. INTERNATIONAL SOCIETY OF BASSISTS a Es dl = Fs‘Vol. X No, 2 Winter 1984 CONTENTS international Society of Hassists ible tee mes per Ya Fal Winter, Spring Pes sie respondeee, membertip sri an trae {or puttcatin tes Trseratonal Society asset Schon of Music, Netheeern Univers Esansin iesbzo ‘Th 198 ie dicted to stimulating biter roving performance standard, an to proving 2h aniation for musics speciale in he teaching, letming. performing, repaag, making, carci ‘eoyment of the Dole Bs, Thal MenbestipS ne year, $2.0 tw year, £460 ire ear See Memtertip S00" one year nly Gat Card Cn {etter 400M. Charter Benefactor 810000 Lie Memtertip” £00; Tater Rates tote US Cae, an enc) Pease $500 yr ea fe beth dist Sen Memberships ‘is pve Pende String Iial—12 Pounds, Statent“6 Pou (che postage) Maile onke Predactons, 31” Thera Sune, London NU 1BQ, nga. Alt payable in Dutch Guilers:_Inividual— 52 ler, Stet _26 Galders (ccs portage). Mal {or Interatinel Seely of Hoes AMIRO HARK, Freatas #0012, “G01 EP Uber, Holl. Accu amber 41354 eatve Daecor— eff adel rnin Eston lt ive Herb Mickwan: Resta Page Eter~Drew Garmtrone Preset Exes aes Cavesthn Cantar Consermiery of Mi, Unversity of Chacon, Olt, Mie Oson—Eastha Sakon of las, Univesity Roches, New York: Chris. Sbniger- Shepherd Sctool of Muse, Rice Universi, Hopton, Tees Cameron W. Joes Intana Universi Brad is Sanford Univesity Foard of Directors Ssmpbinny Bd Barker Roger Seat Resarck Murray Grater Inet Jon Cayton Biton Hon Intemational Wane Dating Ke Gaetle Scwleat Jeanne Di Maxi Luthier Samet Kolsein Feaveion Sturt Skey AM Lange Barry Crees international Committee TliimFennnd Fontaine levi Tador Toshes Cocina Fratee Pra Engle Rody Setlnd France Joan Yoes Benihon Holand John Chyteo North Wales Bronwen Nash South america Hernando Sei Sweden Bj Hole Switeld Yous Geile West Gennany Kis Stall Features In Search of Bottesini (Part Il) by Thomas Martin. 6 Lajos Montag at 77: A Lifetime of Dedication to the Double Bass by Klaus Trompf 32 Departments Message from the Executive Director. 2 ‘Members Forum. s 2 sSoaelcany pies osteo tee usa Bass Events Around the World Geneva—Intemational Competition as Rabbath at Rice es fics OS PPL 7| Innsbruck 20 Congress of Strings, ae ae 20 New Music. paint ie Jazz Scene How to Construct Jazz Bass Lines by John Voigt a1 226) Fused by 2 Groove by Gene Perla, eS 96) Raising the Standards Bass Instincts éy Gerald Nachman Le 29 Luthiers Comer ‘The American Bassmaker hy Stene Shain Etat Recital Page by Drew Giambrone__ 35 Reviews ‘Thomas Martin recording by Kot Gutter Joelle Leandre recording by Rodney Slaiford New Releases ot ee _A2 Classified Ads a2 Advertisers Index. 44 Membership Application tt ce London 1880's, Bostesini the Concert Artist taken by Walery {ihe photographer to Queen Victoria). Its insribed to his friend Neison,IN SEARCH OF BOTTESINI Part One My interest in Bottesini began only a few years ago (in about 1986) when my circumstance and especially my health allowed me to become interested in solo playing on the double bass and in the com- Positions of Bottesini in particular. This fascination grew to a desire not only to Tearn what I could about his music but also to an interest in the man himself as a person, player, and composer. Here, then, is ‘an article not by a scholar or educated writer, but by a simple bass player in search of Bottesin Giovanni Bottesini was born into a musical family on December 22nd, 1821, in Crema, a town in Lombardy, Italy. His mother was ‘Maria (born Spinelli) and his father, Pietro, was a local musician, a ‘wellknown clarionettist who also was interested in composition, ha ing written several methods for various instruments. A composition of his is in Milan. His sister, Angelina, also studied music and Decame a fine pianist. She died in Naples in 1877. Young Giovanni's talent, indeed genius, for music luckily had a chance to show itself in such a musical home. He began his study of the violin at five and at the age of ten he was by Thomas Martin from a relative, Rachetti using the money to buy his double bass Which I will mention a bi later. His solo debut was made in the following year (1840) in Crema (his home town) and he had tremendous success, He then undertook an ‘extensive tour that saw him appearing. in Milan “La Scala" and View, na, The Viennese critic said of his 1840 appearance that “Giovanni Botiesini from Milan played with distinction as far as one would call, the double bass a solo instrument. He seems to have done occasional touring as a soloist during the next si years and was engaged as last double bass in Brescia for two seasons, then as principal double bass in Verona. Verdi, who was producing J due Foscar at that theatre, heard Bottesini and advised him to follow a career as a soloist. It is said that Bottesini took on ‘these orchestral positions inorder to recover from “angina pectoris” which he is supposed to have contracted in Vienna in 1840. Neither 1 nor a heart specialist friend of mine think this could be true as there is no farther mention of heart trouble in hislife ‘which went on for 80 more years to end with put in the care of his uncle, Cogliati, a priest, ‘who was the first violinist in the orchestra of the Cathedral at Crema. He remained in this tuition for three years singing as a boy “I know, Gentlemen, that I play out of tune; but when I know where to place my liver trouble! The heart trouble is mentioned by a contemporary biographer Cesare Lisci who was the London representative to Ricor: soprano, playing the drums at the Teatro Communae, continuing serious study of the pen anymore.” Pianoforte as well as experimenting with the cello and double bass. In 1835 his father heard of two places on ‘scholarship at the Conservatorio in Milan, one for the bassoon and ‘one for the double bass. Thus, the decision was made that was to launch Bottesini on his fantastic career. They made the journey to the big city one week ahead of the audition in order for young Giovanni to meet Professor Luigi Rossi and have some lessons prior to the big day. He impressed Rossi and the panel, and at one point in his examination made the famous remark; ‘Tknow, Gentlemen, that 1 play out of tune; but when T know where to place my fingers this shall nt happen anymore.” Here again the young man had tremendous good fortune as the School of double bass playing which existed in northern Italy at that time had already produced a scries of artists who were outstanding, including Langlois, Andreol., Dal Occa, Dal Ogio and, indeed, Rossi himself. Dal Occa, for example, had been as far as St. Petersburg in Russia and back and was welhknown as a soloist, It was during his slay at the conservatory that Bottesini wrote a number of composi tions including the three Grand Duets and a Double Concerto with his friend, Arpesani (of whom, more later). He stucied composition under Vaccaj and Basily. Of his progress on the bass, his friend Piatti (the famous cellist \with whom he was a classmate) sad that after three years of study Bottesini never played hetter, he only gained experience! He left the conservatory three years early with the permission of the Governors in order to do more work on composition and to begin a playing, career. He was given 300 francs on leaving and borrowed 600 more fingers this shall not hap- Gi, wrote a brochure on Bottesini in 1884, Bot tesini himself mentions his health in a letter hhome bat ina very obscure way known only to his mother. In 1846, Bottesini’s good friend Arditi (who was his accompsnist for many years) was able to offer him a position with the opera house in Havana, Cuba, which he accepted, thus making his first of many visits to te New World. ‘That Company undertook tours to central America and in 1847 visited Boston, Philadelphia and New York (as well as Cape May, New Jersey, etc.) performing several operas by Verdl including Er nani, I Lombardi and I Due Fascari and also Bottesini’s first opera Cristphoro Colombo. That Company played the first Verdi ever heard in Philadelphia, Bottesini received extra money from the Com- pany for appearances as a soloist on the bass, often during the inter- val of the opera. This was the beginning ofa custom which he was to follow throughout his career. Even then, it seems, he was selling out the opera performances on the strength of his phenomenal abilities as a performer on the double bass. He was always very popular in North America and was made, for example, an honorary member, along with Jenny Lind, of the Philharmonic Society in New York in 1850. Here is a letter home to his parents written in Boston, April 29, 1847, “My most beloved father, “Yesterday I had the great pleasure of receiving your very dear letter dated February 20; the consoling news of you as well as mother and Angelina's good health have ‘cheered me up and truly restored my peace of mind. Dur-ing this current month of Apri, I have been unable to write to you because [left Havana on the 3rd, which is the day when all letters to Europe must be posted. I did not arrive in New York until the 15th; the journey was very pleasant and we were treated with the highest regard. In New York, we found another Italian opera company at the Teatro Palmos, where it had been in residence for five months, and there T came across a few of our acquaintances such as Clotilde Basil, Benedette il Tenore, Sanquivrio,ete.;a man from home whose name Ido not remember, isalso working there as a call boy. Our managers, who were highly ir ritated when they discovered that the theatre was not free afterall, spent 750 colemmodes on another theatre in order to have the company heard in two performances of Brian and thus, hopefully, sink the competition. Having quickly unloaded the boxes, we immediately started rehearsing un- tit was time to g0 on stage. The Park Theatre may have been minute, yet it was packed with people; we triumphed to the detriment of the others. God knows how much poison cur success must have made them swallow. The next evening we played in the Sale del Tabernacolo and performed to duets with Aditi; [am enclosing a review of the evening so that you may judge for yourself how my playing was received. ‘Before leaving Havana, [signed a new contract with the manager, engaging myself to perform in three concerts every month in exchange of which my monthly pay will be increased by 150 colommodes which will be added to the 120 I already receive as an orchestral player. I shall now be able to save a certain amount every month. You may rest assured that as soon as [ am able to put together 3 or 4 thousand francs from my savings, I shall be sending them cover. Please use them as seems best to you.-T do not want to know about it.I shall be only too happy to find myself finally in a positon to repay part of my debt towards you. “spent the lat five days in New York wandering about the city; having left Havana on an oppressively hot day, 1 was finally able to breath again—the freshness of the air here revives my Ings and pamps blood back into my ving; just like 2 St. Bernard dog, I start sniffing the at- ‘mosphere, it tastes of snow. I have not yet seen Paris or ‘London but I can imagine more or less what they must be like if they at all resemble New York, for this is a great ‘business center, highly populated, lean, elegant and hust!