Bottesini’s Greatest Hits Acknowledgments Many thanks to my wife and superb cellist, Wendy, and sons Peter and Andrew, for your patience with my many hours away from home. Thanks to Texas Tech University, for its financial support, and the TTU School of Music for the use of the amazing Hemmle Recital Hall, and one of its beautiful Steinway concert grands. Of course, a recording project such as this requires some wizardry from the recording engineer. Thank you, Will Strieder, Professor of Trumpet, and director of the TTU School of Music’s recording studio for your patience, attention to detail, and your own special brand of virtuosity. —Mark Morton Recorded, Mixed and Mastered by Will Strieder in Hemmle Recital Hall, School of Music, Texas Tech University, Lubbock, Texas. The recording took place intermittently over a great deal of time. The piano parts were recorded first, then the bass. The first piano tracks were recorded January 5, 2009, and the last bass track was recorded October 21, 2011. Cover Photo by Heather Ann Design Liner notes by Nickolas Miller Piano Technicians: Kevin Fortenberry and Dan McSpadden This recording was made possible in part by the office of the Provost of Texas Tech University. All works edited and arranged by Mark Morton. www.albanyrecords.com TROY1411/12 albany records u.s. 915 broadway, albany, ny 12207 tel: 518.436.8814 fax: 518.436.0643 albany records u.k. box 137, kendal, cumbria la8 0xd tel: 01539 824008 © 2013 albany records made in the usa ddd waRning: cOpyrighT subsisTs in all Recordings issued undeR This label. Mark Morton double bass & piano In creating this unique recording, Mark Morton recorded the The Music piano part first, while imagining in his “mind’s ear” the tempo, Famed composer, double bass virtuoso, and conductor, Giovanni Bottesini is arguably one of the most rubato and timing of cadenzas of how he plays the solo bass pivotal figures in the development of both technique and literature for the double bass. Known as the part. Mark then recorded the solo bass part over the piano “Paganini of the Double Bass,” Bottesini’s facility on the double bass is more than apparent through accompaniment. There were slight timing issues that needed to his compositions, and by contemporary reviews of his performances. For example, H. Haweis wrote in My Musical Life (1846-60): “I never wearied of his consummate grace and finish, his fatal precision, be adjusted in the piano part — in particular the exact timing his heavenly tone, his fine taste. One sometimes yearned for a touch of human imperfection, but he of the length of the cadenzas — but by and large, all the subtle was like a dead shot: he never missed what he aimed at, and he never aimed at less than perfection.” timings in the piano accompaniment remained the same. As a conductor, Bottesini led many performances of his own operas, and the operas of others. In fact, he conducted the premier of his friend, Guiseppi Verdi’s famous opera, Aïda, in Cairo, Egypt. Bottesini used all his gifts to create a new wealth of indispensable repertoire for the double The benefit of recording in this way is that the artist has a bass, and to expose the public to the potential virtuosity of this otherwise cumbersome instrument “top to bottom” unified interpretation, by an artist that knows through numerous performances throughout North America, Central America, and Europe. The beauty and is performing 100% of the music. Additionally, this affords and virtuosity of both his playing and his compositions astonished audiences everywhere. This CD is the added feature of including an accompaniment CD with a tribute to the genius that was Giovanni Bottesini. which bassists can play along. This accompaniment CD is entirely in solo tuning, with the sole exception of The Giovanni Bottesini Carnival of Venice in which the bass is tuned up a minor third. (b. December 22, 1821 Crema, Lombardy, d. July 7, 1889, Parma) However, with modern computer applications, it is possible introduction and gavotte lower the key down to orchestral tuning, and even change With this homage to French dance, the introduction feels reminiscent of the introduction to a pas de the tempo! deux, while the main portion of this charming work is a Gavotte, a dance popular in France in the 17th and 18th centuries. All Gavottes feature a moderate tempo in four in which phrases begin in the middle —Will Strieder, Professor of Trumpet of the bar on the third beat. This particular work seems to be an affectionate tongue-in-cheek satire Director of the Recording Program, Texas Tech University of the Gavotte — and French culture in general — going so far as to mimic laughter in the coda! Fantasy on Themes from La Sonnambula Niccolo Paganini Being a prominent opera conductor in his time, Bottesini had a keen awareness of Italian