Background
Giovanni Bottesini was born at Crema in Lombardy, Italy on the 24th of December 1823.
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(The music of Giovanni Bottesini is little played in inter...)
The music of Giovanni Bottesini is little played in international concert halls. He was a virtuoso on the double bass as well as a colorful composer, and a character about whom many an anecdote could be told. His compositions for double bass are now staples of the instrument's repertoire. This disc of favorite works by Bottesini features Rick Stotijn, making his debut on Channel Classics. Stotijn is currently leader of the double basses in the Amsterdam Sinfonietta and the Swedish Radio Orchestra. He is also guest leader of orchestras including the Royal Concertgebouw Orchestra, the Mahler Chamber Orchestra, Rundfunk Sinfonie Orchester Berlin and the London Symphony Orchestra. The disc also features the bass player's sister mezzo-soprano Chistiane Stotijn, and orchestral support from his friends in the Amsterdam Sinfonietta.
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(These works for two double basses by Giovanni Bottesini d...)
These works for two double basses by Giovanni Bottesini date from his student days at the Milan Conservatory. The delightful Fantasia on themes of Rossini features an opening Tarantella, a lyrical middle section and a stormy finale. Passioni amorose,
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(Already four years ago, Concerto published an album dedic...)
Already four years ago, Concerto published an album dedicated to that artist who has been referred to, without any exaggeration, as the Paganini of the double bass. That album might be dubbed exploratory, and featured by the same extraordinary performing artists. Now a second, definitive album is being published, an album which will enrich our knowledge of works for double bass and violin by the composer from Crema (Italy). Although his reputation as a virtuoso in the Mephistophelean, Paganinian or Listzian sense dominates the period's iconography, and for that matter even the memories of those of us who have come after, in reality Bottesini was the consummate composer. He was eclectic, versatile, one who proffered sparingly to write melodramas, but one who also assiduously cultivated other types of music: sacred music, an orchestral genre similar to a 'poema sinfonico' and, above all, all types of chamber music with a significant corpus of quartets and quintets. Naturally he wrote numerous pieces of chamber music featuring his instrument. And, as is well known, he revolutionized both technique and tone of the double bass. They are astounding pieces for the fact that, expressively, they are very balanced, holding many very different aspects together: virtuosity (naturally since he was the greatest virtuoso of the double bass of all times), a deeply rooted melodic vein, the typically romantic tone then prevalent, and even a structural thought, a kind of formal structure. Balance and poetry that you would not expect in a performer, who captivated crowds (and royalty) soliciting emotions and fainting, similar to what happens in today's rock concerts. Herein a great performance by Francesco Siragusa who in 1997 was selected by Maestro Riccardo Muti to enter 'Orchestra Filarmonica della Scala' and 'Orchestra del Teatro alla Scala' in Milan, where he currently works. His performances are enthusiastically welcomed everywhere, thanks to his extraordinary temperament and the unique voice he obtains from his double bass.
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("Bottesini's Second Concerto is the triumph of the bass p...)
"Bottesini's Second Concerto is the triumph of the bass player's repertoire. It is a moment captured from the Bel Canto era, when all focus was placed on a player's virtuosity and expressiveness, above all other musical considerations. The result is an intensely lyrical concerto that will stretch the capabilities of any performer." - Sasha Brandt, Shar Apprentice (Double Bass)
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composer Contrabassist musician
Giovanni Bottesini was born at Crema in Lombardy, Italy on the 24th of December 1823.
Bottesini studied music at the Milan Conservatoire, devoting himself especially to the double-bass, an instrument with which his name is principally associated.
On leaving Milan he spent some time in America and also occupied the position of principal double-bass in the theatre at Havana. Here his first opera, Cristoforo Colombo, was produced in 1847. In 1849 he made his first appearance in England, playing double-bass solos at one of the Musical Union concerts. After this he made frequent visits to England, and his extraordinary command of his unwieldy instrument gained him great popularity in London and the provinces. Apart from his triumphs as an executant, Bottesini was a conductor of European reputation, and earned some success as a composer, though his work had not sufficient individuality to survive the changes of taste and fashion. He was conductor at the Theatre des Italiens in Paris from 1855 to 1857, where his second opera, L'Assedio di Firenze, was produced in 1856. In 1861 and 1862 he conducted at Palermo, supervising the production of his opera Marion Delorme in 1862, and in 1863 at Barcelona. During these years he diversified the toils of conducting by repeated concert tours through the principal countries of Europe. In 1871 he conducted a season of Italian opera at the Lyceum theatre in London, during which his opera Ali Baba was produced, and at the close of the year he was chosen by Verdi to conduct the first performance of Aida, which took place at Cairo on 27th December 1871. Bottesini wrote three operas besides those already mentioned: Il Diavolo della Notte (Milan, 1859); Vinciguerra (Paris, 1870); and Ero e Leandro (Turin, 1880), the last named to a libretto by Arrigo Boito, which was subsequently set by Mancinelli. He also wrote The Garden of Olivet, a devotional oratorio (libretto by Joseph Bennett), which was produced at the Norwich festival in 1887, a concerto for the double-bass, and numerous songs and minor instrumental pieces. Bottesini died at Parma on the 7th of July 1889.
Bottensini contributed a lot to double bass technique, earning the nickname “the Paganini of the double bass. ” He is considered to be the first true double bass virtuoso. His book Metodo Completo per Contrabbasso (1860), a fundamental work, which was one of the first collections of technical studies specifically for the instrument.
(Already four years ago, Concerto published an album dedic...)
(These works for two double basses by Giovanni Bottesini d...)
(The music of Giovanni Bottesini is little played in inter...)
("Bottesini's Second Concerto is the triumph of the bass p...)
