in recitals and concertos with orchestras hineingeboren. Seine eigene musikalische Ausbildung Konservatorium verließ, wurden ihm dreihundert Franc bass, an association that was to bring him the greatest everywhere he played his audiences were amazed at the around the globe. He has been Senior Professor of Double Bass at London’s Guildhall begann im Alter von fünf Jahren, als er bei einem Onkel zuerkannt, mit denen er – zusammen mit sechshundert triumphs of his long and varied career. On leaving the brilliance of his technique. His friendship with Verdi, School of Music for many years, was appointed International Chair of Double Bass at the Violine studierte. Zudem sang er als Knabensopran in Franc, die er sich von einem Verwandten lieh – jenes Conservatory in 1839 he was awarded 300 francs which which had begun in 1844, led the latter to choose him to Royal Scottish Academy of Music in September 2007, gives master-classes internationally, Kirchenchören und spielte in mehreren regionalen Instrument erwarb, das ihn durch seine erfolgreiche he used, together with 600 francs borrowed from a conduct the first performance of Aida in Cairo and to and is responsible for many editions of music for double bass. He has served on many International Competition Orchestern die Pauke. Als er dreizehn Jahre alt war, Konzertkarriere begleitete. Es war 1716 von Carlo relative, to purchase the instrument that was to be the recommend him for the post of Director of the juries, and is also well known as a luthier, having so far made over 140 basses. fragte ihn sein Vater, der in Erfahrung gebracht hatte, Antonio Testore gebaut worden: ein italienischer 3/4- companion of his successful concert career. This Conservatory in Parma, a post he accepted just six dass am Mailänder Konservatorium zwei Stipendien Kontrabass, der einen oder anderthalb Töne höher als instrument was made in 1716 by Carlo Antonio Testore months before his death in 1889. Anthony Halstead ausgeschrieben waren – eines für Fagott und eines für das übliche Orchesterinstrument gestimmt war. Die drei and was a 3/4 size Italian double bass tuned one, or one Kontrabass –, für welches er sich bewerben wolle. Der Saiten waren aus Darm, und er benutzte einen and a half tones higher than the usual orchestral tuning. © Francesca Franchi Although known primarily as a horn player and more recently a conductor, Anthony junge Bottesini entschied sich nicht für den Kontrabass, französischen Bogen, der etwas länger als üblich war. Halstead has been active as a keyboard player for many years. While principal horn of the weil er sich zu diesem Instrument in besonderer Weise Bottesini gab sein erstes öffentliches Konzert im Some of the most beautiful examples of Bottesini’s use Although he performed it with much success in London English Chamber Orchestra, he studied the harpsichord with George Malcolm, whose advice hingezogen fühlte, sondern weil er bereits eine gewisse Jahr 1839 in Crema. 1840 unternahm er mit seinem of harmonics are contained in the fantasy on Donizetti’s and other places, it was surely written for his many visits and encouragement was of immense benefit when The Hanover Band performed Bach’s Six Kenntnis der Streichinstrumente besaß. Während seines ehemaligen Mitschüler Luigi Arditi eine Konzerttournee opera Lucia di Lammermoor, as well as one of his most to Spain where he was popular. Brandenburg Concertos with Halstead as Director/ Soloist, subsequently recording them for Vorspiels beeindruckte er die Jury mit seiner durch Italien. 1846 reisten die beiden Freunde nach heroic feats as he attempts the entire “finale” by himself. Bottesini wrote a large number of songs of all EMI ‘Classics for Pleasure’. The complete cycle of J.C. Bach’s twelve harpsichord and allgemeinen musikalischen Fertigkeit so sehr, dass man Havanna, und dort schrieb Bottesini seine erste Oper, Romanza drammatica or Elegia in E minor is descriptions in his native Italian as well as French, fifteen fortepiano concertos was recorded for the German company cpo by Halstead and the über seinen Mangel an Technik hinwegsah; an einer Cristoforo Colombo, die mit großem Erfolg aufgeführt typical of Bottesini’s many singing compositions for the English and Spanish. Une bouche aimée is one of Hanover Band between 1995 and 2001, enjoying many excellent reviews. As a piano Stelle entschuldigte er sich dafür, dass er die Melodie wurde. Komponiert hatte er bereits am Konservatorium: double bass and is reminiscent of his melodic writing for several which include an obbligato for himself. He went accompanist, Anthony Halstead has performed with many leading soloists, including nicht richtig spielte, versicherte jedoch, dass dies nicht ein Quartett für Harfen in b-Moll. Seine Opern, the voice. off on countless tours with ‘concert parties’ of artists, William Bennett, the late Ifor James, Thomas Martin, Crispian Steele-Perkins and Barry Tuckwell. mehr vorkommen werde, sobald er seinen Fingersatz im insbesondere Ero e Leandro und Ali Baba, wurden zu Introduzione e bolero is a later work by Bottesini. often including the leading sopranos of his day such as Griff habe. seinen Lebzeiten sehr gut aufgenommen; seine