- ing with activity: steam engines, railways, omnibuses, car Fiages, millions of newspapers. I no longer knew what world I was in, “We then left for Boston, another very remarkable city, ‘where Washington, the great hero to whom this country ‘owes its freedom, preached such wholesome principles to the people. English is spoken everywhere, quite a handful for us, rally, this lmguage! “Byeryone works for the good of the homeland, and life is quite pleasant here. There are thousands of things T ‘could tell you, but I do not wish to deprive myself of the pleasure of relating, them to you in person one day. London 1860's, Bottesini in the height of his career. “We sball remain in this city until mid-May, at which point we will depart for New York where we shall be spending the summer. Before we retum to Havana, we may decide to visit Philadelphia, “shall Keep you informed at all times so that you know where to write to me. How is mother? and how is Angelina? Both well, T presume. I am surprised, though, that in the last letter my sister was not even mentioned; I assume she has leit for the country with some lady. IF the distance be- ‘ween us was not so immense, I would send her a few beautiful dresses, but that will have to wait until I get back. ‘Tell mother that this is a country where Sundays as religious holidays are rather better observed than in our ‘ow Catholic countries; on those days, singing, playing and alcohol consumption are forbidden. ‘Everybody goes to Church and although it is not a Catholic Church, the religion preached there is highly moral, honest and worthy of the public freedom and welfare existing in this country. INTERNATIONAL SOCIETY OF BASSISTS — Vol. X No.1 Fall 1983 |“| do remember my promise—time will tel. Don't worry therefore, even if suffer from not being at home: the stay Hon has become so much of a habit that my heath isnot in the leat affected by it. Infact, Ihave even become a litle ;—by my standards of cours. "| pave heard nothing fom my brothers, Once more, T bearof you tole me know how they are, write to me auicke {y and tll me what is new with ther and with their wives Have my nephews grown? I have not had the time to write to Dello, Please tell him that I received two of hs letters in Havana where I also received your last two. Ask him to keep me informed on everything, and I shall do the same from here: “When Lam finished with all my engagements, I shall go ona very smal trip around the U.S. and I sball then pro” ceed towards London where I am eagerly expected. As Soon as I get there I shall be sending you a modest draft so that you may come and visit me at once with mother and Angelina. was very sorry to hear about Piati’s ilness in ‘Bergomo, If you happen to see him, please send him my ‘warmest wishes. Novell, the bass, asks me to send you his Tegards, and co do Arditi and Bottogioni, that famous ‘Musician of Brescia. “Our opera company is having a tremendous success “We have the inexperienced American eardrums to thank dhe that, for in reality itis absolutely dismal. With the ex feption of the Ermani, all the other operas are a disaster, orrbly out of tune but always applanded! How lucky we ine! I don't know how we shall beable to cope when we are back in Italy. “pest regards to you and please Kiss mother and ‘Angelina on my behalf. Keep wel, regards to Dell, S. ‘Angelo, Teri, Monze, all the family and friends. remain, ‘our affectionate and most loving som. Giovanni" “To see the famous frst visit from a less personal point of view, hore a small article about it which appeared in the Gaseelta ‘Musienle di Milano on September 23rd of that year (847) “Any time the manages of the Havana theatre wishes to enlarge his capital, regardless of what pat of the world he fein, all he has to do is to announce a concert or an operatic Jtermezzo featuring Bottesii and, in no time, he will have i hall crammed full with spectators, each of them having jai quite a hefty sum for the privilege of being there. Last July 10th, Bottesini, Arditi and the principal artists of the italian opera, among which the great Tedesco, at tracted more than 5,000 spectators to a performance they fave in Caste Garden. They then left for Philadelphia, Boston and Cape May Island from where they shall subse quently goto Saratoga and Newport, travelling through al Uf the northern river area back to New York. Finally, in mid-October they shall depart for Havana. ‘The management despatches the opera company, and notably Bottesini and Ardit, from one place to the other: INTERNATIONAL SOCIETY OF BASSISTS 1 \ ew neta come OY al Vol. X No. 1 Fall 1983 seve Homeade seth those two are never allowed a moment's rest, running from fone city tothe next, secing, thanks to their work the lucky Gmpresario who is in the process of reengaging them, ‘becoming richer by the minute. Sivori who, with Herz, con- finues to tour around America earning a fortune for himself, published on one of the pages of this periodical, a ‘yery Kind declaration by way of which he expressed his reat desire to meet and shake bands with the incom parable double bass player of Crema and congratulate him Phd the whole of Italy for the incredible success achieved everywhere. A lithograph representing both Arditi and Bottesini has just been released. The double bass player has become the object of tremendous ovations ofthe kind ‘bestowed on Esler in the greatest years of her career a5 @ solo dancer.” 1849 saw his debat in London, then as now, one of the works muse capitals Both of his close school frends, Piatti and Arti rere to settle and prosper here making the musical scene. He appeared ‘cess was impossible to describe, the season” every concert series had was asked to join numerous tours Scotland with the famous impresario ‘ook Bottesini as is “star” (oi Sir Michael Costa conducting. London seems to have been Bis hhome during large portions 4850s was on Golden Square, ‘enormous contributions to first at the Exeter Hall and his suc He was described as the “Lion of anappearance by Bottesini, He both in Ireland, England and ‘and conductor Jullien who also ‘ona triumphant tour of the United States ‘of his life and his residence at least in the Piccadilly ottesin! asthe double bass player seems to have created the same reantion wherever he appeared, He ustally layed either his La Som rnambela fantasy or the “ences or his Grand duo Concertante together with a violinist (often aie Sivori and Papin in England, Sighiceli in Paris and tours with ‘Wieriawski, etc). The original ‘bass and violin (also listed in Sivori!) was composed in its ‘basses for Bottesini and tunder the name of Arpesani ‘wrote-a great number of other compositions, most of which were us. ‘ed for smaller gatherings of which the artists of the day ‘Carnival of Venice variations for lars at ‘version of the Grand duo for double the musical compositions ofthe violinist, ‘ealiest state as a duo for two double "Arpesani to play together. The work exists ‘and Bottesini in various places. He the many specific musical evenings at entertained TLet me quote some reviews and writings from his lifetime to give us an idea of his impact as a performing artist: “Of all the artists who have gained a reputation as players “of the double bass, Bottesini is the one who possesses the fqreatest talent. The beauty of the tone he draws from the Petrument, his marvellous dexterity and skill in conauer- ing difficulties, his manner of making the instrument sing the delicacy and grace of his ornaments are the component Clements of 2 talent as complete and all-sufficing 2s could tb desired, By his skill in producing harmonics in all post tons Bottesini can compete with the most able voiists.” “jm his duet for violin and double bass, which is frequently played, he arouses the enthusiasm of his audience to the Highest pitch. I necessary to hear Bottesin in this piece ow TUE sence SHOPto discover what possibilities are hidden in the giant of the stringed instruments; to hear what can be done in the way ‘of sonorousness, tone, lightness of expression and grace.” “Dragonett, Dal Oglio, and Mueller were fine Bassists but none possess the surety of execution that makes Bottesini's playing so brilliant.” “In precision, dash, accuracy and withal in the softness of touch and phrasing, Bottesini has no equal on the double ae ““Bottesini’s wonderful playing upon the unwieldy double bass is really a musical phenomenon; and those who have not heard him can have no notion of the vast resources of the double bass as a solo instrument.” “The duo between Bottesini and Sivori was all that could bbe desired and we fear can never be produced save by these two artists." ““Bottesini, who was worthily welcomed on his entrance, displayed in his double bass solo quite new powers and ‘much other than those we should have dreamed of for this apparently unwieldy instrument. Added to its own power and breadth were sweet violin effects, only rounder and ‘more mellow and flutelike than can be extracted from the violin. Now its harmonies were liquid and singing, and then it took the character of the violoncello, and anon growled ‘ut its bassest bass and, in the hands of this masterly per former, it eventually extended through the range and with the peculiar characteristics of three instruments.” “An outstanding concert artst, he is called the ‘Paganini of the double bass’. Under his bow, the double bass becomes an entire orchestra with a complete range of mocds.” “Byeryone was enraptured by Signor Bottesin’s solo dou- ble bass. He has the unaffected, generous, enthusiastic look ‘of a man of genius, and no one has drawn forth more ex: ‘uisite sweetness and deep-toned intense melody from the double bass than he did last night. The Duet Concertante (olin and double bass) was 2 rich musical treat—the fall ‘melliflucus tones of the Gouble bass mingling and blending with the silken notes of the vielin and belMike triangle chime harmonics rendered this part of the programme tra- ly delightful.” From these critics and many others (I hope to find still more from ‘more diverse places) we can begin to draw a picture of how Bottini ccame across. He won admiration from all for his technique and in tonation but also for his musicality and ability to sing on the instru ment. I have come across much mention, aa well, of two other aspects of his activities which seem fo escape notice, one being 2 fine player of chamber music He first played in London not as a soloist but at an evening of chamber music playing to everyone's amazement the cello part of a 10 ‘quurtette by Onslow. He was present playing, for another example, at the premier performance of Spohr’s Nonett. Second, he was 4 brilliant player and accompanist on the pianoforte and seems often to have accompanied other artists on programmes where he was also ‘engaged as soloist. Among friends, “He was amazingly versatile at the piano; he would play, sing, talk and shout, imitate the clang of the trombone, the sigh of the obve, the tril of the flute, the roll of the ‘drum, the crash of the cymbals! until, exhausted, he would stop in provising, push backa rebellious curl tur to his listeners and silent Jy question them, fixing them with a penetrating gaze that would reach their innermost thoughts.” Inhis concert career, Bottesini went to every comer of Europe as far as Russia (St. Petersburg), also to Turkey, and Egypt. He also ‘went from Boston to Buenos Aires in America via Mexico and almost every country in between. Today’s soloists would be hard pressed to keep up with the travels of Bottesini. Imagine touring like ‘that before even steamships, and surely no aeroplanes, motor cars, London 1880's, The Grand Duo, Papini and Bottesini. Interesting, this photo was taken in the same studio and, presumably, the same day (Bottesini is wearing the same clothes) a8 Adrian Beers’ ex: cellent photo to be seen in the New Grows and the Yorke Ecition posteard,telephones, etc,, ete. He must have spent a tremendous amount of time just travelling, and think of transporting his instrument! For- ‘unatey, his temperament was such that he had an aversion to sett ing down anywhere for too long. Most of Bottesini’s compositions were in manuscript andl not published, and, due to his constantly moving lifestyle, are well spread ‘around. I would not be surprised if compositions continue to come to light. ‘His compositions for the double bass are varied and, in my opinion, ingeniously constructed for the instrument. There are a number of duets for double bass and other instruments (does anyone know ‘where the Blicr of Lov fantasy for double bass, cello and accomp. is), operatic fantasies mostly on Bellini or Donizetti. (I cannot locate Lucretia Borgia), themes and variations, melodies, elegies, concertos ‘and concerto mavernents. If there is a problem with his music itis a ‘combination of solving technical diffcalties combined with an understanding of the “Bel Canto” style which is now at least 100 years gone, “«. . she is called the ‘Paganini of the dou- ble bass’. Under his bow, the double bass becomes