opera (1782-1840) repertoire. He capitalized on popular opera tunes by writing a number of fantasies and variations on Variations on One string on a Theme from g. Rossini’s (1792-1868) Opera Moses in Egypt the “hits” of the day, such as this Fantasy on La Sonnambula (The Female Sleepwalker) by Vincenzo Violinist Niccolo Paganini is considered to be the first “superstar” virtuoso. Many composers, Bellini (1801-1853). Bottesini must have been a very busy man — it is likely that he performed such as Franz Liszt and Bottesini emulated his style of shameless exploitation of extreme virtuosity. these works as intermezzi to the operas he conducted. Audiences would attend operas conducted by This piece is one of a genre of works that Paganini wrote to be played entirely on one string. This Bottesini, primarily to hear him perform his solo double bass works during intermissions, regardless transcription for double bass is likewise played entirely on one string. of which opera was being presented. This fantasy on La Sonnambula includes quotes in the Andante cantabile of “D’un pensiero e d’un accento” from the beginning of Act II, and a Theme and three variations are on “Ah! Non giunge uman pensiero” from the finale of Act II. Giovanni Bottesini Rêverie introduction and Variations on “The carnival of Venice” The title of this piece refers to the French word “rêve,” or “dream,” a popular topic of French songs Countless sets of variations have been written by many composers on this familiar tune, most from this time period. Listen for the dreamer to drift off to slumber at the end of this brief work. notably for the coronet or trumpet. This particular introduction, theme, and eight variations is Bottesini’s incredibly virtuosic contribution to the scores of variations that “The Carnival of Venice” Tarantella has inspired. It was with Bottesini’s performance of his Variations on “The Carnival of Venice” that Contrary to popular belief, the Tarantella does not derive its name from the myth that this dance was H. Haweis effused, “How he bewildered us by playing all sorts of melodies in flute-like harmonics, an antidote to tarantula bites, but the fact that the name comes from the city of Taranto, located as though he had a hundred nightingales caged in his double bass.” in southern Italy. This circular dance is a courtship or wedding dance, but evolved into a virtuosic showpiece. Though the Tarantella ends with a fast-paced tizzy of excitement, it traditionally starts at Romanza pathetica (Mélodie) a more moderate tempo and accelerates to the end. Apropos, Bottesini marks the tempo of the body This piece was first published in France under the title “Mélodie.” This is one of Bottesini’s most of the work at merely Allegretto (cheerful, but not too fast). serious and beautiful works. Very French in texture, this Romanza is in the style of Frederic Chopin, a composer that Bottesini must have admired. Further evidence of this admiration can be found in Élégie in d the Bottesini song for high voice, double bass, and piano, “Tutto il Mondo Sera,” in which he set It is said that this was Bottesini’s favorite of his compositions. The tempo (Andante sostenuto) Chopin’s Étude Op. 25, No. 7 in C# minor. creates the feel of a slow waltz and helps to establish a feeling of a nostalgic melancholy, as if mourning the loss of a past love and remembering a dance from long ago. Variations on “nel cor più non Mi sento” The Performer This set of three variations is based on the famous aria from the 1790 opera La Bella Molinara Hailed by Classical CD Reviews as “a most artistic representative of the new generation developed (The Pretty Miller Girl) by Giovanni Paisiello (1740-1816). Part of the standard vocal literature, in the last half century,” for his previous Albany Records release (TROY237), is the “Nel Cor Più Non Mi Sento,” is familiar territory to all sopranos. The second and third variations Mark Morton Assistant Professor of Double Bass at Texas Tech University. For 23 years, he was a member of are particularly extensive examples of Bottesini’s trademark virtuoso harmonics. the Columbus Symphony (Ohio) Orchestra — 14 years as principal bass and 9 years as assistant principal bass. Morton is the first-prize winner of the 1990 International Society of Bassists Solo “una Furtiva lagrima” from L’Elisire d’Amore Competition, and is the author of the popular “Dr. Morton” series of double bass technique books This piece is an almost exact transcription of the famous tenor aria (A Furtive Tear) from the opera published by Northeastern Music Publications. L’Elisire d’Amore by Gaetano Donizetti (1797-1848). This is another example of Bottesini “borrowing” A busy recitalist and concerto performer, Morton has soloed in Europe, South America, Canada, the big hits of 19th century Italian opera.