8.570399 23 8.570399 4 8.570399 570399 bk Bottesini 8/6/08 12:57 PM Page 2

Giovanni Bottesini (1821-1889) Artot, Sontag, Patti, and Fiorentini. This song probably performed with such success. These fantasies were Jacquelyn Fugelle Fantasia ‘Lucia di Lammermoor’ • Fantasia ‘Beatrice di Tenda’ comes from his tenure in Paris. mostly on themes from works by Donizetti and Bellini, Capriccio di bravura is one of Bottesini’s finest whose operatic style so influenced his writing. This Jacquelyn Fugelle studied at the London Guildhall School of Music and Drama, and in Rome Giovanni Bottesini, ‘the Paganini of the double bass’, The three strings were of gut and he used a slightly compositions for the double bass illustrating as it does fantasia on Bellini’s opera is one of the most beautiful of and Vienna. She was a prize-winner in the Kathleen Ferrier Memorial Competition, and won was born in Crema, Northern Italy, on 22nd December longer than average French bow. both the lyric ‘bel canto’ style and the virtuosity of his Bottesini’s fantasies. awards from the Countess of Munster Musical Trust, the Royal Society of Arts and the 1821 into a family of talented musicians. His own Bottesini gave his first public concert in Crema in technique. It appears in his Touring Collection. Although Bellini was perhaps the greatest influence Vaughan Williams Trust. She was awarded the Worshipful Company of Musicians Silver musical education began at the age of five, when he 1839 and in 1840 embarked on a concert tour of Italy Elégie in D is one of the best known of Bottesini’s on Bottesini’s composing style, in later years he was Medal. Following rôles with English National Opera and Scottish Opera she made her début studied violin with an uncle. He also sang as a treble in with his former fellow-pupil, Luigi Arditi. 1846 found compositions for the double bass. He also coupled it on also greatly influenced by Mendlessohn and the Grande at The Royal Opera House, Covent Garden to critical acclaim as Arbate in the award-winning church choirs and played timpani in several local the two friends in Havana and it was here that Bottesini occasion with his famous Tarantella as an extended Allegro di Concerto is a reflection of his style. The production of Mozart’s Mitridate. After several seasons with the Royal Opera she performed orchestras. When he was thirteen his father, having wrote his first opera, Cristoforo Colombo, which was introduction. harmonic content of the compositional style stretches at the Teatro Regio in Turin where she was based for some time. Apart from her operatic learned that there were two scholarship places available performed with great success. His composing career had Fantasia ‘Beatrice di Tenda’ is one of a number of the double bass to its absolute pyrotechnic limits. career which includes rôles such as Mimì, Turandot, the Countess and Electra, she has also at the Milan Conservatory, one for bassoon and the other begun while still at the Conservatory with a Quartet for fantasias on operatic themes which Bottesini wrote and performed in concert and oratorio across the globe from Guatemala to Iceland. As well as for double bass, asked him which he would like to apply Harps in B minor. His operas, and in particular Ero e international broadcasts for television and radio, she has given over sixty recitals for the BBC for. Young Bottesini chose the double bass, not because Leandro and Ali Babà were well-received in his lifetime with conductors including Bernard Haitink, Kurt Masur and Robin Stapleton. he already felt a particular attraction for the instrument, and his fascination for the human voice can also be seen Thomas Martin but mainly because of his previous knowledge of in his writings for the double bass. Although a stringed instruments. During his audition, after only four recognised composer it was as a virtuoso of the double Thomas Martin studied in America under Harold Roberts, Oscar Zimmerman, and Roger Giovanni Bottesini (1821-1889) lessons with Luigi Rossi, he so impressed the jury with bass thal he was acclaimed in all the cities that he Scott, and has held leading positions with the Buffalo Philharmonic and Israel Fantasia ‚Lucia di Lammermoor‘ • Fantasia ‚Beatrice di Tenda‘ his general musicianship that they overlooked his lack of visited, places as far apart as St Petersburg, London, Philharmonic Orchestras and as