an entire orchestra with a com- plete range of moods.” He used a normal % size Italian double bass tuned one tone higher oor one and a half tones above the normal orchestral tuning. He used pure gut strings forall three strings and cello type (hard) resin. His bow was a slightly Jong French bow with white hair (although he ad vvocates black in his Method). His fee for a concert at which he usually played one or two numbers (Koussevitsky was the fist soloist to do entire recitals and he had a number with the pianist alone included often), was in the 1860s about 500 francs. [think that must have been quite a high pay ‘ment, and Bottesini earned a fortune in his lifetime being wel in de- ‘mand everywhere, Bottesin’s bass belonged to the Milanese player, Fiando, and was ‘reputed to be in a closet in a marionette theatre in that city. A friend ‘of Bottesini, the bassist Arpesani, told him where it was. Bottesini ‘got a prize of money from the Conservatory and borrowed the rest from a relative to buy the bass in 1839. Contrary to popular belief, the instrument at that time had four tuners and a four string tail piece! The tuner had been removed leav- ing a hole in the scroll. Ancther hole was driled in the centre ofthe tailpicce for the second string. I have heard it said that this was put Tower down than the other original holes for same accoustical reason, Dut I doubt that. This was a simple conversion from four to three str ings! Bottesini felt strongly in favour of three strings of pure gut in a ‘me when some places in the 1840s used, traditionally, four and even five strings, such as Germany. France had just accepted the four str- inged instrument as standard at the Conservatoire, and Italy, England, Spain, ete. were stil using three strings as standard (I saw a three stringed instrument in Spain last month). I suppose England ‘was one of the last places to change over, as three strings were INTERNATIONAL SOCIETY OF BASSISTS rather common here until the frst war. There was also controversy pro.and con about the metal wrapped botiom strings going on at that time among all the bass players. ‘The instrument was made in 1716 by Carlo Antonio Testore in ‘Milan, the eldest son of Carlo Giuseppe. It is very typical of this maker. Ihave seen several which are almost identical tothe Bottesini ‘bass. have read that it was by Carlo Giuseppe, but this is not true. ‘The instrument was made with the flat back and ribs of pearwood ‘which was popular with the makers in the north of Italy for basses ‘and cellos (along with poplar and a type of willow). The instruments from this material almost always have the traditional cherry-brown ‘colour and this one is no exception. The Testore family seemed to have a great selection of beautiful pine and the table of this instr ‘ment is 2 good example. The ff holes slant inwards toward the bot- tom and are typical of the maker. The table length is 454%”, 19¥4 ‘across at the upper bouts, and 25 5/8" across the lower part, the ‘depth in the rib being 8” atthe bottom. These measurements refute the misconception thatthe bass was a “Basso da Camera” or of small, ‘The instrument is the normal % size Italian Contrabbasso in every respect. On Bottesini's death, the instrument was passed on to anad- ‘vocate in Torino for settlement of his estate and was subsequently sold to Hill and Sons, the London dealers. The bass was then bought by Claude Hobday, the famous English Bassist, in 1894. At that time the instrument was converted to four strings, keeping the existing tailpiece but losing the original three tuners, replacing them with the English type and making the string length the modern norm of just under 42" and having a “d” stop. Previously the stop had been nearer Eb and the string length closer to 44". The longer neck ‘would, of course, have made several significant differences for Bot- tesini, First the sound would have been bigger and brighter owing to the longer string. Secondly, as Bottesini played semitones in the lower register 1-4 (the “Scuola Lombardo"), the longer string would hhave been more comfortable! Thirdly, the harmonies and upper register would have been easier to reach, as the shoulders are not too sloping on this instrument believe that the bass bar was changed at the same time. The ‘work was done, I believe, by Hill and Son who certified the instru- ‘ment as well at that time. The instrument during Bottesini’s owner- ship had a slightly raised bottom nut which may have been there ‘when he bought it but was surely there from the 1860s onwards through Hobday’s ownership, When Claude Hobday died, the instr ‘ment Was purchased by James Merrett Sr., the welt-mown London player and teacher, and on his death the instrument was left to his son, James Jr It was at this time that I came to know the instrument. (Lreplaced James Jr. as professor at the Guildhall School of Music, London.) When James Jr. died in 1974, the instrument was offered {or sale for 3,500.00 Pounds and the wish was expressed that it not leave England. An instrument dealer, a Mr. Duffy, purchased the in- strument, and I understand that itis now in Japan! ‘According to my colleague, Adrian Beers, who was certainly the finest pupil of Hobday, the box for the bass, which was literally covered with exotic laguage labels and stickers from all over the ‘world, was left to disintegrate behind the Royal College of Music. At Teast we are left the instrument, hopefilly to survive us all into history. Bottesini admired most the instruments of Gasparo da Salo Vol. X No.1 Fall 1983 uPart two of In Search of Bottesini will appear in the Winter issue, covering Botesni the compaser, conductor, person, his last recitals, time in Parma, and funeral, along with more photos. London 1860s, Arditi, who was Bottesin’s accompsnist and friend. Arciti was also wellknown as a composer and conductor in London, thougia he wouldn't have selected an instrument of such a grand pat- tem as a solo instrument, and owned a number of instruments at various times including anther Teste, I understand. The 1716 in- strument, however, was his constant companion throughout his play= ing career. Considering the traveling that Bottesini did, Tm amazed to say that, when [knew the instrument, it was in very good cond tion. Ir might also be interesting to mention that, while there have ‘been attempts over the years, Herr Horst Grunert of Penzberg, W. Germany has succeeded, to my mind, at producing a copy of the i strument which is superb in every respect. The tone is magnificent and the material and workmanship beyond faut. The varnish isthe traditional one ino In my opinion Grunertwillemerge in the future as one of the most important makers of basses, [Bottesin’s instrument, in adlition tothe normal and genuine label ated 1716, has several epair records inside, one from Matti in 1871 and another from Buenos Aivs in 1879 (the date of the produc tion of Bv0 & Leandro there). 4 End of Part One Thomas Martin studied the Double Bass in America under Harold Roberts and Roger Seat. He has held principal positions with the Israel Philuarmonic Orchestra, Montreal Symphony Orchestra, London Syma- ‘phony Orchestra, and Academy of St. Martin—in the Fields, He i now ‘the exprincpal with the English Chamber Orchestra Thomas Martin has been made fellow of the Guildhall School of ‘Music in London, where he has been Professor of Double Bass for some years, A. frequent visitor to Ireland, he gives a series of popsilar Master Classes each year forthe Dublin Philharmonic Society. In addition, he Jas just released @ new alt Botosn’ album. See “New Releases” 2 London 1890's, Bottesini’s Testore in the possession of Claude Hob- day, Eoq,International Society of Bassists In Search Of ¥ Bottesini by Thomas Martin GiovaNnt BOTTESINI THOUGHT of himself as 2 composer who played the double bass. Its one of the eruel paradoxes of musical history that the goal which he wanted most to achieve continually ‘eluded him. One of his contemporary biographers writing about his later life said, “Tired of touring, it seems that Bottesini wants to dedicate his noble git and all the treasures of his noble doctrine almost exclusively to the Opera Theatre where, despite the success of his previous operas, it has to be admitted that he has not been able to make the sort of impact that takes a composer to the forefront and assures his popularity. So far he has written worthy ‘scores, admired and appreciated by the intellectuals, but he has yet to write a score that would excite the public, that great and just dispenser of applause and censure. Some maintain he lacks inspira- tion, the high and powerful inspiration that alone creates master- J the composer: This photo was taken at one of, the stagings of roe Leandro and has the first few bars of the overture in Bottesini’s script on the front. 6 ‘Part Two pieces and this may be true as it also may be that he is finally in these last years about to capture that feeling of inspiration.” Of course he loved his instrument which brought him to the forefront of all the musicians of his time; that success, however, ‘was at the expense of his composition. His financial situation, as well, was such that at many times, particularly in later life when he ‘would have liked nothing better than to settle down in order to devote himself to composition, he was forced to undertake concert tours with his great friend and breadwinner, the Double Bass, in ‘order to keep the wolf from the door. For this reason, it seems his life was a somewhat frustrated one. ‘That frustration showed itself early in his life, for he left Conser- ‘vatory in Milan three years early (with the blessing of the gover rors) in 1839 in order to “give himself up to composition in a freer atmosphere” 2s he felt drawn to it. His teachers were Piantanida, Ray, Basii, and Vaccai. One contemporary summed up his com- positional aim by saying, “His sympathies favour the beautiful ‘school of Italian melody enziched by the modern art of orchestra tion. To him, Rossini’s Willian Tell and Gounod’s Faust are stan- dards of Beauty and the realization of his ideal of musical lovelinesshe is really @ cosmopolitan in taste and unreservedly ad- ‘its the merits of composers whose music differs in all essentials from his.” BBottesini had completed quite a large number of compositions by the time of his London debut in 1849. At Conservatory in Milan he hrad undertaken such daunting assignments as a quartet for harps, not to mention string quartets. Almost all of his famous compost tions for the double bass were written in one form or another by ‘that time, and he had already completed his first opera: “Critoforo Colombo” was written in Havana (Teatro Tacon 1847), in two acts, with the Ibretto in Spanish. Borresin's FIRST MAJOR operatic undertaking was his Lassedio di Firenze (Siege of Florence), which was given its first per- formance in Paris at the ‘Theatre des Italiens on 2 Feb. 1856, and was repeated at La Scala (1860), among other places. A Viennese critic who commented on the Paris performance said that the opera ‘was very well received and was thought to be very good. He felt that the writing for the orchestra was excellent but the writing for the voices was not up to the same standard, remarking that Bot- tesini was far better at singing on his instrament. The eritc men- tioned that Bottesini played his “Carnival of Venice"'in the interval, as was his custom, and said it was a pity that the audience was ‘compelled to cry aut so much during the performance. His next opera was written in 1858 and called “I! Diavolo delta Notte. It #8 known that the full score to this opera, as well 2s Lassedio di Firenze sill exists. 