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Bottesini 8/6/08 12:57 PM Page 5 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.
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