Elegia No.3

Romanza Patetica
Romanza Patetica
Giovanni Bottesini

Product code:

RMD1191

£6.00

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Description

Elegia No.3, also known as Romanza Patetica, was first published by Richault in Paris in the 1879 with the title Mélodie, and is one of Bottesini’s most sublime pieces for the double bass. Probably composed in the middle 1870s, it emphasises the lyrical and sonorous possibilities of the double bass across its entire solo register.

The use of D minor/major, sounding E minor/major for solo tuning, offers dramatic potential with the ability for the double bass to be as expressive and eloquent as the cello or violin. Although primarily in treble clef, the melodic line descends to open A, Bottesini’s lowest note, rising to high D in harmonics, one of the highest notes available to the double bass.

Elegia No.3 is a perfect piece, ideal for any audience or occasion, and demonstrates the technical and musical prowess of the bassist. It emphasises Bottesini’s supreme compositional skills and why his music is still at the heart of the solo repertoire into the 21st-century.

Accompaniments for both solo and orchestral tunings and two solo parts – Bottesini’s original bowings from one manuscript source and one edited by David Heyes.

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Description

Elegia No.3, also known as Romanza Patetica, was first published by Richault in Paris in the 1879 with the title Mélodie, and is one of Bottesini’s most sublime pieces for the double bass. Probably composed in the middle 1870s, it emphasises the lyrical and sonorous possibilities of the double bass across its entire solo register.

The use of D minor/major, sounding E minor/major for solo tuning, offers dramatic potential with the ability for the double bass to be as expressive and eloquent as the cello or violin. Although primarily in treble clef, the melodic line descends to open A, Bottesini’s lowest note, rising to high D in harmonics, one of the highest notes available to the double bass.

Elegia No.3 is a perfect piece, ideal for any audience or occasion, and demonstrates the technical and musical prowess of the bassist. It emphasises Bottesini’s supreme compositional skills and why his music is still at the heart of the solo repertoire into the 21st-century.

Accompaniments for both solo and orchestral tunings and two solo parts – Bottesini’s original bowings from one manuscript source and one edited by David Heyes.

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Contents

About the Composer

Giovanni Bottesini (1821-1889) was the greatest double bass virtuoso of the 19th- century and many of his compositions for double bass are still at the heart of the solo repertoire today. He spent much of his life in the opera house, as conductor and composer, and his music is inspired by the lyrical, cantabile, and virtuosic pyrotechnics of 19th-century Italian opera. Bottesini was known as ‘the Paganini of the double bass’ and was one of the greatest musical superstars of his day.

About the Arranger

About the Editor

David Heyes (b.1960) studied double bass with Laurence Gray and Bronwen Naish, later at the Royal College of Music in London, and completed his post-graduate studies in Prague with František Pošta (Principal Bass, Czech Philharmonic Orchestra). He has given recitals and masterclasses in 20 countries over the past few years and has been a juror at a number of international competitions, three times as chairman. David’s collaborative work gained him a prestigious award from the David Walter Charitable Trust of New York for his pioneering activities as a soloist, teacher, publisher, and commissioner of new music for double bass and he works with composers throughout the world to expand the double bass repertoire by commissioning new music and by rediscovering forgotten ones. Since 1983 more than 700 works have been written for him, music from one to twenty basses and from beginner to virtuoso, and he has premiered ten contemporary concertos with orchestra. David began to compose in 2013 and has had music performed and recorded in 29 countries across five continents. He is a D’Addario Performing Artist and has recently commissioned a solo double bass from British master-luthier Martin Penning.

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