1862 found him composing the first Of his three best-known and best-eceived operas, Marion Delorn Iwas written on a libretto by Ghislanzoni (who wrote Aide, among ‘other brett) based on a novel by Vietor Hugo. The frst perfor mance was in Palermo (lan. 10). It was repeated in 1864 in Barcelona, where Bottesini was given a silver baton by the chorus and a silver crown by the orchestra of the Liceo Theatre engravedVol. X No.2 Winter 1984 “tothe worthy Professor Sr. Juan Bottesini a tribute of friendship, wonder, and respect.” The absolutely glowing review went on for pages, and excerpts from which gives us an idea of where Bottesini stood at that time in musical history ‘ow, when the world fecls the destruction of its true Italian shoo} due to the wrongly called Verdian style that has destroyed not only the beautiful and pure melodies which formed its glory, and when we see with amazement the slovenliness in which the Italian school has fallen as well as its old and celebrated Conser- vatories, we heard with amazement, we say again, Maria Delorme , because the melodies it contains are original, pure and simple as Bellin's, having a spiritual sound so marvellous that it makes us be in paradise. We have also heard it with wonder, because every bit oft fits in its place together with an excellent or chestration, We do not know what to praise more in Bottesin, his melodic and compound genius, or his philosophical talent to develop the drama musically, or the knowledge he has in the fields of orchestration and composition. “All the things can be seen in his work which is developed with ‘easiness, simplicity, and loftiness.” ‘The fall score of this opera exists, but the exact location is not known, The libretto and stage movements, however, have been found. Borrestvt APPEARED AS soloist at the Casino in Monte Carlo in 11864, At a theatre nearby was a fine troupe of singers from Pars, for whom he wrote a one-act opera called Vinciguerra, Il bandit. ‘They performed it in Monte Carlo and subsequently took it to Paris for forty consecutive performances. [Next came the second of his great operatic successes, Ali Babe, his great comie opera. Alf Baba, in four acts, was written and fist performed in London at the Lyceum Theatre in 1870. Bottesini was ‘acting as conductor for the season, as he had been forced to flee Paris owing to the advance of German troops on that city. Ali Baba was a great success and had a long and appreciated run. Only the piano score to this opera, is known but itis believed that the full score exists Bottesini's great opera is “Bra e Leandro” (Hero and Leande), which was composed during his tenure as director of the Italian Opera in Cairo in 1875 at a villa near Ramle outside Cairo. The libretto was by Boito, who was Verdi's chief librettist and a good ‘composer in his own right (Mefsiofil). The first performance took place in Torino with a fabulous cast in 1879. Tt was repeated 20 times that season to ovations. The Director of the Teatro Reggio, who mounted this first performance stated: “That Boito should have renounced the idea of setting Ero e Leandro to music himself is a great shame, considering the fourth act of Mefisiofi. It is also amazing that Bottesini should have chosen this libretto to compase an opera on; and yet he was successful with this as with afew others, and Evo ‘was his greatest success in serious opera as Ali Baba was in comic opera “If his virtuosity made him a famous concert artist, it was at the expense of composing. In Bottesini inventive original ty did not correspond to spontaneity; technically skilled and a capable instrumentalist, he more often than not proved une- ‘qual tothe task of composition. The impatience of the con cert artist was revealed in obvious improvisations which tvere merely concessions tothe dubious taste of his audience. Having decided to become a composer, he had neither the patience nor the desire to really work at it it was enough for him that his work sparkled, was applauded, and he could ‘move on to other things. “"Bottesini can be regarded as one of the last exponents of the Italian school that was bound to the traditions of Bellini and Donizetti. He was a confirmed enemy of the Wagnerian revolution; he was even ready to set to music a satire against the Wagnerians, of which T have read the libretto. In later years he spake out strongly against all those he held respon: sible for all that was bad in the Italian theatre. Accusing others of intolerance, he passed into even worse intran- sigence. The classical form ofthe Italian opera he considered sacred, anid he really believed that he could bring it up to date by working on the counterpoint and orchestration. Such a view reduced the Italianness to a question of style and obscured the content. “in choosing his ibretti he also followed the old school and did not go for subtlety. He would use any libretto he came facross—and he came across some very unfortunate ones~and, suffering somewhat from a persecution complex, he blamed his editors, impressarios and colleagues for what London, late 1850's. This very early photograph, retouched in oils, must be among the first of Bottesini in his favorite posed playing position.Intermed Society of Baits ‘was partly the result of his poor choice of libretto and partly his excessive indulgence for his creations, namely the Tukewarm success of some of his scores and difficulties over ‘mounting them. “As the logical result of his concept of melodrama, Bot tesini only looked for and found ‘episodes’ in his libretti; he gave litle importance to a logical development af plot or characterisation, This restricted view denied him the ability tocreate great works of art. In fact, in Ero e Leandro we find ‘exquisite pieces of composition followed by pieces that are frankly vulgar, which would seem inexplicable if we were to ignore the indifference of composers of Bottesin's school to everything they considered mere accessories of no impor- tance to the opera. “But even $0, every now and then Bottesini’s poetic sen- ‘iments flowed bright and pure from his imagination Limiting myself to Evo e Leandro, 1 must say that the religious entreaty in the first act, Leandro’s declaration, the drinking song, various extracts from the two love duets and the Barcarole are totally appropriate. The depiction of a :igonlight night on the Bosporus which opens the third act is trily exquisite. A few minor changes, and the evocation ‘would be perfect; the spirit of the scene reveal itself, and we are filled with the sound of the orchestra and the muted voices of the chorus so that we are lost in the blue of sea and sty. “Ero Leandro, an opera created during every sort of vexa tion and worry, provided in exchange Bottesin’s last joys. Acquired by Ricord, it was performed for many years in the ‘major opera houses in Italy, Europe and South America, un- tilt was superseded by the Bro ¢ Leandro of Luigi Mancineli ‘written om the same libretto, Mancinelli was conducting the Bottesini opera in Rome and fell in love with the story. As BBottesini had never bothered to secure the literary copyright, ‘Mancineli set it to music as well. “recall that during one of the first performances of the opera, at universal insistence, Bottesini gave a recital be- ‘ween acts, The crowd that accumulated was so great that ‘the management had to stop the sale of tickets half an hour ‘before the performance was to begin. Bottesin left Torino in triumph, having been commissioned to write a new opera.” ‘Twat orera, La Regina di Nepal, was not well-received, and reinforced the views of the previously quoted theater director, who ‘was the man who produced both operas and commissioned the se cond. The opera was damaged by a last-minute change of the leading tenor, and one is given to understand that this may well have rained the performance. Here isthe backstage description by another contemporary who was there at the time: “The tenor became the scapegoat ofthe evening. Itwas as if the enthusiasm aroused by Erv e Leandro bad been totally “obliterated; the Regina di Nepal could just as easly have been the work of any insignificant composer, judging by the sulkiness of the audience. When the first-act curtain came down, there was utter silence! Oh, that silence! ‘He who is not familiar with the backstage world cannot imagine the torture the poor composer is subjected to when he sees the curtain slowly coming down and hears no ap- plause, no whistling, nothing, only a vague indistinct rustling seemingly miles away; yet this rustling is like a hammer oa his temples, a knife in his heart already pricked by a thou Murray Grodner, professor of music, chairman of string department Stuart Sankey, professor of music Indiana University School of Music Study in String Bass + Faculty with distinguished careers in both teaching and performance + Extensive performance opportunit including, orchestral, jazz, and solo + Unique program, offering two full-time teachers of string, bass Study leading to Bachelor's, Master's, Doctorate, and Artist’s Diploma Scholarships available For further information, write: Charles H. Webb, Dean School of Music Indiana University Bloomington, IN 47405Val Xo. 2 Winter 1988 sand needles. He then wishes for the cries, the hisses, the shouts of a furious audience rather than that deadly silence. “During the second act, sill the same menacing silence; the electricity in the atmesphere weighed upon all his friends, and the interval seemed endless. Bottesini affected to be calm, but the glare in his eyes betrayed deep agitation. Retreating in the artists’ passageway behind the stage, he paced up and down, his head hanging low, his shoulders bent, his hands thrust in the pockets of his unbuttoned ‘upheavals of theatre life, he who had been acclaimed all over the world for his performances on the double bass, burst into tears, He had been able to control himself in the face of so ‘much public indifference, but when the audience started ap- plauding, be, in one of those sudden reactions which often accompany downfalls, broke down completely. The image of that tal, virile figure prostrated and sobbing against the wall in the confusion ofa frst performance has remained engrav- ed in my memory; thirty years have gone by, and I have not forgotten, and, indeed, I shall never forget.” ei er ame Saha he reed ace oe ee Pees oe vet Dd What cold be ave sa? We dd not eoress my what Syn yace gn venly making 9 Bad prt ore would we have dared say? During one of his pauses, a theatre. % Tee oac inane notes bea ae rb adi fs rsh "Tecamowr conned wih ree peep Am parece eee becomes Sevice tee ua daar macraad ios cahepo facie rama opera taaaertg neers Maced On stage, on stage!” Bottesini turned pale; he was as white as eae em Fnaa van ial epee Se a aes a aes taeda ae ST Gr ata paces mocaee Witla ee ee ca ae ee eee cieen caer an Jacket. From time to time he stopped, listened, and almost immediately, fearing he would hear something, resumed his In ADDITION 70 the operas already mentioned, more were left ‘unpublished, all written in his last years. He offered two for perfor- ‘mance to the same Teatro Reggio in Torino in a leter to the Direc- tor in 1881. Three more were written in London about the time of his oratorio, all of them in three months 1886-87. These operas ‘were: La torre di Bobele, La figlia dell ‘Angelo, Azaele, Cedar, and Graciela ‘The Teatro Reggio in Torino also was the scene of the first per formance (in 1880-81) of a work Bottesini considered to be one of his finest compositions, his Misca da Requiem: for four solo voices, to Signora Amelia Dando in Padova and has been in two private collections since it was written. An example of one of the many Romanzas for voice and piano that are scattered all over. This one was dedicatedToten Soci of Bassists xara: MARIA DELORME. {a euistanzom. t 31 BoTTESI. ee ‘The front page of the libretto booklet the public had for the Marion Delorme performance in Barcelona in 1864. Each one had a photograph of the composer pasted on the inside. chorus, and orchestra. This work was also chosen by his home town of Crema to represent them inthe great musical exposition of 11881 in Milan, where it was awarded the gold medal. It is believed that there is full score of this work in London. Bottesini's last major work was his oratorio The Garden of Olivet swritten for the Norwich festival of 1887, on an English text by Joseph Bennett, the eminent musical critic of the London Daily “Telegraph, A large-scale work indeed, the Italian critic of the Gaze ta Musicale di Milano, who attended the first performance with Bot- tesini as conductor, made the following observations: “The ‘voluminous score is in 20 parts and included a total of 37 pieces. ‘The perfection ofthe work need not even be mentioned. Bottesini’s knowledge of counterpoint and harmony is supreme and universal- ly recognized. I shall say that this Oratorio shows a striking and largely individual feeling for melody, Italian in rhythm and form, congenial in character. It includes a sublimely simple duet for soprano and tenor, very much in the style of Haydn. The closing chorus is as sumptuous and grandiloquent as a Handel finale.” At the time Bottesini was known to be composing his oratorio, hi Diographer, Lisei, who was afraid Bottesini (violently anti-Wagner) ‘was about to go stray from his style, wrote these words “Remember, Maestro, that the mourned composer of “Giocunda’ (Ponchieli, who had died recently) owed his popularity to his hav ing remained faithful to the traditions of the great Italian schoo!