a principal with l’Orchestre Symphonique de Montréal, the technique; at one point he apologized for playing out of Dublin, Paris, Vienna, Buenos Aires and Boston. He Academy of St Martin-in-the-Fields, the English Chamber Orchestra, the City of Giovanni Bottesini, der “Paganini des Kontrabasses”, Und so begann Bottesinis Verbindung mit dem tune but promised this would not happen once he had played before most of the crowned heads or Europe, Birmingham Symphony Orchestra, and latterly, the London Symphony Orchestra. He has wurde am 22. Dezember 1821 im norditalienischen Kontrabass, die ihm die größten Triumphe seiner langen mastered his fingering. receiving praise from, amongst others, Czar Alexander been Principal Double Bassist with the Oxford Philomusica since its first season. He now Crema (Lombardei) in eine Familie talentierter Musiker und vielseitigen Karriere einbrachte. Als er 1839 das Thus began Bottesini’s association with the double II, Emperor Napoleon III and Queen Victoria, and also pursues an interest in solo playing, appearing in recitals and concertos with orchestras hineingeboren. Seine eigene musikalische Ausbildung Konservatorium verließ, wurden ihm dreihundert Franc bass, an association that was to bring him the greatest everywhere he played his audiences were amazed at the around the globe. He has been Senior Professor of Double Bass at London’s Guildhall begann im Alter von fünf Jahren, als er bei einem Onkel zuerkannt, mit denen er – zusammen mit sechshundert triumphs of his long and varied career. On leaving the brilliance of his technique. His friendship with Verdi, School of Music for many years, was appointed International Chair of Double Bass at the Violine studierte. Zudem sang er als Knabensopran in Franc, die er sich von einem Verwandten lieh – jenes Conservatory in 1839 he was awarded 300 francs which which had begun in 1844, led the latter to choose him to Royal Scottish Academy of Music in September 2007, gives master-classes internationally, Kirchenchören und spielte in mehreren regionalen Instrument erwarb, das ihn durch seine erfolgreiche he used, together with 600 francs borrowed from a conduct the first performance of Aida in Cairo and to and is responsible for many editions of music for double bass. He has served on many International Competition Orchestern die Pauke. Als er dreizehn Jahre alt war, Konzertkarriere begleitete. Es war 1716 von Carlo relative, to purchase the instrument that was to be the recommend him for the post of Director of the juries, and is also well known as a luthier, having so far made over 140 basses. fragte ihn sein Vater, der in Erfahrung gebracht hatte, Antonio Testore gebaut worden: ein italienischer 3/4- companion of his successful concert career. This Conservatory in Parma, a post he accepted just six dass am Mailänder Konservatorium zwei Stipendien Kontrabass, der einen oder anderthalb Töne höher als instrument was made in 1716 by Carlo Antonio Testore months before his death in 1889. Anthony Halstead ausgeschrieben waren – eines für Fagott und eines für das übliche Orchesterinstrument gestimmt war. Die drei and was a 3/4 size Italian double bass tuned one, or one Kontrabass –, für welches er sich bewerben wolle. Der Saiten waren aus Darm, und er benutzte einen and a half tones higher than the usual orchestral tuning. © Francesca Franchi Although known primarily as a horn player and more recently a conductor, Anthony junge Bottesini entschied sich nicht für den Kontrabass, französischen Bogen, der etwas länger als üblich war. Halstead has been active as a keyboard player for many years. While principal horn of the weil er sich zu diesem Instrument in besonderer Weise Bottesini gab sein erstes öffentliches Konzert im Some of the most beautiful examples of Bottesini’s use Although he performed it with much success in London English Chamber Orchestra, he studied the harpsichord with George Malcolm, whose advice hingezogen fühlte, sondern weil er bereits eine gewisse Jahr 1839 in Crema. 1840 unternahm er mit seinem of harmonics are contained in the fantasy on Donizetti’s and other places, it was surely written for his many visits and encouragement was of immense benefit when The Hanover Band performed Bach’s Six Kenntnis der Streichinstrumente besaß. Während seines ehemaligen Mitschüler Luigi Arditi eine Konzerttournee opera Lucia di Lammermoor, as well as one of his most to Spain where he was popular. Brandenburg Concertos with Halstead as Director/ Soloist, subsequently recording them for Vorspiels beeindruckte er die Jury mit seiner durch Italien. 