Concerto di Bravura

(Double Bass Concerto #3)

Ed: Isaac Trapkus From the A major manuscript for bass and piano Giovanni Bottesini
(b.1984) (1821-1889)
version: 2020/12/23

         
        
a piacere

 
Andante mosso

   
  
              
       
16

 
  

     
          
    
      
18

  
 

        
        
       
 
    
20

    
        
                


23



    
         
 
25

  3
3

This edition is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0). Isaac Trapkus - 2020.
      
                  
       
Io tempo
26

    
     
                   
    

32

         
   
             
       
36 Recitativo

                  
       
       
6 3

 
3 3

    
3


 
38

  
     
                
     
3

    
   
   
40

     
                
3 3 3 3

           
3
42


 

       
                    
3 3 3

 
6 3

     


44


    
                              
*)


46


3 3

      
          
 
Cadenza

         
6

      
49 **)

  
            
   

          
6

 


51

3 3 3
*) Fermata marked in pencil
**) From the last note of m.48 until the first note of m.50, it is not clear if all the slurs are intended or if some where added later without removing
the original ones. The slurs printed here are copied as they appear.
2 This edition is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0). Isaac Trapkus - 2020.
    
         

  
      
  
Allegro Moderato


53


 
3 3 3

                     
   
57

3 3

     
3 3

        
            
61
3

3
3

          
               
65 3 3 3
3


   
                     
3


 
68 3 3 3 3 3

    
    
           
    
71 3

3 3

   
3

    
           
3

  
74 3 3 3
3

     
 
          
        
     
77 3 3
3

       
3

 
               
 
              
82

This edition is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0). Isaac Trapkus - 2020. 3
            
     
  
84

 
3

                         
                         
86 3 3 *)

               
3 3 3

  
 
88

     
3

                   
                           
90 3 3 *)

3 3 3

             
       
             
92 3
3 3 3 3 3 3

 
3 3

                                   
     
94 3 3 3 3 3 3 3 3 3 3

               

3 3

                       
96
3 3 3

         
         
3 3 3 3 3 3 3 3 3
3 3 3

       
 
99

  
3 3 3 3 3 3 3 3 3


3 3

  3 3 3 3 3              
 
   
 
101

3
*) In m.87 and 91, the manuscript shows no note or rest on beat 2 - only a treble clef sign. If there should have been a note it would
logically be a B (si), but interestingly enough the bowings naturally work out if a rest should have been printed.
4 This edition is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0). Isaac Trapkus - 2020.
  Andante
                          
         
      
132

      
   
                        
  
           
      
 
136 3 3 *)

   



 
        
                

    
  

 
140

                  
                          
    
144 3

       
                 
           
      

146

 
    
       
 
   
   

           
6

  


   
148

        
         
       
     
 
152

                        

          
        
   
154


   
    
 
 
 
      
   
156

*) In the manuscript, beat 4 has a faint slur that seems to cover 3 notes, as well as five oddly placed dots that may just be accidental ink drops.
If the slur is supposed to somehow cover more than two notes it is not indicated clearly.
This edition is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0). Isaac Trapkus - 2020. 5
      
         
        
    
     
  
157

  
3

           
           
    
159

   

   
        
3

       
                
 
161

  
      

3

   
3

      
           
 
163

        
           
               

165

       
   
3

       
3

        
        
167

        
          
          
    
169

    
    
3

         
  
       

171

3
6 This edition is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0). Isaac Trapkus - 2020.
      
               
          
173

      
   
3

         
    
175

    
   
         
         
 
177

  
         
 
        
      
179

    
       
   
        
       
3
181

 

     
3

        Segue 
   
  

  
3


183

This edition is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0). Isaac Trapkus - 2020. 7
          
   3           
                    
              
Allegretto


185
3

    
                                       
           
204 3

           
                                 
         
211

 
      
                                  
       
poco rit.

   
a tempo


219 3 *)

 
  
                            
  
      
226

   
        
            
 
           
    
232 stringendo

 
  
     
     
3

      
 3

      
239

  
       
     
                 
     
  
243

     
                    
     
      
 
248

    
 
              
       
   
253

*) The final note of m.224 has both a dot and a slur across the bar. In the manuscript, this is the last bar before a new line so the slur may be a mistake.

8 This edition is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0). Isaac Trapkus - 2020.
                
                        
     
258

        *)                       

6

     
261

                      
       
264

                  


      
267

                

   

     
270

   
                          
      
273

        

                   
     

 

277

   
                
          

281


    

                    

286

               
             
            

291

*) In the manuscript, from m.262-273 there are no dots printed over the notes. Sometimes Bottesini exlicitly marks every dot in a passage but not always.

This edition is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0). Isaac Trapkus - 2020. 9