- remember that you write above all for your fellow-countrymen, for those who speak in the sweet Italian idiom and love and feel one with you. Close your ears to the facile seductions of the Nordic sirens, remember to remain Italian, and you will add further glory to your already ilustrious name.” ‘The local Norwich critic who attended this concert said that it ‘went very well, especially regarding the orchestral balance and the | soloists. The work was melodious and masterly in its orchestration, even if rather colourless and unoriginal, with “reminiscences of Rossini, modified by some more modern influences’. He felt, nonetheless, that the work would add considerably to Bottesni's reputation 2s a composer. ‘The audience was unanimously in favour of the work, and Bot: tesini was loudly applauded by both audience and orchestra alike, and was recalled repeatedly. Borresint's oxcHESTRAL WoRKS include the Gruzilla Over ture; Sinfonia Caratieristica; Promenade des Ombres; Arabian Nights: the Nile and the Desert, Reverie for full orchestra; Funeral March; Prelude-Davon on the Bosporus; and the prize-winning Ode to Cavour. ‘Among his two string quintets and 11 quartets, the Quartet in D ‘major won the Basevi competition in Florence, and must be his finest composition. In addition, there are many songs for voice and piano, and pieces of chamber music for various combinations. Bottesini composed easly, in a very clear hand, and was very ‘concise and accurate. If he did have an idiasyncracy, it was his use ‘of> and sf. He continually used > to indicate the stress and direc tion of musical phrase and sf when he wanted to indicate an actual accent. In every instance, his orchestration was praised whenever hhis compositions were mentioned, even in reviews of his ap- pearances 28 a soloist with orchestra. ‘As Bottesini grew older, clinging reverently to the older Italian school of writing as he did, it seems that his composition improved land the reception of his works was met with less understanding; ‘that i to say, he did not change with the times. A modern audience Bottesini manuscript-this page is from his touring piano parts book. 10International Sit af Bs [ roiane appreciate his music more, now, not being so versed in the Sie of his ay. ‘Wouldn't it be wonderful if for example in 1989-he Botesin centenary year, we could organize the presentation of his operas ‘The biggest problem with hse that the score to "Ev e Laas” is misoing, Ricor, atleast a Milan, say they unfortunately have xhasted al the material todo with Botesin's opera “Er Lea Sra in fac, his opera, once regulary in their repertory, has been successively effaced, making it impossible to supply the material Tf anyone has any information pleae be so kind as tot it be low, a8 plans have to start soon. Vocal scores exist but so thuch ofthe praise of the work goes to the orchestration that Arould be ral to Toate the fal score. ‘So much of Bottesii’s music was unpublished that to make a catalogue would be impossible. There must be many works in various private collections, musical societies, conservatory Tibraries, and an equal amount probably left in suitcases and various places during his travel. Again, ifall of us would have a Took, who knows what might come to light. What a wonderfully prolific composer Bottesini was, when one considers that is was on- ly one of his three fulltime musical occupations! It remains in this sketch of Bottesini the composer to mention his magnificent Complete Method, which in its time was the staple tutor a GARDEN OF Otyyey ea ~ DEVOTIONAL ORATORIO. Bottesini on his London Debut. The famous lithograph by Baugniet. Warren 2 Aosereo or JOSEPH BENNETT, G BOTTESIN. ae see tite. © Ea fager ers P Bonnet into 35 ublishad by i HUTCHINGS & C* BLENHEIM HOUSE SLENHEIM S* NEW BOND ST LONDON. ‘The front page of the vocal score from Bottesini’s last great work The Garden of Olivet. {or the instrument. It is as fine a method as exists, and much can be gained by reading it and practising the exercises. Two editions, or Father re-organizations, ae available, and both have done extensive ‘changing of the studies to include the fourth string, which was not used in the original. End of Part Two Part Three follows in the next issue ‘Thomas Martin stulied the Double Bass in America under Harold ‘Roberis and Roger Scott. He has held principal positions with the Israel Philharmonic Orchestra, Montreal Symphony Orchestra, Landon Sym- | ‘phony Orchestra, aned Academy of St. Martin—in the Fics, He is now the eoprineipal tcth the English Chamber Orchestra “Thomas Martin has been made fellow of the Guildhall School of ‘Music in London, where he has been Professor of Double Bass for some ‘years. A sequent visitor to Ireland, he gives a series of popular Master ‘Classes cach sear for the Dublin Philsarmonic Society. In addition, he thas just released a new all-Botisin albu. Lf anyone bows the whereabouts of any compositions (scores, paris, cte,) by Botesin, please contact the ISB office as soon as possible 2Fenisaeipnia Havang ‘The following list of places and dates represents the wide teavels of Giovanni Bottini, Belgiam—1857-51 Buenos Aires—1879 Constantinople 1873-79 Guba—1846, 1847, 1866 Egypi_187079 Enlend—1848, 1849, 1950, 1858, 1860, 1866, 1867, 1870, rance—I886, 1859, 1867, 1869 Germany—1887-61 Holland 1857-51 Ireland—184950, 1860 Iealy1821-46, 1857, 1858, 1860, 1861-63, 1879, 1880, 1881, 1889 Mexico 1853 ‘Monte Carlo 1864 Portugal—1858 Rumania 1889 Russia 186657 Seardansvia— 185 Scotland 1849-50 Spain—1888-66 USAW 1847, 1849,50, 1866, Egypt 1870, Bottesini on the premiere of Aida, shown here in his Egyptian hat 2Scotland Ireland England Ts tracing Giovanni Bottesini’s movements as a conductor, they are nearly impossible to separate from his movements asa soloist, ‘ashe frequently appeared in both capacities, in addition to (as men tioned in Part TWwo) trying to find time for his great love, compost tion ‘As a musician in this period of Music History, Bottesini had casons” of Opera or concerts lasting a matter of weeks to mon ths in one place, and long “tours” in which a group of artists went from town to town appearing in the “pot pourri" type of mixed concerts which were popular at that time, each appearing in several rumbers and often accompanying each other. Bottesin's career as a conductor probably began during his days Rssia by Thomas MartinLondon 1880's, probably Walery—Bottesini the conductor & composer: at the Milan Conservatory, and blossomed during his stay at the ‘Teatro Tacon in Havana. He went to Havana in 1846 with his great friend, Luigi Aditi, the leading violinist and conductor. Bottesini was principal double bass and “Maestro al piano”, which un- doubtedly included some conducting, Also, he was involved in con ducting his first operatic venture, Christopher Columbus, (although the actual ttle was Colon en Cua (Columbus in Cuba. ‘Arditi recalled this period fondly in his reminiscences, saying that he and Bottesini shared a quaint house with large windows with “innumerable parrots [sic] and dogs” (not Bottesini’s lst col lection of animals) Apparently, they had a servant named Francesco who Bottesini, though far from rich, was continually bailing out of jail for being out after curfew “Arditi wrote a number af compositions for this partnership which had begun earlier in Italy. (Ardit, Bottesini, and their other friend Piatti had all appeared together in sumerous concerts, including the coronation of Emperor Ferdinand in Vienna where they were “enthusiastically applauded by the Austrian court"), His works in cluded a fantasia on J Peritan for violin and double bass, a Carnival 26 of Venice Fantasy for the same combination as well as a Scherzo on Cuban Melodies. Bottesini also was busy composing during this time. Some af his compositions from Cuba include: Musie for the poem Dia Nebulose, a Birthday Ode to Tsabel I, and a Nocturne for violin and piano. It seems chat Bottesini was terribly sea sick all the way from Genoa to Havana, not surprising when one considers that he was sailing before steam ships! Given this fact, plus his fear of car rages, i is surprising that he became such a perpetual traveller. Once ‘arrived in Cuba and having recovered, he was taken to ‘everyone's heart and was known as Juan Bottesini (On his first visit to England in 1848, he appeared as a conductor at the music festivals in Buckingham and Birmingham. By the time of his debut concert as a soloist in London, the Times mentioned that “The Italian artistes [sic] who have been associated with Bot tesini speakcin the most enthusiastic terms of his abilities as a music director and conductor of an orchestra” Hee was, during this period, at the height of his career as a soloist. He did not have an official post asa conductor until 1853 in Mexico at the Teatro Santanna, There he helped to organize the Conser vvatory of Music, and was engaged as music director of the Opera by the great soprano of the day, Henrietta Sontag (the Countess Rossi), who died the following season in Bottesini's presence. He retumed to Havana in 1855, and then in 1856 the post of Musical The House in the Strada Farint where Bottsini lived and died in Parma, Intemational Soi of Basisconceanusomummnonescmencmencneneseeeyi i) COVENT GARDEN THEATRE, PROMENADE CONCERTS | EVERY EVENING : sarnroura, ww, MORGAN, : when, ' van Bs ey owe, : REY NODS. AND OF 100 PERFORMER STR SIGNOR BOTTESINI. Herr JOHANN, STRAUSS. pnea Ras anme sce ee ‘A prominade concert programme from the Covent Garden opera, Low om. showing Botisini az the conductor and Johann Strauss (from VViewna) as conductor of the dance music. Director was offered him by the ‘Theatre des Italiennes in Pars ‘This was a highly prestigious post having had previous directors such as the great Rossini himself. ‘Bottesini used these opportunities as Musical Director to secure the performance of his compositions, and thus the premiere of the Siege of Florence in Pats in 1896. Soon after his arrival in Paris he ‘as invited to the Tlleries to perform before Napoleon the III ‘who had heard of the great success that greeted the concert artist wherever he went, He was duly received inthe ante-chamber tothe concert room by the grand master of ceremonies, Count Baccioc- chi, who asked him hundreds of questions about his instrument hhow it was made, its size, harmonic qualities etc. All of this et Bor tesini bemused until the question Was asked “and is it empty or fll, Maestro?” At this, Bottesini almost burst out laughing until he ‘remembered the recent attempt on the Emperor's life by Felice Or ‘ini, Controlling himself in time, he solemnly answered “Empty, ‘empty, sir!” Needless to say, he had the warmest applause at the ‘court and this only served to bring him further to the attention of the public of Pars, He alternated with Berlioz in conducting the formidable army of distinguished musicians which had been especially pat together for the great ‘Exposition Universelle’ in Paris. He was awarded a silver medal by the Paris Conservatory in the presence of many Gignitaries and made many successful appearances all over France ‘and Europe. Bottesini anticipated a stay in Paris of about seven years ‘The next year, however, he set off on what turmed out to be @ WoL MDa. 2. Winter 198 v constant tour which lasted from 1857 to 1861, mostly appearing as {soloist with some conducting and accompanying. He visited Ger ‘many, Holland, Belgium, and France; paid. his annual visits to Bngland; toured Porcugal and Italy extensively (1858): and in 1859 made a French tour #8 conductor and soloist. One opera was pro- ‘ced during this period i dizeolo della notte (Milan 1859) which is thought to be one of his finest. 