1846 reisten die beiden Freunde nach heroic feats as he attempts the entire “finale” by himself. Bottesini wrote a large number of songs of all EMI ‘Classics for Pleasure’. The complete cycle of J.C. Bach’s twelve harpsichord and allgemeinen musikalischen Fertigkeit so sehr, dass man Havanna, und dort schrieb Bottesini seine erste Oper, Romanza drammatica or Elegia in E minor is descriptions in his native Italian as well as French, fifteen fortepiano concertos was recorded for the German company cpo by Halstead and the über seinen Mangel an Technik hinwegsah; an einer Cristoforo Colombo, die mit großem Erfolg aufgeführt typical of Bottesini’s many singing compositions for the English and Spanish. Une bouche aimée is one of Hanover Band between 1995 and 2001, enjoying many excellent reviews. As a piano Stelle entschuldigte er sich dafür, dass er die Melodie wurde. Komponiert hatte er bereits am Konservatorium: double bass and is reminiscent of his melodic writing for several which include an obbligato for himself. He went accompanist, Anthony Halstead has performed with many leading soloists, including nicht richtig spielte, versicherte jedoch, dass dies nicht ein Quartett für Harfen in b-Moll. Seine Opern, the voice. off on countless tours with ‘concert parties’ of artists, William Bennett, the late Ifor James, Thomas Martin, Crispian Steele-Perkins and Barry Tuckwell. mehr vorkommen werde, sobald er seinen Fingersatz im insbesondere Ero e Leandro und Ali Baba, wurden zu Introduzione e bolero is a later work by Bottesini. often including the leading sopranos of his day such as Griff habe. seinen Lebzeiten sehr gut aufgenommen; seine

8.570399 23 8.570399 4 8.570399 570399 bk Bottesini 8/6/08 12:57 PM Page 2

Giovanni Bottesini (1821-1889) Artot, Sontag, Patti, and Fiorentini. This song probably performed with such success. These fantasies were Jacquelyn Fugelle Fantasia ‘Lucia di Lammermoor’ • Fantasia ‘Beatrice di Tenda’ comes from his tenure in Paris. mostly on themes from works by Donizetti and Bellini, Capriccio di bravura is one of Bottesini’s finest whose operatic style so influenced his writing. This Jacquelyn Fugelle studied at the London Guildhall School of Music and Drama, and in Rome Giovanni Bottesini, ‘the Paganini of the double bass’, The three strings were of gut and he used a slightly compositions for the double bass illustrating as it does fantasia on Bellini’s opera is one of the most beautiful of and Vienna. She was a prize-winner in the Kathleen Ferrier Memorial Competition, and won was born in Crema, Northern Italy, on 22nd December longer than average French bow. both the lyric ‘bel canto’ style and the virtuosity of his Bottesini’s fantasies. awards from the Countess of Munster Musical Trust, the Royal Society of Arts and the 1821 into a family of talented musicians. His own Bottesini gave his first public concert in Crema in technique. It appears in his Touring Collection. Although Bellini was perhaps the greatest influence Vaughan Williams Trust. She was awarded the Worshipful Company of Musicians Silver musical education began at the age of five, when he 1839 and in 1840 embarked on a concert tour of Italy Elégie in D is one of the best known of Bottesini’s on Bottesini’s composing style, in later years he was Medal. Following rôles with English National Opera and Scottish Opera she made her début studied violin with an uncle. He also sang as a treble in with his former fellow-pupil, Luigi Arditi. 1846 found compositions for the double bass. He also coupled it on also greatly influenced by Mendlessohn and the Grande at The Royal Opera House, Covent Garden to critical acclaim as Arbate in the award-winning church choirs and played timpani in several local the two friends in Havana and it was here that Bottesini occasion with his famous Tarantella as an extended Allegro di Concerto is a reflection of his style. The production of Mozart’s Mitridate. After several seasons with the Royal Opera she performed orchestras. When he was thirteen his father, having wrote his first opera, Cristoforo Colombo, which was introduction. harmonic content of the compositional style stretches at the Teatro Regio in Turin where she was based for some time. Apart from her operatic learned that there were two scholarship places available performed with great success. His composing career had Fantasia ‘Beatrice di Tenda’ is one of a number of the double bass to its absolute pyrotechnic limits. career which includes rôles such as Mimì, Turandot, the Countess and Electra, she has also at the Milan Conservatory, one for bassoon and the other begun while still at the Conservatory with a Quartet for fantasias on operatic themes which Bottesini wrote and performed in concert and oratorio across the globe from Guatemala to Iceland. As well as for double bass, asked him which he would like to apply Harps in B minor. His operas, and in particular Ero e international broadcasts for television and radio, she has given over