1860 included a long tour of almost tvery city in England and Ireland with Sivori the violinist and the soprano Signora Fiorentini "From 1861 through 1863, Bottesin took a post as Music Director of the Teatro Belini in Palermo, but still found time for extensive tours as far as Dublin again. His opera Marion Detorme was prose fed (the leading soprano: Sra. Fiorentini) in Palermo in 1862, In 1863 the recently opened Liceum Theatre in Barcelona engaged Bot tesini as their Music Director which be accepted until mid-1866, ‘combining that post with a series in Monaco. Maria Delorme (as they called it) received an enthusiastic run in Barcelona as well with the same soprano as in Palermo, Signora Fiorentini! She had London, 1886, a Walery photograph showing Botesni in playing pos tion. 271820 Performer ‘28 Began tudy of won 1830 1840 1850 1640 Sole debut in Groma 140 Towed exansvey, including La Scala ara Vienna 184046 Occasional lous, Lest din Breccia then Principal in Verona {846 Principat in Opera House in Mavana, Cuba 1647 Toure to Boston, Philadephia, NYC with vost At 849 London debut 184960 Toure tan, England, Scotland end USA with inpres aroteonouetor Jaen 1856 Performed for Napoleon I Tuileries, Pars 185761 Tos Germany, Holland, Belglum, France 1858 Towed Englae, Postal ly 1259 Towed France 1860 Towed Engl, anc roland extensively with Woiist Sv ana soprano Signore Florent $601.0 Studios with Uncle Cop Pras and tet voit in Cra Cates 182609 Scholarship atthe Conservatria la Milan (bogan bass studies) 1629 Bought 17% Catlo Antoni Totore Bassin Milan "850 Lived at Golden Square, Placely, London 1850 Honorary Member ef Friharmenie Society, NYC 1859. Helped to exgnize Conservatory of Music, Mexico 1804 Soloist at Casino, Mente Carlo ‘64 Given Siver Baton by chor in Batetona, Sitver crown by oF 1860 ‘heata of Useo Teste 1888 Towed UGA and Cubs 1865 Appeared in Promenade Seasons and Arcii'sconcets in Lon 1855.67 Tours Russia (ec. 1866March 1857) 1867 Toured France and Scandinavia with Viewtemps 1869 _Teured France with Viewsemps and narist Godel 1815 Borrowed large sums of money 0 pay of bis 1880 1699 Gave at gloria, nd of June, Parma 120 89 Director of Consoratory of Parma fapp'ted Nov. 9, 1665 in ‘absentia, lesmed oft Jan. 20, 385) Appointed President ofthe Poplar Concert Society, Parma1820 Composer Music Director/Conductor 1830 180898 Compositions inlucing thes Grand Overs and Doutve Concer 1840 1816 Compased Dia Nebuloso @Bithdey Ode to Isbell, ara Noo terme fe vin ad para) 1017 Composed crstopnove Colombo, Havana 1842 Almost al frnous do comeositons complete by this ime 1810 Maestro al Plano (conduct at Havana Opera Howse, Cuba 1018 Fr vst 1 England as conducter—at music festivals in Buck Ingham and Sringham 1850 1860 1056 Lusso o France (et mejor operatic undertaking) premiered, ‘toatre dee aennes, Pale Fob. 2 1858 Composed opera If Davee della Note, Milan 1860 Cassel Firencerepeted at La Scala, Milan 1862 Marion Delorme produced in Palermo, Jan. 10 1864 Maron Dele in Barcelona 4866 neat opera Vinlgvera Il Bando, premiered, Monte Cato 1859. Fret official post as Condvetor—Teatro Santana, Mexico 1859 Music Director of Oper, Nesico 1856 Muse Director, Theatre es aiennes, Paris 1856 Conducted some of Exposition Universelle' Paris wih Seioz 1856 Anarded iver Medal, Pari Conseratoy 1857 Choirmaster, Crema Caneral 165761 Towed Germany, Hotand, Belgium, Franco 1858 Towed Encland, Portugal, ay 1859 Towed France 161.83 Musio Director, Teatto Belin, Palermo 160.68 Yusie Director, Liceo Meat In Barcolon, with series in Monaco 1866 Musle Deer, Buen Retiro concent in Macc 1867 Musi Dacor, Promenade Concert Season, Covent Gorden {with tohann Straus) 1870 1880 1270 Comic opera Al Babe, premiered. Lyceum Theatre, London 1675 Ere Leandro composes 1679 _ First peormance Er @ Leaco, Torino {62081 Mises do Requiem promiered, Teatro Reggio, Torino 1860 La Treo Babele, La Fegile co ‘Angeto (unpublished oper) composed {861 Misa da Requiem represented Coma in Musical Exposition in 1186867 Composed operas Azaol, Coder, Grail (unpublished 1867 Oratorio The Garden of Oivet, composed fr Norwich Festiva {870.79 Musie Director, isan Opera at Kadivale Theatre, Calvo, Eaypt 3870 Aeting Conductor, Lycoum There London 4870 Music Decor, Covent Gorden Promenade Seston ert Conducied pramiane of Vers Aaa, Doe. 24, Ciro 187379 Music Director, alin Opera, Constantinople +1879 _Concictes opera in Buenos Ales, Performed Evo @ Leandro 1882 Conducted st Teatro ego, Parma,Botiesini’s fom in the municipal cemetary in Parma. at that time, been contracted to sing at the Italian Opera in Paris, the Queens Theatre in London, La Scala in Milan, as well as Mex: ico, Havana, Berlin, Dresden, Florence, Palermo, and Nice (Claudine Florentine Williams, who was called Signora Fiorentii, was a close friend of Bottesini. She toured with him in his early years; “Maria Delorme” was written for her, and she performed it both in Palermo and Barcelona and perhaps other places. Baptie claims that Bottesini married her in 1878. There is, however, no record of this) ‘Bottesini’s tours went as far as England each year and in 1866 (one of his busiest years) he set off for tours of the U.S.A. and Cuba, was named Musical Director of the popular “Buen Retiro” ‘concerts in Madrid, appeared in the promenade seasons and Ardit’s concerts etc. in London, and went on an extended tour (December 1866 through March 1867) of Russia under the direc- tion of Anton Rubenstein. He returned from Russia to Paris from where he set out on 2 monster tour of provincial France as well as all of Scandinavia with Viewstemps. He then returned to London ‘where he had been appointed Musical Director of the popular Pro- ‘meade concert season at Covent Garden, where the "Conductor of the Dance Music” appearing with him was none other than Johann Strauss! In 1869 Bottesini toured France with Vieuxtemps ‘again and the harpist Godefroid, with a program which began with Bottesini conducting Rossini's Missa Solemnis. Wot XI, No.2 Witer Parma 1889, the reat man at the end of his life as director of the Par ‘ma Conseroaior. ‘Advancing German forces in the Franco-Prussian war brought Bottesini to London for an unexpected stay. He spent the last six sveeks of the year and early 1870 writing his comic opera Alf Baba which was given as part of the season of opera at the Lyceum ‘Theatre, London, where he was the Musical Director. At the same time he was Music Director of the Covent Garden Prom. season. Broneth Bay, Director of the Italian Opera at the Kadivale ‘Theatre in Cairo, met Bottesini in London in 1870 and engaged him ona long-term eéntract as their Musical Director. He held this post {as well as the Italian Opera in Constantinople which he added in 1873), until the Cairo Opera closed down in 1879. Bottesini manag- ed during his Cairo years to go off on tours to Spain and Portugal, angl even directed the Lyceum season in London. In 1871 the premiere of Verdi's opera Aida took place in Cairo, having been postponed a year due to the Franco-Prussian war When Verdi's favorite conductor (Mariani) was too ill to conduct, the important task fell on the worthy shoulders of Bottesini. The performances took place as part of the opening: ceremonies for the Suez Canal and Bottesini was able to fit in a three day visit with Boston 1947, a lithograph of Botlesini and Arditi made to accompany their concert in the easiorn United Siates. The picture is mentioned in a letter in Part One, 31Verdi at Saint ‘Agata in order to sty the score. Much cor respondence took place between Verdi and Bottesini. The first per formance took place on December 24 to a crowd made up of the highest ranking dignitaries from most of the countries ofthe world, critics of all nationalities, as well as an enormous cosmopolitan Crowd of spectators, all of whom greeted the work with enormous enthusiasm. ‘Verdi, who fully relied on Bottesin’s talent and ability, gave him ‘in person, and in writing, the most detailed instruction. Although these performances of Aida made Bottesini—the conductor—a ‘world wide figure, his main satisfaction on the personal level, was to see his reputation among the eminent artists and composers of his time increase tenfold and Verdi’s friendship and high regard for him grow and solidify in the most flattering manner. Verdi wrote from Genoa in December 1871 “Dear Bottesini, “T cannot tell you how much I appreciated your kind thought in sending me a telegram after the first perfor ‘mance. This in one more instance in which you have oblig- ced me, not to mention all the loving care you have invested jn that poor Aida, Not only have you shown much ‘eagerness but you have also displayed your extraordinary abilities in rehearsing and conducting, abilities which, of ‘course, I have never doubted. “-Thanke you, therefore, my dear Bottesini, for all you have done for me on this occasion; kindly also convey my sincerest thanks to all those who have taken part in the per formance of this opera.” ‘The director of the Teatro Reggio in Torino, where Bottesini ofter conducted, wrote: “After the success of Aida, Bottesini received innumerable offers of Musical Directorships and_ conducting ‘engagements but from that time on, although for financial reasons he could neglect neither the double bass or the baton, he chose to devote himself primarily to composition, “Bottesin’ is not only a phenomenal virtuoso, but a con- summate musician, a skilful and fascinating conductor, anda composer with a naturally rch vein of Italian Melody, ‘wedded to a profound musical sense, and an exacting knowledge of the orchestra “During rehearsals, he was never demonstrative and he never lapsed into sentimentality or affectedness when ad dressing the orchestra, nor did he show exaggerated impa- tience or haughty disdain, At most, there would be a short outburst, almost immediately repressed. When that hap- pened, he would toss his hat up in the air a fling it onto the stage floor and that sufficed to calm him down, “While conducting, concerts and operas he always presented a dignified, composed, and gentleman like at- titude following the traditions of the Italian school as im- parted to us by Mariani and Pedrotti. His at in conducting relied mainly on the readiness, seriousness, and assurance Murray Grodner, professor of music, chairman of string department Stuart Sankey, professor of music Indiana University School of Music Study in String Bass + Faculty with distinguished careers in both teaching and performance + Extensive performance opportunities, including orchestral, jazz, and solo + Unigue program, offering two full-time teachers of string bass Study leading to Bachelor's, Master's, Doctorate, and Artist’s Diploma Scholarships available For further information, write: Charles H. Webb, Dean School of Music Indiana University Bloomington, IN 47405 32 Intersinal Soy of TassOf lis beat and the careful choice of tex those conductors who, in order to appear inspired by the divine genius of art (even though they might be conducting fa tiny orchestra) make themselves busy, standing up, boun= ‘Ging, endlessly moving their bodies about Hike owls on & perch.” [A Barcelona critic remarked: ““Bottesini does not néed to cause trouble and intreage [sic] among people to reign among Directors. He tries to ‘win the affection of his subordinates by being an example for them in the arts and a father and a brother too without letting us forget that he honours the position he occupies (Music Director). Artistically speaking, it will be very dif ficul: to fil that position again the day he leaves because we iknow of no one in Europe with all of his characteristies ex- ccepting Mr. Costa [later Sir Michael], Music Director ofthe ‘great Covent Garden in London.” Bottesini