sixty recitals for the BBC for. Young Bottesini chose the double bass, not because Leandro and Ali Babà were well-received in his lifetime with conductors including Bernard Haitink, Kurt Masur and Robin Stapleton. he already felt a particular attraction for the instrument, and his fascination for the human voice can also be seen Thomas Martin but mainly because of his previous knowledge of in his writings for the double bass. Although a stringed instruments. During his audition, after only four recognised composer it was as a virtuoso of the double Thomas Martin studied in America under Harold Roberts, Oscar Zimmerman, and Roger Giovanni Bottesini (1821-1889) lessons with Luigi Rossi, he so impressed the jury with bass thal he was acclaimed in all the cities that he Scott, and has held leading positions with the Buffalo Philharmonic and Israel Fantasia ‚Lucia di Lammermoor‘ • Fantasia ‚Beatrice di Tenda‘ his general musicianship that they overlooked his lack of visited, places as far apart as St Petersburg, London, Philharmonic Orchestras and as a principal with l’Orchestre Symphonique de Montréal, the technique; at one point he apologized for playing out of Dublin, Paris, Vienna, Buenos Aires and Boston. He Academy of St Martin-in-the-Fields, the English Chamber Orchestra, the City of Giovanni Bottesini, der “Paganini des Kontrabasses”, Und so begann Bottesinis Verbindung mit dem tune but promised this would not happen once he had played before most of the crowned heads or Europe, Birmingham Symphony Orchestra, and latterly, the London Symphony Orchestra. He has wurde am 22. Dezember 1821 im norditalienischen Kontrabass, die ihm die größten Triumphe seiner langen mastered his fingering. receiving praise from, amongst others, Czar Alexander been Principal Double Bassist with the Oxford Philomusica since its first season. He now Crema (Lombardei) in eine Familie talentierter Musiker und vielseitigen Karriere einbrachte. Als er 1839 das Thus began Bottesini’s association with the double II, Emperor Napoleon III and Queen Victoria, and also pursues an interest in solo playing, appearing in recitals and concertos with orchestras hineingeboren. Seine eigene musikalische Ausbildung Konservatorium verließ, wurden ihm dreihundert Franc bass, an association that was to bring him the greatest everywhere he played his audiences were amazed at the around the globe. He has been Senior Professor of Double Bass at London’s Guildhall begann im Alter von fünf Jahren, als er bei einem Onkel zuerkannt, mit denen er – zusammen mit sechshundert triumphs of his long and varied career. On leaving the brilliance of his technique. His friendship with Verdi, School of Music for many years, was appointed International Chair of Double Bass at the Violine studierte. Zudem sang er als Knabensopran in Franc, die er sich von einem Verwandten lieh – jenes Conservatory in 1839 he was awarded 300 francs which which had begun in 1844, led the latter to choose him to Royal Scottish Academy of Music in September 2007, gives master-classes internationally, Kirchenchören und spielte in mehreren regionalen Instrument erwarb, das ihn durch seine erfolgreiche he used, together with 600 francs borrowed from a conduct the first performance of Aida in Cairo and to and is responsible for many editions of music for double bass. He has served on many International Competition Orchestern die Pauke. Als er dreizehn Jahre alt war, Konzertkarriere begleitete. Es war 1716 von Carlo relative, to purchase the instrument that was to be the recommend him for the post of Director of the juries, and is also well known as a luthier, having so far made over 140 basses. fragte ihn sein Vater, der in Erfahrung gebracht hatte, Antonio Testore gebaut worden: ein italienischer 3/4- companion of his successful concert career. This Conservatory in Parma, a post he accepted just six dass am Mailänder Konservatorium zwei Stipendien Kontrabass, der einen oder anderthalb Töne höher als instrument was made in 1716 by Carlo Antonio Testore months before his death in 1889. Anthony Halstead ausgeschrieben waren – eines für Fagott und eines für das übliche Orchesterinstrument gestimmt war. Die drei and was a 3/4 size Italian double bass tuned one, or one Kontrabass –, für welches er sich bewerben wolle. Der Saiten waren aus Darm, und er benutzte einen and a half tones higher than the usual orchestral tuning. © Francesca Franchi Although known primarily as a horn player and more recently a conductor, Anthony junge Bottesini entschied sich nicht für den Kontrabass, französischen Bogen, der etwas länger als üblich war. Halstead has been active as a keyboard player for many years. While principal horn of the weil er sich zu diesem Instrument in besonderer Weise Bottesini gab sein erstes öffentliches Konzert im Some of the most beautiful examples of Bottesini’s use Although he performed it with much success in London English Chamber Orchestra, he studied the harpsichord with George Malcolm, whose advice hingezogen fühlte, sondern weil er bereits eine gewisse Jahr 1839 in Crema. 