continued to appear as a conductor for the rest of his life and was conducting at the Teatro Reggio in Parma in his last year, However, he did not, after his contract in Cairo expired, ac ‘ept any further Music Directorships. One notable exception was a Tong season of opera in 1879 (Including a performance of Eve ¢ ‘Leanaro) in Buenos Aires followed by visits to Montevideo and Rio de Janeiro. For conducting and service to music, Bottesini was given a ‘number of honorary batons in silver, ivory, etc. as tributes of the ‘esteem of musicians he conducted, as well as high honours from Serious countries and courts including: Chevalier of the Italian Orders of the “corona d'Italia, and the Santa Maurizio ¢ Lazzano, Chevalier of the Portuguese Order of Christ and Saint Jago, the Im- perial Turkish Order of the Medjidich and Commander of the Spanish Order of Carlos III. The King of Spain also made him Commander of the Order of Isabel de Catolico. Bottesini's musicality was well summed up by a Milan critic who was istening to a London performance and making a comparison of Sivori (the great violinist) and Bottesini. “If one tried to describe the special prerogatives oftheir individual talents and their various effects of the souls and minds of those who listen to them, one Could perhaps say that Bottesin’s understanding of artis more con- Sistent and that with the simplicity, the purity and the intimacy of his interpretations, he produces sounds that are a joy to the ears ‘and aching hearts of his listeners.” ‘The London Times published the following story: “Being, besides a great aris, also a man of the world, and, ‘moreover, kind-hearted and fond of humour, he had an in- texhaustible store of anecdotes, the reminiscences of his travels, his triumphs, and his meetings with royal and other personages with whom, in the course of his artistic peregrinations, he had come in contact. “On one occasion, after a concert he had given at the “‘Kursaal’ of Wiesbaden, an English lady, plainly dressed, approached him and said ‘Oh Signor Bottesini, [am charm: 2d with your playing, and should be so glad if you would An International Collection of Investment Quality Stringed Instruments and Bows Top professional to fine student basses cowncaso We welcome: Professionals ‘Students: Trades Consignments Dealer Inquiries st.tous: De rte) PRO ecr ol XU, No.2. Winer 1985 Conveniently located in the heart of many of ‘America’s cultural centers. NEwyorkeiry PITTSBURGH PHILADELPHIA ‘ONCINNAT! For curent information and appointment phone or wrt: Stephen Edwards Fores Mart Huntington Woods, Michigan 48070 U.S.A. jephone (313) 545-1610 ‘Member—Detrot Symphony Orehesta‘come some day soon and play at my house! Bottesini, think: ing that the lady before him was one of the innumerable “Anglaises” to whose eccentric and extravagant displays of hero:worship he was so accustomed, simply bowed in silence. ‘Besides’ continued the lady, ‘Ihave heard you play before in London’. The artist smiled and bowed again. ‘Yes’ persisted the lady. ‘I heard you play at my mother's.’ ‘And Who" Bottesini now rejoined ‘is your mother, madam, if 1 ‘may ask?’ ‘The Queen of England’ was the quiet and placid reply: Whereupon it at last dawned on Bottesini that the lady before him was no other than the Crown Princess of Germany, then staying at Wiesbaden.” In the course of his career as a_performer, he eamed astronomical amounts of money and yet, if not altogether poor, he certainly did not di rich. He did not really comprehend the value of money. He endured deprivation with philosophical resignation \hile squandering his earnings with the most careless enthusiasm ‘when times were better. Gold slipped through his fingers without him even noticing it. The money sometimes went on millionaire’s ‘whims (while in Cairo at one time, he set up a complete menagerie ‘of wild beasts!) or often to help friends in difficulty. He contracted debts more than once to oblige someone or satiate the greed of ‘some adventurer. Bottesini was endowed with a generous heart but at the same time he was absolutely incapable of adapting himself to ‘the circumstances of life, Disillusion must have made hit bitter but not ill-natured, and he certainly did not lear from experience. He ‘would withdraw in an ilbtempered self restraint, grumbling and cursing; but he emerged from these extremes even more confident and good natured Bottesini's good nature can be seen in the following remarks: “Although Bottesini was rather tll, because of his position when playing, he walked with his shoulders bent and at a somewhat idle pace. He had a pale face with tiny grey eyes ‘hich often were half shut in a mischievous grin, yet when they opened, they flashed like lightning. His hair, parted in the middle, made him resemble an apostle, but 2 devilish ‘one. Those who got close to him were surprised at his simplicity and at his sweet nature, a stranger only to affec- tation and self-indulgence." ‘his good nature allowed him to place bets on cards and games of billiards, more for the social enjoyment and diversion than the love of the games. He indulged in the finer things of life: good food, fine wines and champagne, women and tobacco. His tours brought rave reviews and admiring throngs, but his career was accom- panied by the worry of financial instability The position of Choirmaster at the cathedral in Crema (Bottesini's home town) became vacant in 1857 and Bottesini's friends and admirers immediately thought him to be the most ap- propriate successor. Subsequently, he was formally offered the position. Bottesini, who was then going through one of his low BRENDA & RONALD PRENTICE Specialist makers of Cello and Double Bass & covers for them Photo by Sunday Times 34 ‘The Mill Ash Priors Taunton Somerset England TA4 3NQ Tel. (0823) 432734 International Sot of Basinsperiods, accepted the offer immediately in this letter to Signor Dello Giovanni (whom he always addressed as Dell) Paris March 18, 1857 3 Rue Le Grange Batelier “My Beloved Dello— “Just before your letter, I received a letter from Battista ‘Monza which T have already answered, accepting his offer to become Choir Master at the Cathedral in Crema, and telling him that he should discuss the particulars with my father. Having said this, Iconfirm it with you and am muck obliged to you for “moltiplicatus amecis”. Thisis not only a tistinguished position to hold but it s also lucrative. Ihave no words to tell you how gratified I was upon finding iyself the recipient of 0 much kindness. I was touched by the general eagerness to have me asa choir master, and the ‘additional prerogative afforded me since this position will not tie me to the town, “In spite of the laurels (often quite prickly) which sometimes, not through my own unworthiness but because fof the infamy of the world we live in, tur into failures, T ‘will of course, be more than happy to find myself back in zy native town where, with a dog and a gun, I shall be able to go bunting, enjoy masic, and have a merry time with my friends, for I have wished your presence here countless times. “As for myself, [feel somewhat under the weather for 1 rave too much work; do write to me, your leters give me somuch pleasure. [shal always answer yau, perhaps notin ‘great detail, but certainly with all my heart “With my warmest greetings, I remain your most affec: tionate frie G. Bottesini” ottesini, as we have seen, eventually had to give way to the career which carried him too far and wide to be able to conscien- tiously hold such a position. “This letter from Rossini in 1866 contains some recommendations, for Bottesini on his forthcoming Russian tour: “Dear Bottesini, Although the saying goes ‘out of sight, out of heart’, Tam happy to prove {o you the contrary, here are the promised Jetters. One for the tenor Tamberlk. 'am enclosing letter from my friend Buffarini sent from Nice in which he gives instructions on how to go about introducing yourself to the people he has recommended you to. Do make yourself lknown, ear a Tot of roubles, but save them; think of old ‘agell! and don't forget your very affectionate, Rossi _ yorke edition A Yorke Studies ed. Rodney Slatford Volume 2: second to fourth positions (to reach E). 122 studies, including five or six-movement picces, in all keys. Scales. arpeggios, bowing exercises and orchestral studies up to Grade 5 Associated Board standard, Piano parts for 15 of these studies are in the companion volume below. 52pp. Studies, index and glossary of terms £4.95 YE 0086 A Yorke Solos for double bass and piano ed. Rodney Slatford Volume 1: 35 easy pieces. easy tunes in different keys by many composers take students from early positions up to Gin -asy steps. 15 of these little pieces are in Yorke Studies Volume 2, making the book easy and ‘economical for class use. A wealth of little tunes for school concerts, festivals and examinations Piano score (44pp) and solo part (18pp) £6.75 YE 0087 A Yorkassette ‘demonstration and piano accompaniment for Yorke Solos available on practice cassette shortly YK 0087 send for full catalogue of nearly 100 listings for double bass — rrr Yorke Edition, 31 Thornhill Square, London N1 1BQ, England Agents ‘America Galaxy Music Corporation, New York ‘Austria, W Germany, Netherlands, Switzerland and Scandinavia ~ Bote & Bock, Berlin Italy=G Ricordi & Cs.p.a., Milano VoL Xi, No.2 Wintor 1985outstanding new pedagogical publications from yorke YORKE STUDIES FOR DOUBLE BASS Vol. 2 - Second to Fourth Positions ed. Rodney Slatford 8.0086 $8.50 “This eagerly awaited volume takes off rom Yorke Stuiey Vf thal ang ist postions) advancing the student to Grade 5 in 122 picces encompaning a wide but smoothly graded range of keys Rise tignatares technical and rhythmic problems. The studies range tom sort orchesiral excepto orginal sth and 20th cen Tnetues by Cara, Liska.Scelba end others and are supple Imented ty scale. arpeggios and a glossary. Some of the pieces fave accompaniments tha ate 10 be found in Yorke Sollm de soned below YORKE SOLOS FOR DOUBLE BASS AND PIANO Vol.1 6.0087 $10.50 3 easy pieces for bass and piano tat ate going to liven up the re pene of young bass students everywhere, Colorful characte Fite pleces by Laska, Lancen, Totland others as well a engaging ttanseripions by Roney Saiford make fora rich collection. COMING SOON: & Yorkassete with a demonsiraion of the pieces inthis collection corde! by Slatiord and foliowed By the ccompaniment alone fore music minus one" performance. ‘Available srom your dealer or direct irom GALAXY MUSIC clo E.C. Schirmer Music Co. 112 South Street Boston, MA 02111 Direct orders must be prepaid and include $1.00. postage & handling FEATURING THE ARTISTRY OF BUELL NEIDLINGER. Hl comme Bb eu fms ox Sava. cans cmtn | (ST WEST CAS EN CE MOMS NR K'B: RECORDS ‘The Russian tour of 1966-7 was a financial disaster and Bottesini hhad to raise a mortgage in order to pay for his return to Paris. Once returned, he wrote to his lifelong friend Arditi that he was in fina cial difficulty and was being forced to sell his furniture (an ex: travagant collection of antiques). Twenty days or so later, he wrote to Arditi again saying that Arditi was the only one he could turn to in order to ask for money, that the Russian tour had been a finan- cial disaster and that he had been forced to sign a contract to go to Cuba and the U.S.A. in order to have money. In 1875 Bottesini wrote from Italy to his good friend Figari who was the Italian Ambassador in Cairo; he sent 600 francs to settle debts and asked him to withdraw shares (stock) held as collateral He said he was going to Paris and then Scandinavia from where he ‘would settle the final installment. In another letter to Figari in 1877 he sent a large payment in ‘order to reclaim pawned possessions “the rest will continue to sus+ tain me as Tam in need.” Financial disaster figured in even the premiere of his great theatrical masterpiece. The son of the man who produced the premiere of Bro ¢ Leandro wrote this account: “Pedrotti, (the famous conductor and friend of Bottesini) somewhat mote nervous ‘and restless than usual, turned up one day at my father's house. ‘The troubled expression on his face