1840 unternahm er mit seinem of harmonics are contained in the fantasy on Donizetti’s and other places, it was surely written for his many visits and encouragement was of immense benefit when The Hanover Band performed Bach’s Six Kenntnis der Streichinstrumente besaß. Während seines ehemaligen Mitschüler Luigi Arditi eine Konzerttournee opera Lucia di Lammermoor, as well as one of his most to Spain where he was popular. Brandenburg Concertos with Halstead as Director/ Soloist, subsequently recording them for Vorspiels beeindruckte er die Jury mit seiner durch Italien. 1846 reisten die beiden Freunde nach heroic feats as he attempts the entire “finale” by himself. Bottesini wrote a large number of songs of all EMI ‘Classics for Pleasure’. The complete cycle of J.C. Bach’s twelve harpsichord and allgemeinen musikalischen Fertigkeit so sehr, dass man Havanna, und dort schrieb Bottesini seine erste Oper, Romanza drammatica or Elegia in E minor is descriptions in his native Italian as well as French, fifteen fortepiano concertos was recorded for the German company cpo by Halstead and the über seinen Mangel an Technik hinwegsah; an einer Cristoforo Colombo, die mit großem Erfolg aufgeführt typical of Bottesini’s many singing compositions for the English and Spanish. Une bouche aimée is one of Hanover Band between 1995 and 2001, enjoying many excellent reviews. As a piano Stelle entschuldigte er sich dafür, dass er die Melodie wurde. Komponiert hatte er bereits am Konservatorium: double bass and is reminiscent of his melodic writing for several which include an obbligato for himself. He went accompanist, Anthony Halstead has performed with many leading soloists, including nicht richtig spielte, versicherte jedoch, dass dies nicht ein Quartett für Harfen in b-Moll. Seine Opern, the voice. off on countless tours with ‘concert parties’ of artists, William Bennett, the late Ifor James, Thomas Martin, Crispian Steele-Perkins and Barry Tuckwell. mehr vorkommen werde, sobald er seinen Fingersatz im insbesondere Ero e Leandro und Ali Baba, wurden zu Introduzione e bolero is a later work by Bottesini. often including the leading sopranos of his day such as Griff habe. seinen Lebzeiten sehr gut aufgenommen; seine

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Begeisterung für die menschliche Stimme kommt auch Überall, wo er spielte, war das Publikum von der 4 Une bouche aimée Beloved lips in seinen Werken für Kontrabass zum Ausdruck. Als Brillanz seiner Technik gefesselt. Seine Freundschaft Une bouche aimée a dit à mon coeur: Beloved lips said to my heart: Komponist fand Bottesini Anerkennung, als mit Verdi, die 1844 begonnen hatte, führte dazu, dass “Viens, ô mon amour, ô toi, mon seul bonheur. “Come, O my love, O thou, my only joy. Kontrabass-Virtuose wurde er in allen Städten, die er dieser ihn als Dirigent für die erste Aufführung von Aida Viens, ah! viens mon coeur, Come, ah, come, my heart, besuchte, geradezu gefeiert: in St. Petersburg, London, in Kairo auserwählte und als Direktor des ô toi, mon seul bonheur. O thou, my only joy. Dublin, Paris und Wien ebenso wie in Buenos Aires und Konservatoriums in Parma empfahl. Diesen Posten Boston. Er spielte vor den meisten gekrönten Häuptern nahm er sechs Monate vor seinem Tod im Jahr 1889 an. Adieu les tristes automnes. Farewell sad autumns, Europas und wurde unter anderen von Zar Alexander II., Voici venir le printemps. Here comes the spring. BOTTESINI Kaiser Napoleon III. und Königin Victoria gepriesen. © Francesca Franchi La terre se couvre de fleurs, The earth is covered with flowers, les rayons dorés ont tari ses pleurs. the golden rays have dried her tears. Dans la feuille nouvelle In the new foliage Einige der schönsten Beispiele für Bottesinis sowohl den lyrischen Belcanto-Stil als auch die chante la tourterelle. sings the turtle-dove. Verwendung von Harmonien finden sich in der Fantasie Virtuosität seiner Technik. Das Werk erscheint in seiner La sève des bourgeons entr’ouverts The sap of the half-opened buds Fantasia ‘Lucia über Donizettis Oper „Lucia di Lammermoor“ – Tourneesammlung. du parfum des bois des prés verts fills the air zugleich eine seiner musikalischen Heldentaten, trug er Elegie in D ist eine der bekanntesten Kompositionen remplit les airs. with the scent of the woods and of the green meadows. doch das gesamte „Finale“ allein. Bottesinis für Kontrabass. Gelegentlich verknüpfte er di Lammermoor’ Romanza drammatica oder Elegia in e-Moll ist für das Stück als verlängerte Introduktion mit seiner Mon cher amour, ma vie, My dear love, my life, Bottesinis zahlreiche sangliche Kompositionen für berühmten Tarantella. ah! viens, mon seul bonheur, Ah! Come, my only joy, Kontrabass typisch und erinnert an seine melodischen Fantasia „Beatrice di Tenda“ gehört zu einer Reihe mon amour, mon bonheur.” my love, my joy.” Kompositionen für die Stimme. von Fantasien über Opernthemen, die Bottesini mit Fantasia ‘Beatrice Introduzione e bolero ist ein späteres Werk von großem Erfolg schrieb und aufführte. Diese Fantasien Une bouche aimée a dit à mon coeur: Beloved lips said to my heart: Bottesini. Obwohl er es mit viel Erfolg in London und basieren hauptsächlich auf Themen aus Werken “Come, O my love, O thou, my only joy. andernorts aufführte, wurde es gewiss für seine vielen Donizettis und Bellinis, von deren Opernstil Bottesini “Viens, ô mon amour, ô toi, mon seul bonheur. di Tenda’ Besuche in Spanien geschrieben, wo er sehr beliebt war. stark beeinflusst war. Die Fantasia „Beatrice di Tenda“ Viens, ah! viens mon coeur, Come, ah, come, my heart, Bottesini schrieb eine Vielzahl an Liedern jeglicher über Bellinis gleichnamige Oper ist eine seiner ô toi, mon seul bonheur, O thou, my only joy, Art, sowohl in seiner italienischen Muttersprache als schönsten. mon cher amour, ma vie. Viens mon coeur. my dear love, my life. Come my heart. Grande Allegro auch in französischer, englischer und spanischer Obwohl Bellini vielleicht den größten Einfluss auf Viens, ô mon seul bonheur, Come, O my only joy, Sprache. Une bouche aimée ist eines von mehreren, die Bottesinis Kompositionsstil ausübte, wurde dieser in Viens.” Come.” ein Obligato für ihn selbst enthalten. Er ging auf späteren Jahren auch von Mendelssohn stark beeinflusst. di Concerto zahllose Tourneen mit „Konzertgruppen“ von Das Grande Allegro di Concerto spiegelt dessen Stil Künstlern, zu denen oft die führenden Sopranistinnen wider. Der harmonische Gehalt fordert den Kontrabass Get this free download from Classicsonline! seiner Zeit wie Artot, Sontag, Patti und Florentini bis an die äußerste Grenze seiner Brillanz. Bellini: Songs: L’allegro marinaro zählten. Dieses Lied stammt wahrscheinlich aus der Copy this Promotion Code NaxHQ8edfXk3 and go to www.classicsonline.com/mpkey/bell7_main Zeit, als er ihn Paris tätig war. Deutsche Fassung von Elke Davies Thomas Martin, Capriccio di bravura ist eine von Bottesinis Bearbeitet von Thomas Theise Downloading Instructions erlesensten Kompositionen für Kontrabass und illustriert 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at Double Bass http://www.classicsonline.com/UserLogIn/SignUp.aspx. 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”. Anthony Halstead, Piano 8.570399 5 6 8.570399 570399 bk Bottesini 8/6/08 12:57 PM Page 5

Begeisterung für die menschliche Stimme kommt auch Überall, wo er spielte, war das Publikum von der 4 Une bouche aimée Beloved lips in seinen Werken für Kontrabass zum Ausdruck. Als Brillanz seiner Technik gefesselt. Seine Freundschaft Une bouche aimée a dit à mon coeur: Beloved lips said to my heart: Komponist fand Bottesini Anerkennung, als mit Verdi, die 1844 begonnen hatte, führte dazu, dass “Viens, ô mon amour, ô toi, mon seul bonheur. “Come, O my love, O thou, my only joy. Kontrabass-Virtuose wurde er in allen Städten, die er dieser ihn als Dirigent für die erste Aufführung von Aida Viens, ah! viens mon coeur, Come, ah, come, my heart, besuchte, geradezu gefeiert: in St. Petersburg, London, in Kairo auserwählte und als Direktor des ô toi, mon seul bonheur. O thou, my only joy. Dublin, Paris und Wien ebenso wie in Buenos Aires und Konservatoriums in Parma empfahl. Diesen Posten Boston. Er spielte vor den meisten gekrönten Häuptern nahm er sechs Monate vor seinem Tod im Jahr 1889 an. Adieu les tristes automnes. Farewell sad autumns, Europas und wurde unter anderen von Zar Alexander II., Voici venir le printemps. Here comes the spring. BOTTESINI Kaiser Napoleon III. und Königin Victoria gepriesen. © Francesca Franchi La terre se couvre de fleurs, The earth is covered with flowers, les rayons dorés ont tari ses pleurs. the golden rays have dried her tears. Dans la feuille nouvelle In the new foliage Einige der schönsten Beispiele für Bottesinis sowohl den lyrischen Belcanto-Stil als auch die chante la tourterelle. sings the turtle-dove. Verwendung von Harmonien finden sich in der Fantasie Virtuosität seiner Technik. Das Werk erscheint in seiner La sève des bourgeons entr’ouverts The sap of the half-opened buds Fantasia ‘Lucia über Donizettis Oper „Lucia di Lammermoor“ – Tourneesammlung. du parfum des bois des prés verts fills the air zugleich eine seiner musikalischen Heldentaten, trug er Elegie in D ist eine der bekanntesten Kompositionen remplit les airs. with the scent of the woods