denoted a great commotion. He went straight to the point for he has never had the attributes of a diplomat. Bottesini, his friend, had written to him in despair. Pressed by financial problems, he was in desperate need of a cer- tain sum; he had just finished a work, the score of which was enclosed, and he trusted his friend to find him an impressario who ‘would give him cash in advance and have the work performed, for otherwise he could not be responsible for his actions. ‘He may be thinking of suicide’ concluded Pedrotti, half serious—half mocking as he ended his report. “The producer, tearing his hair, said ‘Money is not enough for him, not that can gett! He also requires that his work be perform: ced! Poor me! What am I to do now?" Bottesin's threats, probably ‘written in a moment of deep distress, need not have been taken so seriously, but Pedrotti was all shaken up, and terribly worried at the thought of what a negative answer might trigger, his apprehen- sions being intensified to an extreme by his vivid imagination, "The work itself (Ero e Leandro) was much to his liking; staging it did not require a large expenditure and only three artists were needed for the performance. The work was accepted and Pedrotti hurried back to Bottesinito bring him the good news together with the much needed cash advance!” Bottesini at times was forced to appear as a performer in or chestra and was a member of the orchestra in the Italian Opera in London for a time. He played in the orchestra during, the Milan per- formance of Ero ¢ Leandro, and itis difficult to know whether finances drove him to it, or ifhe was there anyway and was lending a hand Tn 1886 one contemporary biographer said “Modest, without en- -vy, with a heart ever ready to sympathise [sic] with the misfortunes of others, he is always, as they say, “burning his fingers’ and so he ‘can not, as he should now have the right to (at age 65) live without the fruits of his art. Contrary to what his so-alled friends are say- ing, Bottesini does not love to play for the sake of it which is just as well because with his frequent bad luck, he would by now not even have the bow of his beloved instrument.” ‘Bottesini was so poor at the end of his life that his collections of correspondence were given to the restaurant where he ate in setle- ment of his account. It must have been a sizeable collection. The Musical Standard just after his death stated. .. “he has, however, lef behind him a very interesting collection of autographs [letters] which prove that he was, at any rate, wealthy in the matter of Inertial Society of Bassistsfriends, Amongst these autographs are many from Verdi who was a ‘great friend and held him in high esteem.” The Verdi letters have found their way, in part at east, to Trieste All ofthe letters assume great value, as Bottesini at no time that ‘we know of, had a real home or central point where he could store his things. Naples became in his later life a favorite place and most ‘of his letters from the 1880°s as well as his compositions from that period all bear addresses (most of them different) in Naples. Verdi, aware of Bottesini’s difficulties, commended him for the vacant position of Director of the Conservatory of Parma. King ‘Umberto I signed the decree on November 3rd 1888, appointing him “in absentia” and giving him an annual income of 6000 Lire with accommodation with effect from November 16th 1888. However, Bottesini only came to hear of it on January 20th 1889! ‘The Mayor of Parma went to London, personally, in order to find hhim and bring him back. Typically, Bottesini went first to Bucharest, Rumania to fulfil a long standing solo engagement on the way back to Parmat The Conservatory welcomed their new director with open arms ‘and hearts and Bottesini was, directly upon his arrival, made pres- dent of the "Popular Concert Society". His company was eagerly sought in the best circles and he was engaged by the Opera House to conduct a series of operas. ‘Bottesini made, in his short stay, a number of significant innova- tions at the Conservatory, one of them a controversial opera pro- duction at the opera theatre where the professional orchestra was augmented by the better students from the school ‘Bottesini’s last recital was in Parma in the end of June where he agreed to play for the benefit of an artistic society at the Club House though by this time he was a very ill man. “Tt was a rainy night, and Bottesini had forgotten to send for a carriage, and he started to walk, Duta friend took him up in his carriage and drove him to the concert room. The artist went on to the platform with his old companion in glory—-his double bass—and began to resin his bow. The resin broke into pieces in his hands, whereupon he remarked with a sad smile, “There goes the resin; who knows? ‘Soon I may have to go too!” His own performance on that evening, though it carried away the audience as usual, did not satisfy him and he complained to those near him that there was something ‘wrong with his od friend. ‘It would not sound right’ he sai. presentiment was but too true; for it was on the next day he was struck down by fever, from which he never recovered.” Having been in coma for three days, Giovanni Bottesini died on July 7, 1889 at 19:30 of syrshosis of the liver. ‘As the sad news spread in Parma, it acquired the proportions of national mourning, to an extent where the municipality, having hheld a last minute meeting, declared that special arrangements ‘would be made and that it would pay for the funeral. His body lay in state in a large hall, transformed into a funeral chamber, the body dressed entirely in black, lay on a platform. The platform was surrounded by an abundance of flowers and candles. ‘People filed by, silently, respectfully, deeply moved. Nothing en- ‘courages a man to think philosophically lke the sight of a genius ‘who has been struck down by death. Just after mid-day, the body ‘was removed and placed in a coffin ‘Next was one of the greatest funeral processions Parma had ever ‘witnessed. Strade Farini was swarming with people. The funeral ‘carriage was literally covered with splendid wreaths. Cards and telegrams poured in from all over. Verdi sent: ‘“The loss of this distinguished artist isa calamity to the world of the arts and Iam. most distressed by it.” Carlo Pedrotti saluted him by saying; “Next to Verdi, he was the most profound and learned musician of Italy”. ‘The press was saluting the ‘King of the Contrabassists’, ‘the com- poser of Ero ¢ Leandro, ‘the Valiant Virtuoso and Conductor’. WoL XILNo, 2. Winer 1985, BASS STRINGS ‘Slam—rociplent of the Award, Metronome "Best ward and many other honare has been making musical Iitoey for over 80 years "Sensicore” Bass Strings fare new on the scene, but ‘apialy utlsing a great tion. Together, lam land Sensicore are making beautiful music! SUPERSENSITIVE MUSICAL STRING CO. “hat Porter Ra Jearasotn FL 33552 “over 56 Years of Manca Product Excalince” Instrumental Tutors for the Double Bass selected and adapted by KEITH HARTLEY DOUBLE BASS SOLO 1 Fifty graded melodies from Half Position to Sixth Position and above, chosen to meet the needs of the beginner. (24.002) $15.00 DOUBLE BASS SOLO 2 A unique collection of forty-two excerpts from the standard orchestral repertory, (24.003) $17.50 ‘Now in prepartion— NINE PIECES FROM DOUBLE BASS SOLO 1 Piano accompaniments for selected tiles, Availabe at all fine music stores. SPECIAL OFFER! Good through Apri 1, 1985. We offer you 2 20% discount on single copies of Double Bass Solo—Bk. 1 ($12); Bk. 2 ($14). Check must accompany the order. Write Dept. B NN M516 Deparimcnt OXFORD UNIVERSITY PRESS, INC. 37LOpinione wrote “Italy mourns a great artist and a man of feeling, who during many long years caused the name of Italy to be honoured at home and abroad.” “The procession, which included several bands, three members of Bottesini’s family, and an “enormous crowd of the general public ‘ag well 28 a great number of friends and musical confreres who flocked from all parts of Italy”, reached the barrier which bad been set up and the speeches began. There were speeches by the acting ‘Mayor of Crema, the Director and the Deputy Director of the Con servatory, the Minister of Education, and a lesselevated man who wwas just 4 friend, His name was Guerchi and his speech said more than all the rhetoric of the others: “| met the renowned Maestro Giovanni Bottesini, whose death means a great loss to the world of arts, on the day he arrived in Parma. I had heard a lot about him, but I could hot possibly have anticipated the greatness of the man, Ata ffiend’s request, [picked him up from the station. I arrived {ull of expectation, anxious and agitated while waiting for the train, [tried to imagine that famous man, whose name ‘and illustriousness bad been known to me for along time. 1 recognized him the minute he stepped off the train for his eyes showed the sparkle of a genius. ‘approached him full of reverence and he smiled. That kkind of honest smile revealed to me the inner strength of the man, and from that evening, I loved him as if I had always known him. “So much fame together with such modesty is quite ‘unusual. I truly felt that throughout his eventful life, in the midst of so much glory and pain, he has never known hatred. His soul was full of love and dominated by his art. He represented everything that was good and loved ‘everybody; no rancor, no resentment, and no internpereaice ‘whatsoever, Tp the svicked, this indescribable smile expressed forgiveness and pity. He was only with us fora few months yet everyone who came into contact with him regrets him today. “Bach time I was fortunate enough to see him, I bowed respectfully, yet not because of the halo of glory that sur rounded him—fame only commands an obsequious rrespect—my reverence was a tribute to the man who was fable to ally such virtuousness of spirit to the areatness of his name. ““Hfe could have been incredibly rich, yet he died in pover ty, giving everything to charity, leaving as his only in- heritance to his disconsolate family the example of an ir reproachable life and the sincere grief of the work! at his death, “One day, as he seemed exhausted, I bexged him, ‘Maestro, don’t tire yourself out for heaven’s sake’, But he, pressing iny hand, answered in a weakened voice, so full of (deep resignation that it will forever remain on my memory "Working, | forget!” Poor man!—How he suffered! And the first time I saw him after he became il, he looked at- me ‘with those loving eyes of his, he knew he was dying and he told me: ‘You sce Iam no longer working.’ I did not have the heart to protest; he could fee! that the end was near. “One day as he felt better, he wanted to get up; with our help, and with difficulty, he walked a litle. He saw his in strument, his life long companion who shared all his trives- ‘hs; his eyes reflected a deep inner agitation; with ditficut: ty, he stretched his emaciated hand forward to touch the strings. That was his last farewell.” Vol XIN. 2, Wier 1985 Hand Crafted from Leather Bow Cases & Quivers made to order from the highest grade leather available Quivers (17" tong) $40.00 Cases $60.00 Colors: Black ~ Natural - Tan — Send check or money order to— ED CACCAVALE 219 Cook Avenue Yonkers, New York 10701 (914) 969-4661 Prices include shipping & handling FULL REFUND IF NOT SATISFIED Allow 3-5 weeks for delivery Lotein's™ Dual Transducer P PAT. PEND, ick Up 1 Pickup No. K101 for Bass Violin. tiring the ust 1 Frequency ‘eeponses 2 citer! The sopmisticated fitration syst of "up produces the unique compreasion feature te AIG cing the guality of raproduction, tone end volume SS GREENS conscane caring efter prstento or arco.use. The Buti “hestucer system, ts eppleable to any. conventional 2 Ehutnel arapiner, du lowing for total equalization of both juenay exponses on 8 = In‘intances where as eithor one noi war Ean ce inp, Sptan anion mont eAecvey escape ose “Toe e101 aten Dua Tranaducor Pickup ithe culinton of Be aot A iSctteh development, and testing undor He most Frringont playing conditions, KOLSTEIN MUSIC, Baldwin, tow York, 11810, USA Toe ic, 795 Foxhurst Road, 1516) 646-8200,