and of the green meadows. doch das gesamte „Finale“ allein. Bottesinis für Kontrabass. Gelegentlich verknüpfte er di Lammermoor’ Romanza drammatica oder Elegia in e-Moll ist für das Stück als verlängerte Introduktion mit seiner Mon cher amour, ma vie, My dear love, my life, Bottesinis zahlreiche sangliche Kompositionen für berühmten Tarantella. ah! viens, mon seul bonheur, Ah! Come, my only joy, Kontrabass typisch und erinnert an seine melodischen Fantasia „Beatrice di Tenda“ gehört zu einer Reihe mon amour, mon bonheur.” my love, my joy.” Kompositionen für die Stimme. von Fantasien über Opernthemen, die Bottesini mit Fantasia ‘Beatrice Introduzione e bolero ist ein späteres Werk von großem Erfolg schrieb und aufführte. Diese Fantasien Une bouche aimée a dit à mon coeur: Beloved lips said to my heart: Bottesini. Obwohl er es mit viel Erfolg in London und basieren hauptsächlich auf Themen aus Werken “Come, O my love, O thou, my only joy. andernorts aufführte, wurde es gewiss für seine vielen Donizettis und Bellinis, von deren Opernstil Bottesini “Viens, ô mon amour, ô toi, mon seul bonheur. di Tenda’ Besuche in Spanien geschrieben, wo er sehr beliebt war. stark beeinflusst war. Die Fantasia „Beatrice di Tenda“ Viens, ah! viens mon coeur, Come, ah, come, my heart, Bottesini schrieb eine Vielzahl an Liedern jeglicher über Bellinis gleichnamige Oper ist eine seiner ô toi, mon seul bonheur, O thou, my only joy, Art, sowohl in seiner italienischen Muttersprache als schönsten. mon cher amour, ma vie. Viens mon coeur. my dear love, my life. Come my heart. Grande Allegro auch in französischer, englischer und spanischer Obwohl Bellini vielleicht den größten Einfluss auf Viens, ô mon seul bonheur, Come, O my only joy, Sprache. Une bouche aimée ist eines von mehreren, die Bottesinis Kompositionsstil ausübte, wurde dieser in Viens.” Come.” ein Obligato für ihn selbst enthalten. Er ging auf späteren Jahren auch von Mendelssohn stark beeinflusst. di Concerto zahllose Tourneen mit „Konzertgruppen“ von Das Grande Allegro di Concerto spiegelt dessen Stil Künstlern, zu denen oft die führenden Sopranistinnen wider. Der harmonische Gehalt fordert den Kontrabass Get this free download from Classicsonline! seiner Zeit wie Artot, Sontag, Patti und Florentini bis an die äußerste Grenze seiner Brillanz. Bellini: Songs: L’allegro marinaro zählten. Dieses Lied stammt wahrscheinlich aus der Copy this Promotion Code NaxHQ8edfXk3 and go to www.classicsonline.com/mpkey/bell7_main Zeit, als er ihn Paris tätig war. Deutsche Fassung von Elke Davies Thomas Martin, Capriccio di bravura ist eine von Bottesinis Bearbeitet von Thomas Theise Downloading Instructions erlesensten Kompositionen für Kontrabass und illustriert 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at Double Bass http://www.classicsonline.com/UserLogIn/SignUp.aspx. 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”. Anthony Halstead, Piano 8.570399 5 6 8.570399 NAXOS NAXOS Giovanni Bottesini enjoyed a globe-trotting career as “the Paganini of the double bass” but was also an accomplished and respected conductor in Europe. When conducting operas Bottesini would often perform fantasies on the evening’s entertainment during the intermission. Two such fantasies, ‘Lucia di Lammermoor’ and ‘Beatrice di Tenda’, are virtuosic tours de force in which the complex double bass figurations mimic the coloratura vocal writing of the day. In keeping with this vocal 8.570399

BOTTESINI: style, this recording also includes the song Une bouche aimée with double bass obbligato, most likely BOTTESINI: performed on one of Bottesini’s frequent concert tours with various leading sopranos of the day. DDD Giovanni Playing Time BOTTESINI 71:55 (1821-1889)

Fantasia ‘Lucia di Lammermoor’ 1 Fantasia ‘Lucia di Lammermoor’ 10:52 Fantasia ‘Lucia di Lammermoor’ 2 Romanza drammatica 8:25 3 Introduzione e bolero 8:50 4 Romanza: Une bouche aimée * 5:12 5 Capriccio di bravura 9:14 6 Elégie in D 5:24 7 Fantasia ‘Beatrice di Tenda’ 11:47 8 Grande Allegro di Concerto 12:11 www.naxos.com Disc made in Canada. Printed and assembled USA. Booklet notes in English • Kommentar auf Deutsch Naxos Rights International Ltd. 1992 & Thomas Martin, Double Bass Anthony Halstead, Piano Jacquelyn Fugelle, Soprano * 2008

Includes Free Downloadable Bonus Track available at www.classicsonline.com. Please see inside booklet for full details. The sung text and English translation included 8.570399 These can also be accessed at www.naxos.com/libretti/570399.htm 8.570399 Recorded at CTS Studios, Wembley, London, UK in November 1982 and February 1984 Producer: Chris Hazell • Engineer: Dick Lewzey Previously released on ASV CD DCA 626 • Booklet notes: Francesca Franchi Cover Picture: Double Bass by Carlo Antonio Testore (1693–1765), Milan 1716